On February 13-14, 2002, the fourth annual conference "History and Culture of Japan"was held at the Institute of Oriental Studies of the Russian Academy of Sciences. Its work was attended by scientists from academic institutes (IV RAS, IDV), as well as RSUH, MSU, ISAA at MSU, St. Petersburg State University, etc.

17 reports were presented at the conference, which can be divided into the following thematic blocks:: 1. The ancient history of Japan; analysis and interpretation of archaeological research-

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statistical data; analysis of political and bureaucratic practices in ancient Japan; research on historical geography. 2. Historical and cultural analysis of written sources of the Heian Period (794-1185) and the late Middle Ages. 3. The study of the sacred in the artistic image; the main milestones in the formation of Bunraku theater; the interaction of native and foreign cultural traditions. 4. Trends of Japanese Buddhism in their historical-philosophical and historical-cultural aspects.

For the first time, a non - Japanese paleogeographer P. E. Tarasov (Geographer) took part in the conference. faculty of Moscow State University), who shared information about climate changes in central Japan over 45 thousand years, obtained as a result of the analysis of 32 m of bottom sediments of Lake Mikata (pref. Fukui). Pollen analysis revealed that the vegetation of central Japan approached the present 10 thousand years ago, and the most severe climatic conditions were 18-22 thousand years ago.

P. E. Tarasov demonstrated that not only historians can learn a lot of useful things from paleogeographers, but history also helps paleogeographic research. For example, for Kyoto, historical records record the time of cherry blossoms in the XII century. Based on these data, paleogeographers were able to reconstruct changes in the spring temperature regime of the central region during this time period. In other cases, paleogeographers can correct errors that have crept into history. One of them is the legend of the kamikaze (divine wind), which supposedly swept away the Mongol fleet twice (in 1274 and 1281) and saved Japan from foreign invasion. If the invasion of 1281 occurred in August during the typhoon season, then in 1274 the Mongol fleet approached the Japanese coast at the end of November, when typhoons are almost impossible. Therefore, the story that the deities are supposed to save Japan from invasion is nothing more than a myth, in fact, the typhoon helped the Japanese only once.

As at previous conferences, the largest section was devoted to the history of ancient Japan. Two reports were devoted to the archaeology of the Yayoi period. E. S. Baksheev (Institute of History of the Russian Academy of Sciences) in the report "Bronzes in the rituals of the Yayoi period considered the types of bronze products and showed their role in the rituals of the Yayoi period (III century BC-III century AD). The speaker came to the conclusion that two types of rituals with the use of bronze products: individual military-chieftain funeral rites with provision for burials of battle bronze weapons and bronze mirrors; collective communal rituals of agricultural type with burying ritual weapons and bronze dotaku bells in the ground.

S. V. Laptev (IMLI RAS named after A.M. Gorky) in his report "Features of Yayoi ceramics and the significance of its research" compared Yayoi ceramics with ceramic products from other regions (Korea, China, Indochina). In his opinion, many forms of ceramics and types of ornaments, traditionally attributed to Korean prototypes, actually have much more similarity with the ceramics of Indochina. One of the most striking examples of Indochinese influence is the symbolism of animals depicted on ceramic vessels. In general, the Indochinese influence is especially noticeable in the Kinai region, and Kyushu's ceramic forms and ornaments are characterized by a connection with the Korean Peninsula.

M. V. Grachev (IB RAS) in his report "The first ranking system of Japanese officials in 603-647", comparing various sources, came to the following conclusions: 1. The Nihon Seki (720) mentions 21 officials with the ranks of the first ranking system. Taking into account later sources, the number of officials who had the ranks of the first ranking system is 47; 2. Sometimes an official is mentioned in later sources with a fairly high rank, but in Nihon Seki it is not mentioned at all; 3. During the period of the first ranking system (603-647), rank increases are practically not recorded; 4. From of all the officials who held ranks, only three were employed in the court service; 5. Not a single mention of the first system of ranks is recorded either in the Kuga: Bunin (early XIII century), or in the Shinsen shojiroku (815), or in the mokkan (wooden tablets, often used by officials instead of paper). M. V. Grachev concluded that this ranking system did not work, and probably was not introduced at all.

In his report "Reception of the theory of the "mandate of Heaven" in ancient Japan (VII-VIII centuries)," A. N. Meshcheryakov, agreeing with Japanese historians that the Japanese ruling elite rejected the Chinese theory of the "mandate of Heaven", at the same time noted that at the initial stage of borrowing Chinese political culture to the theory of the "mandate of Heaven", the theory of the "mandate of Heaven" The "heavenly mandate" was treated quite correctly.-

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seriously. In general, the theory of the "heavenly mandate" becomes relevant only starting with the reign of Tenti (661-671). It is about this ruler in the preface to the Chinese-language poetry anthology "Kaifu: so:" (751) it is referred to as a person who received the " mandate of Heaven "(the combination "heavenly mandate" is also included in the Japanese posthumous name of this emperor). Thus, Tenti was considered by the authors of the preface " Kaifu:so: "as the founder of a new dynasty. The ascension of Tenchi's younger brother Temmu (673-686) to the throne was perceived by the compilers of Nihon Seki as a change of dynasty. Until the reign of Emperor Ko:nin (770-781) the throne was inherited by the descendants of Temmu. Ko: nin and his son Kammu (781-806) were the descendants of the interrupted Tenchi lineage. In the Shoku nihongi (795), it is said that on the winter solstice, Kammu twice performed the ritual of worshipping the Sky in the southern suburbs of the capital, touching the spirit of his late father Ko: nin. And this, according to Chinese political practice, indicates that:Nina as the founder of a new dynasty. At the same time, the final break with the previous dynasty did not occur, since all representatives of the ruling family were descendants of Amaterasu. In this case, we can speak more about the foundation of the "sub-dynasty".

The speaker noted that in China, the holders of the "mandate of Heaven "were representatives of the entire dynasty, and in Japan (according to Shoku Nihongi), each new ruler received a" heavenly mandate". In China, the concepts of de (Japanese: toku) - moral forces and omens-extended to the entire dynasty as a whole. In Japan, however, with the accession of each emperor to the throne, there was a renewal, only positive potential was transferred from the former ruler to the new one, and negative potential was blocked. Thus, with each new enthronement, a new "minidynasty"was created.

All the main components of the "heavenly mandate" theory were very actively used in the official ideology of Japan, but at the same time they were limited to one government.

Two reports were devoted to historical geography.

In the report "Orientation system in early Medieval Japan" E. K. Simonova-Gudzenko (ISAA) touched upon a very important topic. Using the example of the first territorial and administrative division of the Japanese state into regions (up to:), as well as using information about the location of ancient roads, she showed that Japan, unlike China, is characterized by an orientation not along the north-south axis, but along the east-west axis. And this is despite the fact that the division of the country into regions (before:), provinces (koku) and counties (gong) was borrowed from China. Thus, we are once again convinced that the institutions borrowed from China have undergone a strong transformation in Japan. E. K. Simonova-Gudzenko attributes the predominance of orientation along the east-west / north-east-south - west axis to two factors. The first is the primary importance of the solar cult. And the second is that in Eastern China, mountain ranges run mainly from north to south, and rivers flow from west to east, which corresponds to the traditional Chinese orientation to the four cardinal directions. In Japan, mountain ranges stretch along the east-west axis.

In the report by E. The results of statistical analysis of the frequency of references to the Kosi region and its geographical features in more than 20 sources for the VII-XIV centuries were presented in the book "Kosi Region (modern: Fukui, Ishikawa, Toyama, Niigata prefectures) in the history and culture of Japan (VII-XIV centuries)". During the Nara period (710-794), the development of this region took place mainly through land (the number of marine objects is small). Etchu, Echizen, Kara, Noto, Wakasa were the best mastered. The least developed area is Etigo. During the Heian period (794-1185), the sea became another way of developing the Kosi area (an increase in the number of marine objects); the name "Kosi" began to replace the name "Hokurikudo". The most clear boundaries of the Kosi region were formed only by the 9th century.

M. V. Bagaeva's report "Miyoshi Kiyoyuki's Report" is devoted to the analysis of this document of 914, written during the reign of Emperor Daigo (885-990). The document consists of 12 points. The speaker noted that the construction of a separate paragraph is common to all points and includes: a reference to the source and an independent formulation in accordance with the standard of that time; a statement of the problem; a proposal for specific measures to correct the situation.

The ideal model of the state for Miyoshi Kiyoyuki is ritsure kokka ("the state based on laws"), which is characterized by a strong central authority (represented by the emperor), an effective bureaucratic system based on the meritocratic principle, and strict regulation of the life of society by legislative codes. In the Heian period, such a

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the model was already utopian, and its implementation in the traditional social structure of Japanese society was impossible. M. V. Bagaeva noted that Miyoshi Kiyoyuki himself belonged to the middle class of bureaucracy, and due to his emigrant origin could not claim a high social position. It is no accident, therefore, that Miyoshi Kiyoyuki especially often refers to the image of the provincial governor, i.e., to the image of the middle bureaucracy, and it is the provincial governors that he proclaims as the main support of the emperor. Thus, in the situation of the dominance of aristocratic families, the imperial power and the middle class had a mutual interest. However, the "Miyoshi Kiyoyuki Memo" did not have any practical results.

Klimov's report "Family instructions of the Asakura Military House (XV century)" is devoted to the analysis of a source of the XV century, which belongs to the widespread genre of family instructions (kakun) in medieval Japan. The authorship of the instructions is attributed to Asakura Toshikage (1428-1481), who held the post of steward (shugo) Echizen, and the main purpose of his instructions was to preserve the power of the House of Asakura in Echizen. The speaker noted that the tradition of writing down rules of conduct for posterity has existed since the seventh century, when this genre was borrowed from China (Chinese: jia-xun). If at the initial stage "family instructions "had a lot in common with the zuihitsu genre and borrowed a lot from it, then in the future direct edification prevails more and more, and" Family Instructions of the House of Asakura " in style approach more closely to legislative acts. Over time, references to Shinto and Buddhism have been reduced in the "family instructions", and in the 16th century. they disappear altogether, and the share of Confucian quotations increases. This suggests that the rise of Confucianism in the Tokugawa period (1598-1867) was not so much due to the patronage of the Tokugawa Shoguns as to the objective development of social thought.

N. S. Nikolaeva (St. Petersburg) in her report "Sacred ideas of the artistic image" considered an extremely interesting and relevant problem - the unity of the sacred and artistic affirmation of the aesthetic principle as the most important component on the way to understanding the sacred truth in Japanese culture. The analysis was carried out from the perspective of the mythogenic concept of sacralization of space as such, characteristic of the Yayoi culture (Bronze-Iron Age, III century BC-III century AD), but preserved at later stages of the development of Japanese culture. The speaker traced the genesis of the sacred idea, which originated in ancient times, and its influence on subsequent cultural manifestations in the Middle Ages. According to N. S. Nikolaeva, the spread of the status of sacredness to the entire human environment (primarily under the influence of Buddhism) is a significant moment in the Japanese worldview, which influenced the structure of the artistic image in art - in architecture, in painting, in poetry, in theater and in the art of gardens.

In Japanese culture, not only the "natural world" was sacred, but also the "man-made world", including works of art, since they were all perceived as a single whole. This fundamental idea has received various interpretations in various schools of Buddhism, but it has played a particularly important role in the teachings of the Shingon and Zen schools. The founder of the Shingon school of Japanese esoteric Buddhism ("shingon" - "true word") - Ku:kai (774-835) saw art as a way to comprehend the true teachings. In the Zen school (the Japanese version of the Chinese Buddhist Chan school; Skt: dhyana-contemplation), nonverbal, unfamiliar expression of sacred truth contributed to increased attention to aesthetic activities, where works of art became a path to the essence of being unspeakable in words. The rejection of the rational method of cognition of truth, the development of intuition had a direct impact on the very structure of the artistic image in Zen art.

In conclusion, N. S. Nikolaeva noted that even at the end of the XVI - beginning of the XVII century, when the process of secularization began in Japan and the rationalistic culture of citizens flourished with their interest in reality and its reproduction in art, the sacred substrate of culture did not disappear, it was preserved in other forms and had other functions. The speaker came to the conclusion that the collective unconscious of the Japanese nation preserved the fusion of the sacred and aesthetic, which was formed over the centuries, forming a characteristic feature of the national culture.

Speech by N. G. Anarina (IB RAS) " Milestones in the history of Bunraku Theater. Paradoxes of Development " continued the theme of the previous report. Considering the issue of the sacralization of time in Japan on the example of the Bunraku Theater, she stressed that the historical fate of the Japanese te-

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atra is very unusual. The periods of its formation lasted for centuries. So, the prehistory of the Noh Theater has almost five centuries of slow and gradual development; Kabuki and Bunra-ku theaters-and even more. The speaker expressed an interesting point of view that the formation of Japanese theater is associated with cyclical, eternal models of development.

N. G. Anarina focused on the art of puppeteers dating back to the eighth century. She presented two main hypotheses about the origin of puppeteering in Japan. According to the first, which is based on linguistic data about the designation of the word kugutsu (doll), this art appeared on the Japanese Islands as a result of foreign influence (it came from Greece and Near Asia through China and Korea). Representatives of the second version claim that the art of Japanese puppeteers is entirely of local origin and originates from the sacred puppet of the priestly Shinto practice. N. G. Anarina traced the main stages of the development of puppetry in Japan (from the VIII century to the end of the 70s of the XX century) and came to the conclusion that the symbol of the Bunraku theater is the so-called "big doll", which demonstrates the true miracles of imitation of human behavior, exceptional plasticity, is a synthesis of the Japanese wooden kugutsu doll and puppet dolls from China (since the XIV century) and takes into account all the previous experience of the art of puppeteers. Currently, this art is recognized as a cultural achievement of the Japanese nation.

E. M. Diakonova (RSUH) 'Japonism in Russian culture of the late XIX - early XX centuries' considered another essential aspect of the creative process: the interaction of native and foreign cultural traditions. Her research is based on Japanese folklore material developed by the artist G. Nargut, an illustrator of Russian folk tales. E. M. Dyakonova tried to consider the problems of understanding, assimilation and description of a foreign cultural tradition. She proposed a peculiar method of reasoning: to understand how we understand a foreign cultural tradition. Understanding a foreign cultural tradition opens up our understanding of ourselves and represents "appropriation", i.e. the understood object passes from the external plan to the internal one. The speaker paid special attention to the role of the conceptual language in the process of assessing foreign culture and its reformulation in terms of native culture.

M. V. Toropygina (IB RAS) conducted a literary study of the components of the image of Yoshino based on the poems of the first anthology of Chinese - language poetry (Japanese: Kangshi) in Japan - "Kaifu: so "("Favorite herbs and sea winds [poetry], VIII century). She noted that Yoshino is mountains and waters that are not just part of a beautiful landscape, but have a certain meaning borrowed from the Lun Yu ("Judgments and Conversations", a collection of sayings of Confucius, VI-V centuries). Mountains are humanity, and waters are wisdom. Yoshino in verse " Kaifu:M. V. Toropygina emphasized that the anthology's poems contain many Chinese names and toponyms. Yoshino also appears as a place of dwelling of the celestials. Music and wine drinking-necessary attributes of a pleasant pastime-are also presented in " Kaifu: so:".

E. S. Lepekhova 's presentation (IB RAS) was devoted to the study of the status of a Buddhist monk and the attitude to monasticism. The report was based on the study of diaries, essays, mono-gatari of the tenth century, in particular in Genji-monogatari ("Tales of Genji") Murasaki-shikibu and in " Makurano so: si "("Notes at the head") Seisho:catch-up. The report was based on a comparative analysis of two ideas about monks in Japanese literature: the ideal one, which is reflected, as a rule, in hagiographic literature, and the everyday one - in secular, aristocratic literature. The speaker noted that even a brief acquaintance with the latter shows that in reality, the Buddhist clergy were not treated with as much respect as it was prescribed in Buddhist works. They contain quite sharp attacks on monks and their way of life, which makes it possible to talk about anti-clerical attitudes towards Buddhism in classical Japanese literature. Unlike Christian literature, for which it is unthinkable to deny the sacred principles of the teaching recorded in the Holy Scriptures, in the philosophical concepts of all the main Mahayana schools, such denial is allowed in theoretical constructions. At the same time, it does not in the least cancel the affiliation of these schools to Buddhism.

D. G. Glaveva's presentation "Reflection of some aspects of the Vimalakirti-nirdesa Sutra in Kamono Temei's Notes from the Cell (Ho: jo: ki)" was devoted to the consideration of one of the aspects of the complex and multifaceted process of the influence of the Buddhist world.-

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views on medieval Japanese literature. She traced how some of the problems and symbols of one of the key texts of the Mahayana tradition, the Vimalakirti - nirdesa Sutra (Vimalakirti's Instruction, The Sutra of What Vimalakirti Said; Chinese: Weimoze jing; Japanese: Yuma - ge:, II century AD), were reflected in literary and philosophical monument of medieval Japan - "Notes from the cell" (1212). The speaker tried to show that the appeal of Kamo no Te-mei (1154-1216) to the figure of the Lay Buddhist Vimalakirti is more than an allusion. It is a kind of key to the author's understanding of the Buddha's Path.

The message was built around the problem of impermanence/fragility of human existence. One of the most striking symbols of impermanence / fragility is the hermit's hut (ho:jo).

Having identified first of all the ideological and conceptual correspondences of "Vimalakirti Sutra "and" Ho:je:ki", and not their structural similarities, D. G. Glaveva came to the conclusion that both works contain practically the same ideas-reflections on the ephemerality and fragility of earthly existence, on the correlation of Buddhist ideals and worldly realities. religious practices and social activities. The author of" Notes " demonstrates a very accurate insight into the essence of the Buddha's Path. They do not present this Path as an ideal of the early Buddhist Sangha retreat in India. Moreover, it includes the possibility of a critical attitude to the remote life of a hermit. Understanding the principle of non-duality leads Te: mei to reject the solitary life and at the same time gives him the opportunity to lead such a life.

The report of A. M. Gorbylev (ISAA) "Methods of achieving martial mastery in the martial arts in the" Tengu geijutsu ron " ("Theory of military art transmitted to the Tengu, 1729")" was devoted to the study of the problem of understanding the experience of the greatest warriors of the period of feudal wars (XII-XVI centuries), its systematization and interpretation in order to create an effective model of the development of techniques for mastering the martial art that could support the high level of combat capability of samurai in the peaceful Edo era (1603-1867).

The speaker identified two main stages in the development of the theory of martial arts in the XVII-early XVIII centuries. The first stage (the first half of the 17th century) was characterized by attempts to systematize the experience of the last generation of soldiers who participated in the battles of the second half of the 16th century, and was marked by the predominant intellectual and spiritual influence of Zen Buddhism. The second stage (mid-17th century) was characterized by the development of the theory of martial arts (Japanese: bugei) under the influence of neo-Confucianism, primarily Zhuxianism1, which became the most influential teaching in Japan during this period. The peak of this stage in the development of bugei theory is considered to be the treatise "Tengu Geijutsu ron", created by the master of fencing and a popular writer of the first half of the XVIII century, a connoisseur of the Confucian canon, Taoist treatises and Zen Tamba Jurozaemon Tadaaki (1659-1741).

Summarizing the results of the study, A. M. Gorbylev formulated the main conclusions: developing the theory of mastery in martial arts, Tamba Tadaaki critically and creatively comprehends and uses the ideas of neo-Confucianism, Zen Buddhism and Taoism, and conducts polemics with ideological opponents at a high theoretical level. Tamba redefines the essence of military art. For the first time in the Japanese tradition, he clearly articulates the concept of using martial arts to cultivate the Confucian ideal personality (Chinese: Jun Tzu) and achieve harmony with the Tao through the practice of martial arts. In fact, it lays the foundation for the concept of budo: - ways to improve the individual by practicing martial arts, which has been further developed.

The features of one of the most influential areas of Shintoism (a complex of the oldest mythological and religious representations of the Japanese) before the XIX century - Yuitsu Shinto: ("The Only Shinto") and its relationship with the teachings of esoteric Buddhism were considered by A. S. Bachurin (MSU) in the report "Yoshida-Shinto: and the teachings of "secret" Buddhism". The study is based mainly on the analysis of the teachings of Yoshida Kanetomo (1435-1511), who systematized the ancestral tradition of interpreting mythological and chronicle codes and linked it into a single complex with the Taoist cosmogony and the Shingon teachings. The speaker identified the most significant provisions of the Yoshido-shinto teaching; explained the meaning of its key terms (shinto: i kaji), relying on Kanetomo's treatise "The Basic Collection of Laws and Names of the Only Divine Way" ("Yuitsu Shinto: me: ho: ye:shu"). A. S. Bachurin considered two issues: the origin,origin, and origin of the Divine Path. content of the teaching and ritual practices of the main areas of Shinto:;

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Definition of the term"shinto:" in the Kanetomo teaching system. After analyzing the concept of the "divine path" and the " center of the divine in man "(heart) in the context of the Yoshida - Shinto teaching:, he came to the conclusion that the idea of" primordial enlightenment", the presence of" Buddha nature " in man turns into the idea of the presence of the divine path in man, and ritual practice leads to awareness and the revelation of this divine nature.

The result of this translation, according to the speaker, was a certain distance from Buddhism: thus, Yoshida Kanetomo at the end of the XV century.presented Shinto: - as an independent tradition that does not need Buddhism, on the contrary, Buddhism needs it.

The work of the conference contributed to the creative exchange of views, the development of new approaches to the study of certain issues of Japanese studies. The reports were distinguished by their thematic diversity : ancient, modern and modern history, art, religion, literature and culture. New directions in the ongoing research were noted.

note

¹ Zhuxianism is a philosophical and ideological trend that goes back to the teachings of the main representative of neo-Confucianism, Zhu Xi (1130-1200).

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