Hokusais 53 Stations of the Tokaido 1806 Horizontal is the last known full Tokaido series by Hokusai. It is different from his famous 36 Views of Mt Fuji, which are sublime artistic expressions distilling a long lifes work. It is different from much of Hokusais other well known work, like his 100 Views of Mt Fuji. But in that series Hokusai still retained a lot of the humor and the caricature found here. It is different from the many other well known 53 Stations of the Tokaido in that Hokusai explores novel ways of designing the print, further developing what he started in the 1804 Horizontal Tokaido. Hokusai experiments with person themes, voids and white space but also do great full landscapes and humorous encounters on the road.

Hokusai53 Stations of the Tokaido 1802 is something completely different from his first square series 1801. Hokusai here employs the horizontal "landscape" format and abt the double size of his square 1801 series. In this series Hokusai focus on wonderful folkloric scenes of ordinary people going about their work, in addition to the travel scenes. Hokusai also begins to develop the landscapes that were to become a standard for later generations of Tokaido series. Hokusai develops the concept of the Tokaido print from cartoon to folklore and the beginning of landscape. He builds on a b/w guide, Tokaido meisho zue from 1797, ISBN 9781956773316. It was a great and early contribution to the growing Tokaido literature, which Hokusai dominated for some 30 years.

Come on the journey from Edo, modern day Tokyo, to Kyoto, as experienced by Utagawa Hiroshige in, when he travelled the road to participate in an important procession in 1832. There were 53 post stations along this important road, apart from the start and terminus, in all 55 prints, which are all here in the order from Edo to Kyoto, In the Hoeido edition (1833-34). This was the most popular print series ever made in Japan. It was even more popular than Hokusai series Thirty-six Views of Mount Fuji, which had been recently published and which had influenced Hiroshige tremendously (ISBN ES 978-8-411-744-935). It is possible to travel the same road today and some villages are still looking quite like they did back then. The postal stations were constructed between 1601 and 1624.

Hokusais 53 Stations of the Tokaido 1805 - 1806 is something completely different! It is different from his famous 36 Views of Mt Fuji, which are sublime artistic expressions distilling a long lifes work. It is different from much of Hokusais other well known work, like his 100 Views of Mt Fuji. But in that series Hokusai still retained a lot of the humor and the caricature found here. It is different from the many other well known 53 Stations of the Tokaido in that Hokusai does not focus on the landscape and the markers that Hiroshige and others showed. Instead Hokusai focus on the events, the interactions between the travellers, the tales that you will share with your friends when you get back home. It was a great and earlier contribution to the Tokaido literature

Hokusais 53 Stations of the Tokaido 1804 horizontal is something completely different from his first square edition 1801 and second edition 1802. Hokusai completely changes his style compared to the three previous series, 1801, 1802 and 1804 vertical. These designs are "clean" and a precursor for his famous 36 Views of Mt Fuji some 30 years later. In this series Hokusai focus on wonderful folkloric scenes of ordinary people going about their work, in addition to the travel scenes. Hokusai further develop the themes, touristic curiosities and landscapes that were to become a standard for later generations of Tokaido series. It was a great and beloved contribution to the Tokaido literature, which Hokusai dominated for some 30 years and this series is also much loved in the West.

Visit Edo, modern day Tokyo, as experienced by Utagawa Hiroshige in this wonderful tourist guide from the 1850s. Experience Edo as the Japanese loved it, a sophisticated city catering to a wealthy elite of daimyo, local rulers that regularly had to spend time away from their lands, in Edo, where the shogun could keep an eye on them. The 100 Famous Views of Edo was one of the popular print series made in Japan, like Hokusais series Thirty-six Views of Mount Fuji, which had been published earlier in the 1830s and which influenced Hiroshige tremendously (ISBN ES 978-8-411-744-935). But much more important is the influence the 100 Famous Views of Edo had on European impressionists like Van Gogh, Degas, Manet and Monet. Hiroshige impressed with cropped items to create focus and with his horizontal format.

Hokusais 53 Stations of the Tokaido 1804 Vertical is something completely different from his 1801 and 1802 series and from the 1804 horizontal. It is different from his famous 36 Views of Mt Fuji 1832, which are sublime artistic expressions distilling a long lifes work. This series shows his development of the themes based on the two first series, 1801 and 1802, and a transition to his 1804 horizontal series, which again is a precursor to his sublime 36 Views of Mt Fuji. As the reader progresses through Hokusais Tokaido series it will become evident how Hokusai develops the concept, develops the format, the themes and then mixes them with true genius. This series is different from the many other well known 53 Stations of the Tokaido in that Hokusai does not focus only on the landscape and the markers that Hiroshige and others showed.

The official title for this work is "Pictures from the Famous Places of the Fifty-three Stations". Hiroshige produced these prints in 1855 more than 20 years after his first horizontal Hoeido series published 1833-34, which is included as thumbnails for comparison. It is instructive to see Hiroshiges use of his now mature experience as he develops the vertical format for the narrative. He does designs as he would do a photograph. He set the standard for landscape photography, without a camera. The Tokaido series was the most popular print series ever made in Japan. Hiroshige returned to this theme again and again, with delightful results. It is possible to travel the same road today and some villages are still looking quite like they did back then. The postal stations were constructed between 1601 and 1624.

Hokusais 53 Stations of the Tokaido 1802 is something completely different from his first square series 1801. Hokusai here employs the horizontal "landscape" format and abt the double size of his square 1801 series. In this series Hokusai focus on wonderful folkloric scenes of ordinary people going about their work, in addition to the travel scenes. Hokusai also begins to develop the landscapes that were to become a standard for later generations of Tokaido series. Hokusai develops the concept of the Tokaido print from cartoon to folklore and the beginning of landscape. He builds on a b/w guide, Tokaido meisho zue from 1797, ISBN 9781956773316. It was a great and early contribution to the growing Tokaido literature, which Hokusai dominated for some 30 years.

El I Ching es el libro nuclear de la filosofía china antigua. Articulado en la dualidad taoísta de losprincipios ying y yang, despliega unas claves de análisis de la realidad a través de imágenes arquetipicasconocidas como hexagramas. El psiquiatra suizo Carl Gustav Jung vivio sus ultimos años obsesionado poresta obra, y puso las bases de su estudio en el Circulo Eranos que fundo en Ascona junto a OlgaFrobeKapteyn y el teologo Rudolf Otto. El desarrollo de una nueva traduccion del I Ching libre deinterpretaciones "occidentales" y siguiendo los principios teoricos de Jung fue puesto en marcha enEranos por el sinologo Rudolf Ritsema que trabajo durante mas de cincuenta años en este proyecto. El IChing de Eranos tomo un nuevo impulso con la incorporacion en 1991 del astrofisico Shantena AugustoSabbadini, tras haber trabajado en el descubrimiento de los agujeros negros. Sus conocimientos de fisicacuantica se introdujeron en el enfoque hermeneutico de la traduccion del I Ching a traves del conceptode los "campos de significado". En los ultimos años, ha sido la Dra. en Psicologia Cruz Mañas Peñalver laencargada de dotar a la traduccion las herramientas del modelo de la psicologia profunda de Jung. CruzMañas, Shantena y Ritsema trabajaron juntos en esta linea consiguiendo uno de los paradigmas del IChing mas completos y acordes con nuestro zeitgeist, y superando las deficiencias interpretativas de latraduccion alemana de Richard Wilhelm, considerada hasta hoy como la version mas fiel del originalchino. El I Ching de Eranos se ha traducido directamente desde el chino al aleman, el frances, el italiano,el ingles y ahora al español, siendo esta nueva traduccion la mas reciente y actualizada de todas. El I Chingde Eranos, avalado por expertos de todo el mundo, es el texto mas riguroso y profundo que se ha llevadoa cabo desde su descubrimiento en occidente, y puede ser considerado la mejor traduccion que existe ennuestra lengua.

This volume contains teachings predominantly from the Chinese Zen (Chan) tradition, including the writings of revered Chinese masters such as Pai-chang, founder of the Chan monastic tradition; Huang-po, one of the forefathers of the Lin-chi or Rinzai school; Foyan, the great master of the twelfth-century Chinese Zen ''renaissance'', and many others.

Toda la sabiduría oriental descrita paso a paso.

Hoy en día, y más que nunca, el pensamiento occidental se está viendo constante y cotidianamente influido por las doctrinas del Lejano Oriente, de un modo que están ya empezando a acusar tanto nuestra cultura como nuestras costumbres. La aparicion de este diccionario, por lo tanto, no solo debera interesar a los especialistas en orientalismo, sino tambien a todos aquellos, que se preocupen por los temas relacionados con la filosofia, la religion, la psicologia, la mistica y la meditacion. La obra presenta ante todo la terminologia fundamental y los sistemas doctrinales de las cuatro corrientes sapienciales de Oriente -budismo, hinduismo, taoismo y zen- de forma enciclopedica e inteligible para el publico en general. A lo largo de -mas o menos- unas 4000 entradas, se estudian, pues, todo tipo de concepciones religiosas y filosoficas, pero tambien cada uno de los filosofos y maestros del zen, las tecnicas de meditacion, las traducciones literarias y las instituciones religiosas , todo ello con multitud de ilustraciones, transcripciones y tablas. No se trata, sin embargo, de una simple suma de datos, pues en las sabidurias orientales tienen tanta importancia las intuiciones como las conclusiones objetivas. Se trata, en realidad, de aventurarse en un dominio que en ningun sentido, ni de contenido ni forma, se halla univocamente fijado ni es fijable tampoco: las cosas imposibles de comunicar por via conceptual-racional, que en esta obra alcanzan su mas accesible formulacion.

A compelling history of the contradictory, often militaristic, role of Zen Buddhism, this book meticulously documents the close and previously unknown support of a supposedly peaceful religion for Japanese militarism throughout World War II. Drawing on the writings and speeches of leading Zen masters and scholars, Brian Victoria shows that Zen served as a powerful foundation for the fanatical and suicidal spirit displayed by the imperial Japanese military. At the same time, the author recounts the dramatic and tragic stories of the handful of Buddhist organizations and individuals that dared to oppose Japan''s march to war. He follows this history up through recent apologies by several Zen sects for their support of the war and the way support for militarism was transformed into ''corporate Zen'' in postwar Japan. The second edition includes a substantive new chapter on the roots of Zen militarism and an epilogue that explores the potentially volatile mix of religion and war. With the increasing interest in Buddhism in the West, this book is as timely as it is certain to be controversial.