This Ancient Japanese carving of Lord Krishna Playing a Flute is from Nara, Japan. Nara was the ancient spiritual and political center of Japanese civilization. The halo and lotus flowers under His feet confirm this to be a divine representation. Sorry about the quality…..

Bharat's (India's) influence on Japan

Hinduism and Buddhism went from India to China and Korea to Japan. Images of Ganesha and Vishnu have been found throughout Japan. Numerous Buddhist deities were introduced into Japan and many of these are still very popular.

According to D. P. Singhal, “some Hindu gods, who had been incorporated into the Buddhist pantheon, were amongst them. For example, Indra, originally, the god of thunder but now also the king of gods, is popular in Japan as Taishaku (literally the great King Sakra); Ganesha is worshipped as Sho-ten or Shoden (literally, holy god) in many Buddhist temples, and is believed to confer happiness upon his devotees. A sea-serpent worshipped by sailors is called Ryujin, a Chinese equivalent of the Indian naga. Hariti and Dakini are also worshipped, the former as Kishimo-jin, and the latter by her original name. Bishamon is a Japanese equivalent of the Indian Vaisravana (Kubera), the god of wealth.

Even Shinto adopted Indian gods, despite its desperate efforts after the Meiji Revolution to disengage itself from Buddhism. The Indian sea god Varuna, is worshipped in Tokyo as Sui-ten (water-god); the Indian goddess of learning, Saraswati, has become Benten (literally, goddess of speech), with many shrines dedicated to her along sea coasts and beside lakes and ponds. Shiva is well known to the Japanese as Daikoku (literally, god of darkness), which is a Chinese and Japanese equivalent of the Indian Mahakala, another name of Shiva. Daikoku is a popular god in Japan. At the Kotohira shrine on the island of Shikoku, sailors worship a god called Kompera, which is a corruption of the Sanskrit word for crocodile, Kumbhira. The divine architect mentioned in the Rig Veda, Vishvakarma, who designed and constructed the world, was regarded in ancient Japan as the god of carpenters, Bishukatsuma. The Indian Yama, the god of death, is the most dreaded god of Japan, under the name of Emma-o, the king of hell.

According to author Donald A. Mackenzie: “The Indian form of myth of the Churning of the Milky Ocean reached Japan. In a Japanese illustration of it the mountain rests on a tortoise, and the supreme god sits on the summit, grasping in one of his hands a water vase. The Japanese Shinto myth of creation, as related in the Ko-ji-ki and Nihon-gi, is likewise a churning myth. Twin deities, Izanagi, the god, and Izanami, the goddess, sand on “the floating bridge of heaven” and thrust into the ocean beneath the “Jewel Spear of Heaven”. With this pestle they churn the primeval waters until they curdle and form land.”

(source: Myths of Pre-Columbian America - By Donald A. Mackenzie p.190-191).

The climbers wearing traditional white dress, who scale the sacred Mount Ontake as a religious observance, sometimes have inscribed on their robe Sanskrit Siddham characters of an ancient type. Sometimes they put on white Japanese scarfs (tenugui) which carry the Sanskrit character OM, the sacred syllable of the Hindus.

According to Terence Dukes, “The Gagaku dances of Japan contain many movements derived from the Indian Nata and the Chinese Chuan Fa.”

(source: The Boddhisattva Warriors: The Origin, Inner Philosophy, History and Symbolism of the Buddhist Martial Art Within India and China p.206).

The cultivation of cotton in Japan is traced to an Indian who had drifted to the shore of Aichi Prefecture in 799. To commemorate the event, the Japanese named the village where the shipwrecked Indian had landed Tenjiku; Tenjiku was the Japanese name for India, and means Heaven.

The popular Japanese game of sunoroku or sugoroku (backgammon played at the royal of the Nara rulers and still popular in Japan is of Indian origin. In Japan the game is played as nard. Nard is generally regarded as an Iranian game, but the ninth century Arab scholar, Al Yaqubi, considered nard an Indian invention used to illustrate man's dependence on chance and destiny. According to Wei-Shu, sugoroku was brought to China in ancient times from Hu country, which at that time meant a country somewhere in the vicinity of India. Again, as Karl Himly has pointed out, the Hun Tsun, Sii, written during the Sung period (960-1279), states that t'shu-pu, another Chinese name for sugoruku, was invented in western India, that it was known in its original form as chatushpada, and that it reached China during the Wei period (220-265).

There is some Indian influence on Japanese art. A similarity between Shinto rituals and Hindu rituals (for example ringing the bell as one enters the temple). Narushima (Narasimha) Bishamondo is a famous temple in Japan.

(source: India and World Civilization - Dr. D. P. Singhal).

The influence of Indian thought and culture on Japan was very great. Maurice Winternitz, while reviewing Geschichte der Japanischen Literature, says:

“In view of so much Indian influence in Japanese literature, it is possible to assume that the 'Keuyogen' or double meaning of Japanese poetry may in any way be connected with that form of Alankara of the Indian Kavya, which is exactly in the same method.”

The distinguished Japanese scholar, Mr. J. Taka Kusu, says: ” But I should like to emphasize the fact that the influence of India, material and intellectual, must have been much greater in an earlier period than we at present consider to have been the case. There were, for instance, several Indians, whom the Kuroshiwo current, washing almost the whole southern coast, brought to the Japanese shore.“ He further says, ” It cannot be denied that several Indians came to Japan, especially in view of so many Indians finding their way to China by sea.“

He then relates how a Brahmin Bodhisen Bharadvaja, known generally as the “Brahmin Bishop” came with another priest from India via Champa (Cochin China) to Osaka, then to Nara, where they met another Indian ascetic and taught Sanskrit to the Japanese. “His monastery and tombstone, with a written eulogy, still exist in Nara. Just at the time a Japanese alphabet or syllables is said to have been invented. The fifty syllables, Gojuin, are arranged by a hand, evidently with a practical knowledge of Sanskrit method.”

(source: Journal of Royal Asiatic Society for 1905, p. 872-873).

The official record of Japan, Nihon-ki and Ruijukokushi describe how cotton was introduced in Japan by two Indians who reached Japan in July 799 and April 800 A.D.

(For more refer to Vide Dr. Taka Kusu's “What Japan owes to India” in the Journal of the Indo-Japanese Association for January, 1910).

It is noteworthy that some of the scriptures of the Japanese priests preserved in the Horyuji Temple of Japan are written in Bengali characters of the eleventh century.

(source: Daito Shimaji's ” India an Japan in Ancient Times,“ in the Journal of Indo-Japanese Association for January 1910).

Common Terms: Sanskrit/Chinese/Japanese

Archarya - Master Achali Ajari Dharma - Law FA Ho Pratima - movement warrior techniques of the Hindu ksatreyas Hsing Kata Sunyatapani - Tang-Shou Karate/To De Dharmahasta Chuan Fe Kempo Marga - The Way Tao Do Guhya-Sutra Mi-Ching Mikkyo Nagarjuna Lung Shu Ryuju/Ryusho/Ryumyo Mudra - ritual gesture Yin In Mandala a special zone or area Mantolo Mandara Vajramukti Ching Kang, Chieh T'o Kongogedastsu Sangha - congregation or group followers Seng So Narya - strong or manly Na-Li Nara, Naha Nata Na-Pa, Na-Ra Nara, Napa, Nafa Yoga - to yoke Yui Cha Yu Ga

From the Vedic Culture news forum: Mailing-List: list vediculture@yahoogroups.com;

Japanese Music is from India

Indian music, Japanese artist

By K Kannan

It is believed that fushin in Buddhism is Hanuman's father ``Vayu. ``Even today the strong influence of Indian music can be felt in Japanese traditional music suggesting that it was originally transmitted from India, says Mr. Hiroshi Hirobayashi, the Japanese Ambassador to India.

The superior aesthetics of traditional music from the land of the rising sun came alive at the Japanese Embassy premises in New Delhi on Wednesday evening with solo performances on Tsugaru- Shamisen and Shakuhachi, both instruments of yore that owe their origin to India.

Coming as it did with the fusion of Indian ragas on Sitar played by famous Japanese musician Kenji Inoue, who has performed in India and Japan since 1987, the audience were treated to an auditory feast for more than an hour. With Ambika Prasad Mishra playing the Tabla and Hiroki Miyano the Guitar, it was, indeed, a memorable evening.

Present on the occasion were members of the diplomatic corps and senior bureaucrats and legal luminaries like Mr. Justice B. N. Kirpal, Mr. K. C. Pant, Austrian ambassador, Mr. Herbert Traxl, and danseuse Ms. Komala Vardan. The structure of the concert, dubbed ``Foojean, reflected predominantly the deep contours of classical music from Northern India. Derived from two Japanese words, Foojean is the fusion of fushin (a guardian deity in Buddhism) and idenshi (meaning gene). It is believed that fushin in Buddhism is Hanuman's father ``Vayu. ``Even today the strong influence of Indian music can be felt in Japanese traditional music suggesting that it was originally transmitted from India, says Mr. Hiroshi Hirobayashi, the Japanese Ambassador to India. Consider other well-known facts. Veena came to Japan from China in the 7th Century and came to be known as ``Biwa thanks to an orchestra group ``Gagaku. Veena's characteristic sound ``Juwari is still alive with Biwa as ``Sawari. Another representative Japanese instrument ``Shamisen (literally meaning three strings) also has the sound ``Sawari and is one of the most widely played instruments at Japanese concerts. And, of course, there is the Japanese instrument ``Shakuhachi, earlier considered to be a unique bamboo-whistle, which resembles the Indian ``Bansuri. Its enchanting and sometimes haunting sound is a pleasure to hear. Indeed, it goes to Mr. Inoue's credit that he has been able to combine traditional and modern elements of Japanese music on the one hand and Indian numbers, on the other as the concert proved in no ample measure. Reflecting the expression of Kenji's creative urge in the field of music, the concert had him presenting musical numbers based exclusively on Indian ragas. Others composed on the scale of those Indian ragas present in Japanese traditional music were also included in the concert. The evening's programme began with Bristy, a traditional Japanese number followed by ``Shika-No-Tone, a solo number on Shakuhachi by Dozan Fujiwara. This was followed by ``Jongarabushi- Kyokubiki – a solo performance by Satoshiro Tsuboi on the Shamisen. Both these traditional instruments are played during Kabuki and Japanese dances. It was then the turn of the leader of the sitar concert to present ``Yemeni Baglamis. Kenji went on to play rag Malkauns –a classical Hindustani raga – along with Ambika Prasad Mishra on the tabla. The programme was rounded off with ``Momoyama- Zakura based on rag Bhairavi. There were two enjoyable interludes, one in the form of Shakuhachi and guitar duet and the other a fusion of Shakuhachi and Shamisen. Top guitarist, Hiroki Miyano's performance had the audience savouring the essence of Latin and Jazz. Towards the end of the programme, Kenji, who has contributed his music and dance compositions to many other programmes and films, expressed his gratitude to the organisers in Hindi – ``Bahut shukriya, Bahut Danyavad.

By K Kannan

Did the Chinese and Japanese once read the Mahabharatha?

Did the Chinese and Japanese once read the Mahabharatha? I am amazed by the similiarities of the story of King Sibbi mentioned in the Mahabharatha, Chinese folklore and Japanese folklore. Here are the three versions… To me they seem to have the same source..

Mahabharta:-

King Sibbi was the son of Ushinar and belonged to the Ikshavaku lineage. Once King Sibbi decided to conduct a grand Yagna. All the those who came to the Yagna had all their wishes fulfilled. King Sibbi would not turn down any request. Even the Gods were speaking of this great sacrifice conducted by Sibbi. The King of the Gods Indira and Agni decided to test Sibbi's worth. So Indira took the shape of a Falcon and Agni the shape of a dove and flew towards the sacrifice, with the falcon chasing the dove.

The dove flew towards King Sibbi and sat on his lap trembling in fear. The sight of the dove brought compassion to the heart of King Sibbi and so he assumed a protective stance. The falcon suddenly spoke in a human voice 'O king you fame is well known throughout the three worlds for your adherance to Dharma. It is my dharma to kill and provide food for my family and myself. Why do you obstruct me from performing Dharma despite having such a reputation for clinging on to Dharma?'

The King was startled on hearing this. But he thought for a while and replied 'It is also my Dharma to protect anyone who is weaker than me and seeks my protection. This dove has choosen refuge under me, so it is my duty to protect it with my life.' But the falcon replied 'But King Sibbi, is it also not your duty to maintain Dharma in your Kingdom. If you insist on protecting that bird, then you must give me something other food, without causing suffering' King Sibbi replied 'Ok I will cut a piece of flesh from my own thigh equal to the weight of the dove as food for you'

King Sibbi began to cut a piece of flesh from his won tigh, but to his amazement the bird seemed to be much heavier than anticipated. He cut more and more flesh, but to no avail. His left side of the body had so little flesh he almost fell of balance. But struglling back to the ground he then climbed on the scale and offered himself as a sacrifice in order to uphold Dharma. Immediately the dove and falcon assumed their true shape and gave Sibbi Rana his body back with even more lusture than before.

Chinese Version:-

There are two versions. One version is ditto the same. Only the pronouncitions are different. For ex. Sibbi is prounced as Shibbi (strong empasis on the h) etc. The other version is from the Jatakamala. In this story Indira dressed as a blind person approaches King Sibbi requesting for eye-sight. King Sibbi pierces his own eyes and gives them to the blind man asking him to use it to retain his eye-sight.

Japanese Version:-

King Shibi is believed to be a previous incarnation of Shakyamuni Buddha. In this story a heavenly being named Bishamon approaches the God Taishaku and tells him 'There is a great Bodhisattva named King Shibi. Soon he will become a Buddha.' On hearing this Taishaku decides to test to test the sincerity of the King's practice in pursuing enlightenment. He transforms himself into a hawk and instructs Bishamon to take on the appearance of a dove.

Chased after by the hawk, the dove to escapes and flies into the arms of King Shibi. Perched on the branch of a tree, the hawk says to the King, “Please let me have the dove back. It is what I have been trying to get.” King Shibbi replies, “No, I can't because I have vowed to protect all living things. I cannot return it to you.”

The hawk then points out , “I am one of the living things that you have vowed to save. If you take away my food for today, I will be unable to live tomorrow.”

The King then offers to cut off a piece of his own flesh and gave it to the hawk. As the King proceeded to cut his own flesh, the hawk measures it using a balance and found the dove to be consistently heavier than the muscle of the King. No matter how much muscle was added, the weight was lighter than the total weight of the dove. Finally, the King cuts all the flesh off of his body.

The King tries desperately to put his entire body on the balance, but falls to the ground. He then exclaimes, “I once made a pledge to save all living beings! I cannot let such minor sufferings defeat me!”

At last he successfully climbes onto the balance. Watching the entire scene, all the heavenly beings praise the King saying, “He did not begrudge his life, even for a bird. He is a person who best suits the title of Bodhisattva.

Suddenly, Taishaku casts off his disguised figure as a hawk and regaines his original appearance. He says to the King, “Don't you have any pain or regret?” The King replies, “I have no regrets whatsoever. My heart is rather full of joy.”

No sooner did the King utter these words than did his body change back into what it used to be.

From http://pub6.ezboard.com/ubhismapitamaha.showPublicProfile?language=EN

A Link Between Hindu Gods and Japan Source: Japan Times Newspaper

TOKYO, JAPAN, April 10, 2002: An exhibition called “Gods Derived From India to Japan” is showing at the Okura Shukokan Museum of Fine Arts until May 26. The story behind the showing is a fascinating one. It all started 51 years ago when Toshio Yamanouchi's job took him to India as general manager for an iron importer company. His passion for religious art took him all across the country and in twenty-five years he built up his collection. In northern Uttar Pradesh, he discovered a miniature painting of “Govardhana Krishna.” In Madhya Pradesh, he purchased a 18th century three-headed Ganesha made of ivory. A sandalwood Saraswati was found in the NW state of Rajasthan. Yamanouchi's entire collection, which he has donated to the Okura Shukokan Museum of Fine Arts, consists of 350 statues, sculptures, reliefs and paintings. Seventy of these pieces are part of the present exhibition. Indian law would now prohibit the export of any historical object more than 100 years old. This law was passed in the early 70's. However, by this time, the collection had already been brought back to Japan. Diagnosed with terminal cancer at the age of 73, Yamanouchi chose to utilize what he thought might be his final years to write three books about how India and Japan are bound by their roots in Hinduism and Buddhism. The article says, “Yamanouchi identifies Benzaiten, the Japanese goddess of good fortune, with Saraswati; Seiten of the Jogan Period with Ganesha; and Enma, the Japanese lord of hell, with his Indian counterpart Yama.” Interestingly, Yamanouchi was fascinated with the Hindu gods that he saw during weekly visits to Buddhist temples when he was a young boy. He recalls, “My parents were very religious. I saw many Buddhas at the temples, but I also noticed many Indian Gods protecting the central Buddha figure.”

Courtesy of http://www.HinduismToday.com/

……the controvertial Indian writer PN Oak (of Vedik World Heritage fame) writes: Japan's basic religion is Shintoism. This word Shintoism is just a mispronunciation of Sindhuism or Hinduism. The Shinto shrines are full of Vedic deities but it is difficult for the outsiders to recognise them because of their distorted names. Kali-devi is pronounced as Kariteimo. Hanuman Jayanti is celebrated in Japan in the same way as in India but they call Sri Hanuman as Hanumatsri. The mantras recited in the Shinto shrines are in Sanskrit. The sumo wrestlers start their fight after uttering the word Om. Japanese pay homage to Lord Ganesh but call him Kangijen. Japanese like to call their country Nippon which is nothing but the Sanskrit word Nippun, meaning dexterous**. Some time ago the Japanese postal department issued a stamp depicting Lord Krishna playing the flute. The Japanese cremate their dead as per Vedic practice. Elaborate chants beginning with Om consecrate the memory of the dead. So, Vedic influence is quite strong in the Japanese culture, but Japanese tend to impart their own slant (no pun intended) to every thing which they borrow from outside.

The use of the phonetic word Nippon/nipun is shown here:

Srila Mädhavendra Puri Goswami said: mugdham mäm nigadantu niti-nipunä bhräntam muhur vaidikäh mandam bändhava-sanchayä jata-dhiyam muktädaräh sodaräh unmattam dhanino viveka-chaturäh kämam mahä-dämbhikam moktum na kshämate manäg api mano govinda-päda-sprihäm

“Let the sharp moralist accuse me of being illusioned; I do not mind. Experts in Vedic activities may slander me as being misled, friends and relatives may call me frustrated, my brothers may call me a fool, the wealthy mammonites may point me out as mad, and the learned philosophers may assert that I am much too proud; still my mind does not budge an inch from the determination to serve the lotus feet of Govinda, though I be unable to do it.”

nänä-shästra-vicäranaika-nipunau sad-dharma-samsthäpakau lokänäm hita-kärinau tri-bhuvane mänyau sharanyäkarau rädhä-krsna-padäravinda-bhajanänandena mattälikau vande rüpa-sanätanau raghu-yugau shri-jiva-gopälakau

“I offer my respectful obeisances unto the six Gosvämis, namely Shri Sanätana Gosvämi, Shri Rüpa Gosvämi, Shri Raghunätha Bhatta Gosvämi, Shri Raghunätha däsa Gosvämi, Shri Jiva Gosvämi and Shri Gopäla Bhatta Gosvämi, who are very expert in scrutinizingly studying all the revealed scriptures with the aim of establishing eternal religious principles for the benefit of all human beings. Thus they are honored all over the three worlds, and they are worth taking shelter of because they are absorbed in the mood of the gopés and are engaged in the transcendental loving service of Rädhä and Krishna.”