This is a static copy of In the Rose Garden, which existed as the center of the western Utena fandom for years. Enjoy. :)

#1 | Back to Top05-30-2016 06:15:24 AM

barafubuki
Mikage Mistruster
Registered: 05-13-2016
Posts: 60

Ohtori is built on a Kofun / Mountains and the Afterlife

Why hello there! I am a new person. I don't want to spend this post introducing myself, so I'll cut right to the chase. Can we talk about Ohtori being built on a Kofun and possibly the connection to Ohtori being the afterlife?

This is something I had noticed before, but didn't see a lot written about. This only occcured to me when I took a close look at the Academy on a subsequent vieweing, and I was reminded how much it resembled a picture in my head I recalled from Asian Art History class...well I decided to look this up, and sure enough, I found a Japanese fansite commenting on this fact too. I'm providing a rough translation from http://www5a.biglobe.ne.jp/~kodomono/utena_3.html

まるで巨大な鍵穴のような形をした丘。それは、我々日本人には馴染みの深い、前方後円墳の形です。古墳とは、古代の豪族の作ったお墓です。墓の上に建っているように見える学園。この事から、鳳学園は僕らの住む生の世界と墓の下にある死後の世界の境界線上にあるのだ、という説があります。

[Ohtori Academy] appears in the shape of a giant keyhole on a hill. This is the shape of the keyhole tumulus that Japanese people are profoundly intimate with. A Kofun is gravesite built by powerful family clans during the Kofun era. Ohtori Academy is built above what appears to be a grave. From this point of view, it can be explained that Ohtori Academy is built on the threshold between The World of the Living where we exist, while the grave below represents The World of the Dead.

Pardon the rough translation.

For those who are not versed in the matter, this is what Kofun can look like:
http://s33.postimg.org/7gphypze7/Kofun_Type_de_Tumulus.jpg

And this is Ohtori Academy:
https://animekritik.files.wordpress.com/2011/04/vlcsnap-2011-04-13-19h26m54s32.png

Notice the river that seems to surround the school on top of a hill?  Many of the most famous kofun (such as the Burial Mound of Nintoku) have moats built around them as an architectural feature!
http://d1udmfvw0p7cd2.cloudfront.net/wp-content/uploads/2015/04/p16-adika-kofun-c-20150412.jpg

These are the steps that lead up the Goshikizuka Kofun. Look familiar?
http://traverseworld.com/img/sights/97/00097_0002_Goshikizuka%20Kofun_Goshikizuka%20Kofun%20is%20a%20tumulus%20of%20an%20ancient%20influential%20man_sub_pc.jpg

And this is the gate at the Nintoku Kofun:
http://www8.gmanews.tv/webpics/v3/2012/11/121031-sakai-facade.jpg

http://www.gmanetwork.com/news/story/28 … 27rsV.dpuf

To this day, nobody dares to breach any of the tumuli, not only because they are considered private property (managed by the Imperial Household Agency) but because they are also highly regarded as religious sites believed to serve as sanctuaries for the spirits of the royal members buried here.

Tourists, and even the imperial family that owns the tumulus, could only go up to as far as outside the entrance gates, and never beyond them. When we visited the Nintoku tumulus, we even caught up with one local in front of the gate who was in deep concentration while chanting a prayer for the great emperor.

This inaccessibility is also the reason why tumulus clusters remain shrouded in mystery. With even scientists and archaeologists denied entry into the grave sites, nobody knows exactly what lies now behind their thick forest and beneath their terraced mounds.

Does this not sound just like the Secret Forest that no one is allowed into?

Now I'd like to elaborate further regarding Asian views of the afterlife. This is a topic that has always fascinated me for over a decade. Japanese hell borrows a lot from Chinese hell imagery as well, but in truth whether it is the Taoist outlook or a Buddhist outlook, almost all of these ideas have their origins in India. (I believe there is even a case to be made that our Western hell comes from India too...) Apart from my cultural knowledge of the Christian hell, my knowledge mostly lies with the Chinese hell, so that is where I will be drawing most of my points from. However, I am familiar with a few stories of hell from a Japanese/Buddhist perspective as well.

One thing that always stuck with me about the Chinese afterlife, was that everyone goes to hell, not just bad or evil people like we conceptualize in the West and with Christian mythology. If a soul has accumulated an exceptional amount of bad karma, they spend time atoning for their sins until their debt is paid. Then they are free to reincarnate into the next life. A soul that did not accumulate a terrible about of bad karma, after being judged, is allowed to reincarnate almost immediately. The process happens when they visit MengPo who brews a Forgetful Soup, then reincarnates their body into the next life. I'd also like to point out that in Taoist cosmology, it is not typical to ascend to heaven. The Celestial Kingdom is pretty much reserved as the domain of the Jade Emperor. However, according to some schools of Buddhism (such as Pure Land), you can pray to Amitabh Buddha, and gain entrance into his heavenly Western Paradise, so there are certainly different perspectives that abound from different philosophies. I'm certain Ikuhara is well versed in these ideas as well.

Though MengPo's soup of forgetting applies to the one who drank it, I can't help but compare this to Utena's disappearance at the end when everyone at the school seems to forget that she was there. Is it because she reincarnated from hell and has moved onto the next life? Could Utena possibly be a Bodhisattva like Jizo, Kanon, or Amitabh who has found enlightenment, but decides to postpone it in order to rescue other beings from suffering? "She isn't gone at all. She's merely vanished from your world."

According to OnMark Productions:

The Chinese Ksitigarbha Sutra relates that, before becoming a Bodhisattva, Jizō was a young Indian girl of the Brahmin caste so horrified by the torment her late impious mother was suffering in hell that she vowed to save all beings from such torments.

Hmm....
http://i75.photobucket.com/albums/i301/Shay_Guy/utena_youburnthemyouidiots.png

If Ohtori is indeed the afterlife, I certainly see a case for Utena being Jizo. Especially considering that Jizo used to be a woman...

Or, could Anthy be MengPo who has the power to reincarnate others? (I recall watching a hilarious episode from a Singaporean drama about MengPo turning a man into a chicken for the next life, but that aside...) MengPo has witchy characteristics to her which include gathering herbs and making magic broth.

Another interesting component to these hell myths are that hell has been pinpointed to real physical locations on earth. What I find significant about this is that it is said that hell resides in/on a mountain. In Japan, this is of course Mount Osore. There are a few places in China that lay claim to this title as well. I can't seem to find the quote at the moment, but I am nearly certain there is an interview with Ikuhara talking about how the meaning of Tenjou refered to the ascension up a -mountain- and then looking down below "from heaven". Hm. Could this be related at all to the Mountain of Hell? Is this related at all to the hill that is seen on the Kofun? Ohtori Academy is positioned on top of the highest geographical landmark in the vicinity. Does anyone know which interview I'm talking about so I can confirm this?

I know this has probably been discussed elsewhere, but let's take a further look at Utena's name in Japanese. 天上ウテナ. Utena, does exist in kanji in a few different forms.「台」「萼」「蕚」「臺」「柎」. The most logical meanings, of course, being a pedestal or (staying with the floral theme of the show) a calyx. Because 「萼」/「蕚」are considered pictophentic characters, one shouldn't read too much into the graphical meaning. However, a look into ancient Chinese, does appear to show the character as the calyx of a flower as seen below.
http://internationalscientific.org/CharacterImages/Lst/L20000/l27600/L27672.gif

As most of us already know, Anthy is the blooming flower that Utena supports.

彼女の名の「アンシー」はギリシア語で「花が開く」という意味だ。

Her name, Anthy, is Greek for "Opening Flower".

So the theory regarding Anthy as Hera rings true here, and we know that Hera was married to Zeus. Comparative mythology has also demonstrated that the Greek gods originate from India as well. Check out: https://en.wikipedia.org/wiki/Dyaus_Pita to compare "Zeus" with "Dios" and "Dyaus Pita" and "Jupiter". I feel that Ikuhara is very much keenly aware of how all these various stories are connected.

We know that Anthy has sealed herself away in a coffin (another motif of death), and we hear Akio referring to himself as Lucifer or The Lord of the Flies (Beelzebub). This is just my opinion, but could he indeed be the King of Hades Yanluo / Enma Daiou / King Yama. I know people have proposed before that Anthy and Akio are deities. Could Anthy perhaps be Yami / Yamuna / Kalindi?

According to Wikipedia:

Yami is associated with her twin brother and partner Yama, the god of death. [...] Yami was the first woman, along with her twin brother, Yama in Vedic beliefs. Yama and Yami are a divine pair of creator deities. While Yama is depicted as the Lord of Death, Yami is said to be the Lady of life. The Rig Veda, in the tenth Mandala, contains a hymn in which they sing to each other. Yami proposes marriage to Yama but Yama flatly refuses as he considers it incest. The Atharva Veda also has a variant of the tale. In both texts, Yami argues that since they have slept together inside their mother's womb together, it was not wrong to sleep together outside it. However, the hymns abruptly end, without the final outcome being known. In later version of the tale, they are depicted as the first human beings and it is conjectured that Yami was successful in becoming Yama’s wife.

Check out more information here: https://en.wikipedia.org/wiki/Yamuna_in_Hinduism

And if Akio can be Hades, can we not then also compare Anthy to Persephone (in addition to Hera) in Greek myth when she is raped by Hades? Do we not see this at some point in Utena in the statue garden?

http://i133.photobucket.com/albums/q60/mrsakioohtori/statue5.jpg

Also, we are given a glimpse of Apollo...and I can't help but also think about the Rape of Daphne in this instance.

http://i133.photobucket.com/albums/q60/mrsakioohtori/statue4.jpg

If the metaphor of Utena as Jizo holds, then what about Utena as Orpheus and Anthy as Eurydice? I just feel like there are just so many interesting parallels across both Western and Eastern myth. I'm also a big fan of Anthy as Sophia who was corrupted by the many Archons who lusted after her. (And of course, scholars have already made comparisons between Sophia and Isis...) There are truly so many parallels!

I certainly feel like there is more I could write up in this post, but I am getting exhausted and don't want to lose what I currently have. Committing all these thoughts to writing certainly makes me feel as if I have stumbled onto something here.

Of course, I could be overthinking this...it is not uncommon to tell stories in relation to other stories as a framing device. That is to say, that Anthy is not Persephone per se, but Persephone is used to explain what is going on. In the end, the Prince is dead. According the movie, he has been dead the whole time. Utena and Anthy were together in killing him. He lives in the world of endless cycles that is Ohtori. "By all means, stay in this cozy coffin of yours and continue to play prince." Anthy has to meet Utena in the land of the living.

Last edited by barafubuki (05-30-2016 09:04:03 AM)

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#2 | Back to Top05-30-2016 02:09:37 PM

Amasis
Juri Jeerer
Registered: 05-23-2016
Posts: 40

Re: Ohtori is built on a Kofun / Mountains and the Afterlife

etc-loveetc-loveetc-love

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#3 | Back to Top05-30-2016 04:18:19 PM

barafubuki
Mikage Mistruster
Registered: 05-13-2016
Posts: 60

Re: Ohtori is built on a Kofun / Mountains and the Afterlife

I grabbed this from: http://www.billmak.com/the-worlds-oldes … entury-ce/

Although depictions of stars and constellations are found in Egyptian pyramids and Chinese tombs, and that the Chinese and possibly the Greeks had produced star maps centuries before the common era, the oldest extant specimens of a star map are dated to the 7th century, found in two rock tombs discovered 1972 and 1983 in Asuka, Japan (south of Kyoto). The Kitora star map is remarkably realistic, with c. 350 stars painted in gold, surrounded by 28 lunar mansions and the four mythical cardinal Chinese beasts. The map contains also three circles representing the minimum and maximum stellar visibility, the equatorial and an ellipse representing the ecliptic. What is surprising about these circles is that they represent a sky visible not in Asuka where they are found, but at 38.4 N (or 37.6 N), pointing to Korea. Prof. Miyajima Kazuhiko of Doshisha University explained his findings in a lecture (Kyoto University, 2015.12.12) and demonstrated the transmission of astronomical knowledge from China to Japan, and in some cases, via the Korea kingdoms as demonstrated by these remarkable star maps found in the Asuka tombs.

Check out the images!
http://www.billmak.com/wp-content/uploads/2015/12/Kitora-Tomb-Star-Chart.jpg
http://www.billmak.com/wp-content/uploads/2015/12/Kitora-Orion.jpg

Also from: http://www.asukamura.jp/english/kofun.html

This circular tomb is south of TAKAMATSUZUKA tomb. During interior surveys conducted in 1983 and 1998, astrological charts and fresco images of 3 of the 4 deities (GENBU, BYAKKO and SEIRYUU) were found. In later surveys the fourth deity's image (SUZAKU) was found, as well as, 12 supporting zodiac images. The stone structure's interior can be seen at ASUKA ARCHIVE MUSEUM (ref. P6) [MAP 6-A] and models of the restoration and picture panels can be seen at the ASUKA CULTURAL ASSETS DEPOSITORY

http://www.renshaworks.com/jastro/SuzakuKitora.jpg

Last edited by barafubuki (05-30-2016 04:29:43 PM)

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#4 | Back to Top05-30-2016 06:17:52 PM

barafubuki
Mikage Mistruster
Registered: 05-13-2016
Posts: 60

Re: Ohtori is built on a Kofun / Mountains and the Afterlife

From http://www.tibetanart.com/blog/Post.asp?ID=101

Yama and Yami
Posted by Robert Beer on 4/8/2014 1:13:45 AM
YAMA and YAMI

The Rig-Veda, meaning ‘praises of knowledge’, is the first of the Four Vedas or sacred Indo-Aryan scriptures of the ancient Indian tradition, which may possibly date back to earlier than 1900 BC. In the verses of this most primordial of all written scriptural texts the origins of many of the great Vedic gods are given, including that of Yama and Yami, who were the first two mortal humans to be born upon this world. As primordial twins they were born from the union of Surya, the Sun God, and his wife Sanjna, whose name means ‘Conscience’. The original implied meaning of the male Vedic name Yama was ‘twin’, but the term later came to mean ‘restrainer’, or more precisely ‘the restrained one’. And the female name Yami commonly relates to a ‘sister’, who later was personified as Yamuna, one of the great river-goddesses of India.

As twins Yama and Yami were conceived and delivered from Sanjna’s womb, and as in the legend of Adam and Eve from the Book of Genesis, they were both likewise born into a garden of earthly delights. In this natural paradise time seemed to stand still, it was always daytime and the season was always spring-like, the sun always shone while the moon and stars remained hidden behind its brilliant light. The fragrant flowers never wilted, the trees always bore an abundance of delicious fruits, the birds sang sweetly, and all the creatures of the earth lived in harmony with one another. And likewise did Yama and Yami live in harmony with one another, and as they grew so did their love for each other blossom. But the restrained sentiments of Yama were different from that of his sister Yami, who sought to unite with her twin brother in an incestuous relationship.

The text of the Rig-Veda is quite explicit on her propositions, where Yami says: “My desire for Yama overwhelms me, to lie with him on the same common couch. I will yield myself as a wife would to her husband. Let us hasten to unite, like the two wheels of a wagon.”

To which Yama replies: “The sentinels of the gods, which wander around us, never stand still, never close their eyes. Associate yourself with someone other than me, and exert yourselves in union, like the two wheels of a wagon. The succeeding times will come when brothers and sisters will perform acts that are unmeet for kinsfolk. But not so for me, O fair one! Seek another husband other than me, and make your arm a pillow for your consort.”

Yami then says: “ Is he a brother whose sister has no lord? Is she a sister when destruction comes? Overcome by love these words I utter, come near me and hold me in your close embrace.”

To which Yama replies: “I will not entwine my arms around your body. They call it a sin when one draws near to his sister. Enjoy your pleasure with someone other than me; for your brother, auspicious one, has no such desire.”

“Alas, Yama, you are weak,” says Yami, “In you I find no trace of heart or spirit. Some other female will embrace you as a creeper clings to a tree.”

“Then find another to embrace you Yami,” replies Yama. “Let another enfold you, even as a creeper circles a tree. Win his heart and let him win your fancy, and he shall form with you a blessed alliance.”

Her advances having thus been shunned, Yami wanders away from her brother, but when she returns later she finds Yama lying still beneath a tree, as if he were asleep. She softly calls his name and gently shakes him, but Yama does not respond. She calls louder and shakes him harder, but Yama still does not stir. Then she notices that Yama’s body is cold and that he does not breathe, and suddenly she realizes that Yama is no longer alive and that she is now completely alone in this world. This revelation is terrible, Yami’s heart has been broken and her grief knows no bounds. Her tears well up and pour from her eyes in a torrent that soon becomes a river (the Yamuna), which began to flood the earth. And because the sun always shines and the day appears to be everlasting, Yami’s great sorrow is likewise eternal and can never be abated, and the world resounds with her soul’s dreadful lamentations that endlessly echo from the pit of her deepest despair.

In vain did the gods seek to comfort Yami, as they assumed visible forms and tried to physically console her, yet the only words she would say were: “But Yama just died today! Yama died today!” Time after time they tried to reason with her about the transient nature of existence, of how all that is born must inevitably die, of how all sorrows and memories will ultimately grow weaker, but always the only words she repeated were: “But Yama only just died today! Yama died today!”

After taking counsel together the gods finally realized that Yami’s sorrow perpetually existed simply because she herself existed in a perpetual interval of time. For within this earthly paradise it was always today, there was no yesterday and no tomorrow. And for her grief to even begin to alleviate the gods reasoned that they must first bring an equal interval of night into being, for only then could today end and tomorrow truly begin. So the great Vedic gods of the earth and sky used their creative powers to bring night into existence by causing the sun to sink below the western horizon and to later rise again above the eastern horizon. During this interval of darkness the moon and stars made their first appearance against the velvet-black vault of the sky, causing the birds and creatures of the air and earth to seek rest and fall into the deep abyss of sleep, and along with these creatures Yami also slept for the first time. She awoke as the dawn sky was breaking with the awareness that Yama had died before the onset of night, and she said to herself: “Why, Yama must have died yesterday!” And when the next sequence of dusk and dawn had come to pass, she said: “Why, Yama died the day before yesterday!”

As the days passed and the seasons began to make their presence known, Yami’s grief slowly began to ease with the diurnal passage of time, for there were now nocturnal intervals of sleep that divided her days, when oblivion came to vanquish the pain of her brother’s death and the memories of their cherished yet brief existence together. And although her grief remained while her waking memories persisted, Yami was the first mortal to experience the true nature of human existence, and she became wise through the acceptance of her suffering.


Yama’s destiny, however, was to follow a different path. For having been the first man ever to be born, he was also the first man ever to have died, and as the Rig-Veda clearly reveals he was also the first human being to: “Find the way home, which cannot be taken away.” For through dying fearlessly as the ‘restrained one’, with all of his senses and moral values under control, Yama left this world without any karmic imprint or sin. Because of this Yama become the first human being or ‘forefather’ to discover the ineffable secrets of life, death, and the cosmic laws that govern existence. Through experiencing death as a portal to immortality he attained the divine status of a god in his own right, becoming the ‘Lord of Death’ or ‘Lord of the Dead’, with the auxiliary title of Dharmaraja, meaning the ‘King of Dharma’ or righteousness.

"Depart by the former paths by which our forefathers have departed. There shall you behold the two monarchs Yama and Varuna rejoicing in the Svadha." (RV:10.14.7)

"Be united with the forefathers, with Yama, and with the fulfillment of your wishes in the highest heaven. Discarding iniquity, return to your abode, and unite yourself to a luminous body." (RV: 10.14.8)


In Buddhist cosmology Yama’s heaven is ranked as the third of the six heavens of the ‘desire realm’, which are listed as: (1) The Heaven of the Four Great Kings: (2) Indra’s Heaven of the ‘Thirty-three’ Gods (Skt. trayastrimsa): (3) the Heaven of Yama: (4) The ‘Joyful’ Heaven of Tushita: (5) The Heaven of the Gods that delight in Creation: (6) The Heaven of Gods with dominion over others creations.

In the epic Indian poetry of the Mahabharata the heaven of Yama is described as:

“Being neither too hot nor too cold. Where life is without sorrow, where age does not bring frailty, tiredness or bad feelings. Where there is no hunger or thirst, where everything that one would seek is found there. Where the fruits are delicious, the flowers fragrant, the waters refreshing and comforting; where beautiful maidens dance to the tunes of celestial musicians, and where laughter blends with the strains of heavenly music."

"The Pavilion of Yama was fashioned by the divine carpenter Tvashtri, it shines like burnished gold with a radiance equal to the sun. Here the attendants of the Lord of Dharma measure out the allotted days of mortals. Great sages (rishis) and ancestors wait upon and adore Yama, who is the ‘King of the Fathers’ (pitris). Sanctified by holiness, their shining bodies are clothed in swan-white garments, and adorned with jeweled bracelets, golden earrings, exquisite flower garlands and alluring perfumes, which make that building eternally pleasant and supremely blessed. Here hundreds of thousands of saintly beings worship Yama, the illustrious King of the Pitris.”



CHITRAGUPTA

The Vedic scriptures relate that the souls of all human beings are judged after death according to the free and ordained deeds of body, speech and mind they have performed during the course of their lives. As the Lord of the Dead, Yama Dharmaraja was assigned the task of presiding over these afterlife judgments with the help of his attendants or messengers, who are known as yamdhutis. But the sheer number of souls that appeared before him would often overwhelm Yama, he could sometimes be confused as to their identity and then pass the wrong judgment upon them. When Brahma became aware of this he commanded Yama to keep more accurate records of the deeds of all beings, to which Yama replied: “My Lord, how can I alone keep records of the deeds of all beings that are born into the eighty-four hundred thousand different kinds of wombs throughout the three worlds?”

Upon hearing this Brahma entered into a prolonged state of deep meditation, and when he eventually opened his eyes he saw before him the figure of a man holding a reed pen and an ink-pot in his two hands. “You have been created from my body (kaya),” declared Brahma: “And henceforth your offspring shall be known as kayasthas. You were conceived within my mind (chitra) and in secrecy (gupta), and therefore you will be known as Chitragupta.”

Both Yama and his messengers, and Chitragupta as the ‘keeper of secrets’, frequently appear in the near-death experiences of present day Hindus, Jains and Sikhs. Where Chitragupta as a scribe or record-keeper appears holding the book or account of each individual’s human life, and sure enough there some mistakes in Yama’s judgment which Chitragupta has to rectify by sending some individuals back to live out there allotted span on Earth. In this respect they equate with the reluctant individuals of our western realm who are told to return by a deceased relative or a being of light during their life review.

Text by Robert Beer

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