Kumano bikuni (the Buddhist nuns of Kumano) are itinerant female religious performers who were particularly active between the 16th and 18th centuries in Japan. Travelling across the country, they promoted the syncretic belief of the Kumano mountains, popular pilgrimage sites that have attracted a variety of people regardless of class, gender, and religious affiliation. To raise funds for temples and shrines there, they performed etoki (literally, picture deciphering) that addressed the everyday concerns of the masses, and especially women. Conceptualizing Kumano bikuni as mediators who bridged the religious world and the masses, this thesis examines how Kumano bikuni reflected perspectives of the audience at etoki performance and responded to diverse interests of different groups. / Graduate / 0320 / 0332 / 0453 / chihiro_620@hotmail.com

This thesis develops a Theoretical framework to be applied to future research concerning medieval Japanese Buddhist nuns and their involvements with Buddhist material culture. My efforts at theory production serve as a preliminary attempt at laying a comprehensive Theoretical foundation for a fresh area of inquiry, namely merging the respective studies of Japanese Buddhist nuns with Buddhist material culture. This marks a promising area of study as a corrective to the enduring focus placed upon men by Religious Studies (RS) scholars. Indeed, RS has historically been, and largely continues to be, a field dominated by men. As such, RS research has concentrated upon the male population, both lay and monastic, and has only recently started shifting toward the question of where women were and what they were doing. Additionally, the study of Buddhist material culture is itself a relatively new field. Consequently, there are currently very few English publications exploring women’s involvement with this important aspect of Buddhism. As a means of contextualizing the Theoretical framework ultimately proposed, I first examine the states of the Buddhist Studies subfields of Buddhist nuns and of Buddhist material culture. I subsequently explore the states of theory production within RS and Medieval Japanese Buddhist Studies (MJBS), contending that a distinctive mode of theory (macro ‘capital-T’ Theoretical frameworks and micro ‘lowercase-t’ theoretical models, respectively) is found within each discipline. While I propose only a RS style macro Theoretical framework, I suggest that an ideal foundation for the study of nuns through the lens of material culture will take the form of a Theoretical complex comprised of both a Theoretical framework and a MJBS style theoretical model. Ultimately, I wish to begin the process of laying the groundwork for future research focusing on women and gender within the context of Buddhism and material culture. / Thesis / Master of Arts (MA) / This thesis develops a Theoretical framework to be used in future research about medieval Japanese Buddhist nuns and their involvements with Buddhist material culture (paintings, statues, relics, and so on). This is a preliminary attempt at laying a Theoretical foundation for this fresh area of inquiry. In this endeavour, I am trying to respond to the enduring focus placed upon men by Religious Studies (RS) scholars, as the field has been and largely continues to be dominated by men. Consequently, there are very few English publications exploring Buddhist nuns and material culture, an important aspect of Buddhism. I examine the states of the studies of these topics, and explore two types of theory production distinct to RS and Medieval Japanese Buddhist Studies respectively. Ultimately, I wish to begin the process of laying the groundwork for future research on women and gender within the context of Buddhism and material culture.