As for the Mitsui around the Meiji Restoration, it has been emphasized that they changed their occupation from drapery and exchange to banking and that they carried out various reforms and at last ...established Mitsui Bank in 1876. One purpose of this paper is to make clear how their family property was reorganized from a financial point of view. In I871, Omotokata at Tokyo (head office in the Meiji era) was established by governmental funds. It invested in Mitsui Bank and later absorbed 0motokata at Kyoto (head office in the Edo era) which had invested and loaned in both drapery and exchange shops. However, Kyoto Omotokata's investments and loans in their shops were irrecoverable, since these shops had lost almost all of their own net assets. Tokyo Omotokata in effect inherited nothing of the family property other than real estate from the Mitsui in the Edo era. 0n the other hand, the financial situation of Mitsui Bank was very bad at the start because of a lot of bad loans its ancestor Kawaseza (banking company) had held. Another purpose of this paper is to show how Mitsui Bank improved its financial situation. Mitsui Bank selected borrowers of its funds carefully not to hold new bad loans (because the amount of deposits remained almost the same between 1880 and 1884, Mitsui Bank could not increase the amount of loans.) And it set up voluntary reserve accounts and reserved the profit from governmental bonds which it held. As a result, its financial situation began to improve gradually.
Yamagoshi no Amida Zu and Jigoku Gokuraku Zu owned by Konkaikoumyou-ji Temple in Kyoto, are a set of Buddhist paintings made in the Kamakura period (the late 13th century). In the former painting, ...Amitabha coming across the mountains is painted, and in the latter painting, three worlds, Jigoku (Hell), Gokuraku (Heaven), and this world in which we live, are painted according to Buddhism outlook on the universe. In this paper, the author has taken a fresh look at the usage of these two paintings, with special attention given to a ceremony for a dying person. First, fragments of many colored threads are found on Yamagoshi no Amida Zu. The priest Genshin, in his work the Ojo-Yoshu, describes Rinjugyogi (a dying ceremony), in which a sick person on his dying bed holds threads tied to a Buddhist image. Therefore, this painting is thought to have been used for the dying person to believe firmly the salvation of Amitabha. Secondly, as for Jigoku Gokuraku Zu, it is quite hard to think that this painting was appreciated by the dying person himself because of its intricate pictorial content. This should rather be considered to have been served for the consolation of those who cared for him on his deathbed, and to have encouraged the bereaved at the funeral to be convinced that the soul of the dead would rest in peace in the next world. In conclusion, both Yamagoshi no Amida Zu and Jigoku Gokuraku Zu can be seen to have been set up simultaneously at the bedside of a dying person. As a result, this set of painting can be interpreted to have been used at the religious rite where not only a dving person but also the surviving people might accept death as the salvation of Amitabha. In short, the value of both paintings can be estimated as the media of both the living and the dead in the community of the Japanese Medieval Period.
In the winter of 2000 - 2001, two wild Japanese serows affected with popular dermatitis were found in Aichi Prefecture. Lesions occurred on the lips and, in one case, on the tongue. Keratinocytes in ...popular lesions showed ballooning degeneration with the formation of eosinophilic cytoplasmic inclusions. Immunohisto-chemical examination revealed the Parapoxvirus antigen in degenerated keratinocytes. In addition, electron microscopy disclosed the presence of numerous Parapoxvirus particles in the cytoplasm. The bovine fetal-lung-cell culture employed in virus isolation produced cytopathic effects. The polymerase chain reaction detected Parapoxvirus DNA from lesions and infected cells.
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