MERCHANDISE

Trance has been the flagship for electronic music across the globe during the nineties and early zeroes. The sound’s trademark optimistic and euphoric aspects has brought some of the most compelling musical pieces of its time, and undoubtedly had a significant influence on future electronic music to come. Yet, its historical significance has been highly overlooked. Hypnotised is the first encyclopedia to cover the global trance movement during its most prolific years. The 332-page book spans a near-complete discography of supposedly essential albums, labels and releases, alongside exclusive photos and in-depth interviews with influential artists and label owners.

Comprising more than 5,000 works of contemporary art dating from the 1960s to the present, the collection of the MUSEUMMMK für Moderne Kunst is one of the most important of its kind in the world. With canonical works by Carl Andre, Siah Armajani, Lothar Baumgarten, Thomas Bayrle, Bernd and Hilla Becher, Joseph Beuys, Alighiero Boetti, Miriam Cahn, Hanne Darboven, Walter De Maria, Marlene Dumas, Dan Flavin, Katharina Fritsch, Robert Gober, Donald Judd, Ilya Kabakov, On Kawara, Roy Lichtenstein, Mario Merz, Bruce Nauman, Claes Oldenburg, Nam June Paik, Blinky Palermo, Gerhard Richter, Reiner Ruthenbeck, Rosemarie Trockel, James Turrell, Bill Viola, Jeff Wall, Franz Erhard Walther and Andy Warhol, the holdings constitute an important source for art-historical research.

Takuma Nakahira, one of the most legendary photographers of post-war Japan and a life-long rival of Daido Moriyama. Overflow is the first photobook in which his installation work comes alive in entirety and detail since its unveiling in 1974.

Takuma Nakahira’s series ‘Overflow’ was originally presented as an installation during the 1974 exhibition ’Fifteen Photographers Today’ (National Museum of Modern Art, Tokyo). The work consisted of 48 color photographs that were arranged on a wall 6 meters wide and 1.6 meters high. The photobook Overflow is the first chance to view Nakahira’s astonishing series outside the context of an exhibition.

The photographs show elements of a city — eery rifts in a space overflowing with objects, commodities and information — that Nakahira encountered and captured in his everyday life, from ivy creeping across walls and manhole covers in the streets to the tire of a large truck, from a pale-bellied shark floating in the transparent darkness behind the glass of an aquarium to close-up shots of a subway station.

The photobook’s layout strictly mimics each photo’s position in the installation piece in order to replicate the series’ original experience within the confines of a book. Additionally, Princeton University assistant professor Franz K. Prichard contributes an extensive essay in which he compares the Overflow series with Nakahira’s vision of an ‘illustrated dictionary’ (as outlined in Nakahira’s 1973 essay ‘Why an Illustrated Botanical Dictionary?’), thereby offering a deep exploration of Takuma Nakahira, who integrated praxis and theory in his work like no one else.

‘Overflow compels us as viewers to see the interplay of a seemingly random distribution of fragments, surfaces and residues. And in so doing, we are made to sense the undifferentiated enumeration of parts of an incomplete whole. This is, if you recall, the definition of the “illustrated dictionary” form that Nakahira provided in the essay “Why an Illustrated Botanical Dictionary?”’

— from Franz K. Prichard’s essay

Book Size 364 x 257 mm

Pages 64 pages

Binding Softcover

Publication Date 2018

Language English and Japanese

Iconic PULSE DEMON design printed on the front

Bowed MERZBOW script on the back

Front & Back Silver Prints on Black T-Shirt

Limited edition of 100

T-Shirt brand: GILDAN

The first English-language collection of Takuma Nakahira’s influential writings on photography.

At the Limits of the Gaze collects the writings of photographer and critic Takuma Nakahira in English for the first time. A crucial figure within the history of Japanese photography, Nakahira is best known outside of Japan as a founding member of Provoke, the experimental magazine of photographs, essays, and poetry, first published in 1968, and for his important photobook For a Language to Come (1970). Throughout a decades-long career, Nakahira raised incisive questions about visual culture and politics in both his photography and his writing. As part of a dynamic moment of artistic and political experimentation in Tokyo, he wrote on a range of topics hardly limited to photography: art, film, journalism, literature, politics, television, and more. Nakahira’s essays brim with urgency, relentlessly interrogating photography’s relationship to power, the connection between language and images, and the gaze. As editors and translators Daniel Abbe and Franz Prichard write, Nakahira’s essays “both suggest doubt about, and possibilities for, a photographically mediated reckoning with the world.”

by Takuma Nakahira

Reprinted on the occasion of an exhibition at the Whitechapel Gallery in London, this book presents the international Fluxus legacy through sound. With works by John Cage, Philip Corner, Dick Higgins, Alison Knowles, George Maciunas, Claes Oldenburg, Yoko Ono, and others, it explores the interest of Fluxus artists in music and sound through performance, scores, records, and objects from the Luigi Bonotto Collection. Their public events challenged conventional form and content in music, and the approach to music scores was equally radical. Instead of traditional sheet music, they devised notational systems based on graphics, poetry, and the visual arts.

A compilation of articles contributed to various journals on the history of Chinese tea culture. This work traces the roots of tea drinking culture, examining the evolution of tea production methods since the Tang Dynasty, connections to Japanese tea ceremony, Chinese tea culture in Japan, and its relationship with British Empire tea—all from a broad perspective not limited to mainland China.

The second outing for our short run book publishing imprint, The End books, takes the form of a reprint of Spanish Cante Jondo and Its Origin in Sindhi Music, originally published in Spanish in 1955 under the name Cante Jondo: Su Origen y Evolución and later in this English translation. Aziz Balouch presents his theory on the roots of flamenco's 'deep song' in modern-day Pakistan, a cultural journey that mimics the routes of his own life, having been brought up among the Islamic mysticism and devotional songs of Sindh before travelling to Gibraltar in the early 1930s and becoming transfixed with the cante jondo across the border in southern Spain. Positing this concept through personal accounts rather than solid theoretical backing, this text provides a valuable account of an extraordinary existence that crossed remarkable geographical, musical, and spiritual lines. Issued here with a new introduction from anthropologist of sound, the senses and Islam, Stefan Williamson Fa. "It would be easy to place Balouch on the fringes, as an eccentric footnote in flamenco history. But that misses the shape of his life and work. He was a figure who moved intuitively across boundaries that our present categories of nation, genre, discipline tend to fix in place. His work predates the founding of the academic discipline of ethnomusicology, the global circuits of world music, and the marketplace logic of fusion projects by decades. He was not an ethnographer or a proto–world musician, but someone for whom the deep song of Andalusia and the devotional song of the subcontinent resonated along the same fault lines of feeling, and who spent his life trying to trace them. This book is one of the few surviving traces of that attempt. To read it now is to encounter a perspective that resists tidy narratives of influence or origin, despite its title and what he claims to do. It stands instead as evidence of an idiosyncratic musical imagination, one that relied less on proof than on listening, and on the belief that certain echoes carry farther than history can easily explain." — Stefan Williamson Fa

super high quality, and thick tote, double strike silver print on black by the legends at 7th Disaster.

A t-shirt with embroidered Kelan Phil Cohran logo. Celebrate the legacy of Kelan Phil Cohran's genius with a subtle representation.Slightly oversized fit. Boxy sizes a little wider and a little shorter.100% Reclaimed Waste Cotton and Biodegradeable. Knit, sewn and finished by Everybody.World in Los Angeles with a fair-wage workforce. L size

A hat to let others know when you are engaged in deep listening. Turn it backwards to activate a delicate request for silence from those behind you. Classic 6-panel cap with adjustable strap and large embroidered "I'm in the Listening Position" logo.

it can be put approximately 30 LPs.

Paperback. 150 pages. "One of the towering figures of 20th-century art holds forth on his controversial life and career in a previously unpublished set of interviews. Over six sessions between September 1951 and November 1952, Marcel Duchamp sat down with collectors and gallerists Harriet and Sidney Janis for a wide-ranging conversation about his inspirations and working processes, and his many opinions on the workings of the modern art world and its histories. The Janises, owners of the influential Sidney Janis Gallery, were ardent supporters of modern art and close friends with Duchamp. Harriet, an accomplished author, led the interviews with an eye toward writing a monograph on Duchamp, though this was never realized. Now, this previously unknown chronicle is available for the first time through the efforts of Carroll Janis, Sidney and Harriet's son. Under Harriet's expert guidance, Duchamp holds forth on his artistic philosophies, his career, his friends, his rivals and his lifelong obsession with chess. He provides an inside look at some of his most famous works, from his controversial 'Readymades' to 'The Large Glass.' Contextualized with illustrations, annotations and an introduction by Carroll Janis, this publication is a rich treasure trove of information on one of the 20th century's most controversial, groundbreaking and larger-than-life artists. Marcel Duchamp (1887-1968) dismantled the boundaries of what constitutes a work of art. Although he began his career as a painter, Duchamp was also a curator, conservator, art advisor, professional chess player, writer, inventor and celebrity. Following the completion of his conceptual masterpiece, 'The Large Glass' (1915-23), he abandoned traditional artmaking altogether. Today he is best known for his 'Readymades' -- ordinary objects such as a urinal or bicycle wheel, elevated to works of art -- which challenged traditional aesthetics and redefined authorship."

A premium court fragrance from Nado Poizokhang, a long-established Bhutanese brand. It is a blend of sandalwood, mock orange, spikenard, safflower, saffron, European blackcurrant, myrobalan, Inula lalasemosa, cloves, cinnamon, cardamom, and juniper, along with various other trees, barks, leaves, flowers, fruits, and roots. The medicinal and aromatic herbs are hand-picked from the high plateaus of the Himalayas. While clearly evoking the tradition of Tibetan incense, it possesses a certain elegance, with various elements—such as spices and high-quality resins—blending together in a complex harmony. The initial impression is sweet and pleasant, but as time passes, it settles into a calming aroma with a hint of bitterness and a deep, rich depth, leaving a long-lasting afterglow. This is a special, top-quality incense among the company’s offerings. Approximately 21 cm; contains about 40 sticks.

'Soundwriters: The Incomplete Guide to Indonesian Diaspora Music (1969–1989)' is a book and catalogue devoted to artists whose work shaped the cultural life of postcolonial Netherlands, yet rarely entered official archives; cataloguing 62 rare and overlooked releases by Indonesian diaspora artists recorded in the Netherlands and Suriname, from soul and funk to reggae and pop. "Written by Michiel Sekan with additional research by Harry “Munir” Septiandry, the book combines historical analysis with personal reflection. Essays move between migration histories, colonial legacies, family memory, and music culture. At its core sits a catalogue of sixty two releases that document the range of sounds created by Indo-European, Moluccan, Papuan, Javanese Surinamese, Peranakan, and broader Indonesian diaspora communities. Soul, funk, pop, reggae, rock, and protest songs appear side by side. Together they form an aural record of resistance, adaptation, and creativity across continents. Printed in Jakarta and published by Jiwa Jiwa in three languages, Dutch, English, and Indonesian, Soundwriters positions music as both archive and testimony. It asks how sound preserves stories when written records fall short, and how listening can reconnect personal memory with shared history. The project extends beyond the page through exhibitions, listening rooms, documentaries, and public programs in the Netherlands and Indonesia. Michiel Sekan is an Amsterdam based DJ, curator, and multidisciplinary artist. Through his platform Jiwa Jiwa he researches and presents music from the Indonesian archipelago and diaspora across radio, exhibitions, publishing, and club culture. His work links record collecting with archival study and personal history. Soundwriters is his first book."

The Vimalakirti Sutra, one of the representative Mahayana sutras, features the lay Buddhist believer Vimalakirti as its protagonist. It elucidates fundamental Mahayana Buddhist concepts such as “emptiness” and the “non-dualistic teaching”—the principle that seemingly opposing concepts like “delusion and enlightenment” or “good and evil” are fundamentally one. This introductory guide to the Vimalakirti Sutra offers accessible explanations by a leading authority in Buddhist scriptural studies.

For five decades, Michael Smith’s performance art has inhabited bland domestic spaces, mass media and its promise to keep us company and failing business ventures that misread the moment. Through art installations, theater, video, television and live performances, Smith’s comedic work lives inside the identity models that both constitute and disassociate our shared experience. His two performance personae, Mike and Baby Ikki, plumb the depths of American and culture to perform the discrepancies between what is promulgated by controlling interest and what actually exists in the reality of our day-to-day worlds. MIKE’S BOX is an immersive 8-disc DVD collection of his work up until now, including the complete collaborative video work of Smith with both Joshua White and Doug Skinner, collaborations with William Wegman, Seth Price, Mike Kelley and many others. It is accompanied by a richly illustrated book with an essay by Tim Griffin, featuring documentation from shows exhibited at the New Museum of Contemporary Art, the Whitney Museum of American Art, and Museo Jumex, along with filmed conversations between the artist, curators and collaborators.

MIKE'S BOX includes 8 DVDs along with a 128-page booklet packaged in a printed slipcase.

All proceeds will be donated to the Embassy of Ukraine in Japan for humanitarian aid. （we had hoped to donate to the candle master to help with their living expenses, but could not get in touch with him).

This candle is made of beeswax mixed with propolis produced by bees, which was used as a "natural antibiotic" in ancient Rome and has been traditionally used for medicinal purposes in Eastern Europe. Today, it is also known as a supplement that helps with antioxidant functions, and the actual feeling is dense and meditative. The light is twice as bright as that of a regular beeswax candle and has more of the unique sweet scent of beeswax. The only size available is this short one (for the reason that it is just the right size to vaporize propolis well).

A beeswax candle made by a craftsman in the mountains of Ukraine and actually used in a local monastery. It has a high antibacterial effect, and with its warm light, it is also very effective for meditation and healing.

Burning time about 12 hours
Diameter 55 x Height 30 mm

In Hindu and Buddhist cultures, the swastika is auspicious & a symbol of divinity and spirituality. On the holiday of Diwali, Hindu households commonly use the swastika in decorations. Swastikas are often depicted at completion ceremonies for buildings and machinery, and at safety prayers for new cars, to avoid disasters.

In Buddhism, the swastika is considered to symbolise the auspicious footprints of the Buddha. The left-facing swastika is often imprinted on the chest, feet or palms of Buddha images. It is an aniconic symbol for the Buddha in many parts of Asia and homologous with the dharma wheel. The shape symbolises eternal cycling, a theme found in the samsara doctrine of Buddhism. In Japan, it is commonly used as a symbol, emblem, or sign to indicate Buddhism and temples.

S	M	L
5 x 5 cm	7.5 x 7.5 cm	11 x 11 cm

Three golden pyramids stacked on top of each other, an auspicious ornament known as Vastu in India.

Incense inspired by Green Tara of Tibetan Esoteric Buddhism. Made from 25 high-quality natural ingredients from Indonesia and Tibet—including nutmeg, bamboo resin, saffron, cloves, cardamom, cardamom seeds, frankincense, amomum, and and Datura (Morning Glory), among others. This special incense is crafted from 25 types of high-quality natural ingredients sourced from Indonesia and Tibet, combined with countless medicinal herbs based on Tibetan medicine. Blended according to the “Treatise on Incense Formulas” (a scripture on incense blending methods) by Bodhisattva Nagarjuna, it releases a complex aroma derived from various ingredients, along with the scent of medicinal herbs that purify the mind and space. This high-quality Tibetan incense burns for a long time, and its fragrance lingers long after it has burned out. Approximately 22.5 cm × 30 sticks per pack.

phatmedia presents 'UK Rave Flyers 1988–1989' - including over 800 flyers from iconic events like Shoom, Hedonism, Future, Spectrum, Land Of Oz, Apocalypse Now, Hypnosis, Sunrise, RIP, Coozz, Trip, Sin, Genesis, Rage, Wetworld, Rave At The Cave, Boilerhouse, Trip City, the Hacienda and many more one-off / smaller promotions.

"phatmedia presents UK Rave Flyers 1988–1989 is a deluxe book showcasing original flyers from the breakthrough years of UK acid house. Sourced from the phatmedia archive and beyond, it captures the raw energy of a scene that exploded from underground parties into a nationwide movement.

Featuring high-quality reproductions of flyers promoting warehouse raves, club nights and early promoters, the book highlights the DIY creativity and bold visual style that defined the era. It’s a visual journey through the scene’s formative years, with the narrative led by the flyers themselves, interspersed with quotes from DJs, designers, promoters and ravers - including Dave Little, Andy Boilerhouse, Pez, Steve Reid (Shoom), Ellis Dee, Chalk E White, Nicky Holloway, Mr C, Ratpack & many more - plus, photos from clubs of the era taken by Dave Swindells, Kevin Cummins, Peter J Walsh and Gavin Watson.. This commentary offers cultural context, making this an essential document of one of the most radical and influential moments in British youth culture.

“We would be lost without Dave’s incredible documentation of flyer history. If we didn’t have his absolute precision in sharing dates within the timeline. So much of the exact history would be lost. phatmedia is an asset to the entire rave scene and history.” - Billy Daniel Bunter

“Rave flyers capture an essential piece of cultural history. More than just advertisements, they reflect the creative energy of the early rave scene and serve as a window into the underground music culture of the time. Each flyer tells a story about the events, people, and communities that helped shape the movement.” - Eddie Richards

“This book is more than just a collection of flyers; it’s a time machine. It’s a tribute to the birth of a culture that shook the world. We built something from nothing. Every flyer, every illegal rave, every risk we took, it created a movement that would become a multi-million pound industry.” - DJ Phantasy"

民俗学・宗教学・芸能史・演劇史という学問的枠組みを超えて、神楽の継承に携わる全ての人に向けて、神楽とは何だったのかを問う。

第一章は神楽研究の始まりになった備後の荒神神楽を取り上げて、伝承を維持してきたものとは何かを問い直す。
第二章は神楽の神がかりに焦点を当てて、担い手である巫者の変遷を論じ、社会の変動と関連付けて検討する。
第三章は石見の大元神楽を取り上げ、備後の荒神神楽と比較して伝承の維持・継承の状況を検討する。
第四章は強固な伝承を維持してきた南信濃の霜月神楽の意味と機能を探る。
第五章は神楽の近代を主題とし、東北の修験系神楽である大乗神楽を検討して近代の在り方を再考する。
第六章は中国との比較の観点を入れ込み、「目連の能」を手掛かりに死者供養の神楽の考察を行う。
第七章は神楽を研究の主題とすることとは何かを問い、学術研究に至る過程や、芸能の舞台化という近代の実践に着目する。
第八章は神楽に関する研究方法が不安定なことに鑑み、今後の神楽研究の課題を提示した。

目次
まえがき

第一章　伝承を持続させるものとは何か――比婆荒神神楽の場合
１　伝承とは何か
２　比婆荒神神楽を巡る「名付け」と「名乗り」
３　比婆荒神神楽との出会い
４　大神楽の構成
５　前神楽
６　本神楽
７　神がかり
８　灰神楽
９　大神楽の変遷
10　祖霊加入の儀式としての荒神神楽
11　荒神と土公神の複合的性格
12　「古海の一夜」から浄土神楽へ
13　荒神神楽を支える人々
14　文化財への道
15　博物館展示
16　竹森の大神楽
17　映像の暴力
18　神楽を持続させるものとは何だったのか
19　伝承母体の変容
20　将来に向けての課題

第二章　神楽の中の巫者
１　巫女とは何か
２　精霊統御者
３　修験道の影響
４　神楽と女性
５　神楽の歴史的変遷
６　荒神
７　法者
８　死霊の鎮め
９　能舞の変遷と神殿
10　荒平の出現
11　土公祭文
12　周縁の衰退
13　巫者の行方

第三章　大元神楽の変容
１　大元神楽とは
２　大元神楽との出会い
３　大元神と大元神楽
４　大元神楽の変容
５　明治以後の変動
６　大元神楽の構成
７　五龍王
８　神歌
９　神がかり
10　式年の特色と神がかりを巡る言説
11　大元神楽の特徴
12　伝承の変化と持続
13　再興とイベント化
14　伝承の持続と再検討

第四章　湯立神楽の意味と機能――遠山霜月祭の考察
１　湯立神楽
２　天龍川中流域の祭祀
３　遠山霜月祭の特徴
４　冬の到来を告げる季節祭
５　起源伝承
６　供物と湯立
７　山と竈と土公神
８　五大尊法と不動明王
９　九字護身法
10　立願と湯立
11　死霊の鎮めと湯立
12　湯立とは何か

第五章　神楽の近代――大乗神楽の事例から
1　神楽の近代という問題設定
２　山伏神楽
３　大乗神楽の発見
４　江釣子の「大乗會」
５　「大乗會」以前――岩崎の伍大院
６　「大乗會」の出現―南笹間の萬法院
７　幕末期の修験の動向
８　「大乗會」から大乗神楽へ――煤孫の貴徳院
９　神仏分離と「大乗會」
10　法印の意味の変化
11　巡行と権現舞と火防祭
12　文化財から文化遺産へ
13　行政の関与と「大乗會」の復元
14　「大乗會」の意味の変化
15　コスモロジーの行方

第六章　目連の系譜――死者供養の神楽
１　目連とは
２　目連と盂蘭盆会
３　備後の「目連ノ能」
４　「目連ノ能」と浄土神楽
５　「目連ノ能」の特徴
６　「目連ノ能」の時代的背景
７　「語り物」としての目連
８　盆踊りの目連
９　目連救母の読み替え
10　「目連ノ能」と祭文の比較
11　東アジアの中の目連戯

第七章「民俗藝術」の発見――小寺融吉の学問とその意義
１　民俗芸能研究の始まり
２　小寺融吉の位置付け
３　小寺家の人々
４　小寺融吉と舞踊
５　小寺融吉の著作活動
６　小寺融吉の研究の特徴
７　小寺融吉の転機
８　文化財行政の展開
９　日本青年館と小寺融吉
10　「郷土」と「民謡」
11　民俗藝術から民俗芸能へ
12　澁澤敬三の貢献
13　「民間学」としての舞踊研究の誕生
14　「民俗藝能の会」の成立

第八章　神楽研究の再構築へ向けて
１　神楽研究への視座
２　神楽の発生と御神楽
３　鎮魂の近代
４　鎮魂と神楽
５　近代における神楽の創出
６　中世神楽という視座の再検討
７　中世神楽論の問題点
８　浄土神楽をめぐって
９　『神楽源流考』への疑義
10　再び中世神楽へ
11　死者供養の神楽
12　神楽研究の可能性

参考文献
図版クレジット
あとがき
索引

判型・ページ数    4-6・514ページ

鈴木 正崇
1949年、東京都生まれ。慶應義塾大学大学院文学研究科博士課程修了。文学博士。慶應義塾大学名誉教授。前日本山岳修験学会会長。 主な著書に、『中国南部少数民族誌』（三和書房、1985年）、『山と神と人』（淡交社、1991年）、『スリランカの宗教と社会』（春秋社、1996年）、『神と仏の民俗』（吉川弘文館、2001年）、『女人禁制』（吉川弘文館、2002年）、『祭祀と空間のコスモロジー』（春秋社、2004年）、『ミャオ族の歴史と文化の動態』（風響社、2012年）、『山岳信仰』（中央公論新社、2015年）、『東アジアの民族と文化の変貌』（風響社、2017年）、『熊野と神楽』（平凡社、2018年）、『女人禁制の人類学』（法藏館、2021年）、『日本の山の精神史』（青土社、2024年）、『山岳信仰と修験道』（春秋社、2025年）。受賞歴として、1997年に義塾賞、2014年に第11回木村重信民族藝術学会賞、2016年に第18回秩父宮記念山岳賞（日本山岳会）を受賞。 受賞歴として、1997年に義塾賞、2014年に第11回木村重信民族藝術学会賞を受賞。2016年，「日本の山岳信仰と修験道に関する宗教学的研究」の業績で第18回秩父宮記念山岳賞（日本山岳会）を受賞。

神々の血筋を引くクル王家の系譜と、一族を破滅へ導く大戦争への道のりを数世代にわたって描く大叙事詩『マハーバーラタ』。実現する呪い、秘められた過去、果たされる誓い……絡み合う因果に翻弄されながらも自己のダルマ（正しいあり方）を求め、英雄たちは聖なる戦場で対峙する。第一巻はクル王族の子孫と祖先の物語。王子たちの驚異の誕生と長い確執のはじまりがここに語られる。

信頼すべきサンスクリット原典訳の待望の復刊。
【目次】
まえがき
家系図
主要登場人物
マハーバーラタ関連地図

第１巻　最初の巻（アーディ・パルヴァン）
（１）筋書き（第一章）
（２）各巻の要約（第二章）
（３）パウシャ王（第三章）
（４）プローマン（第四章―第十二章）
（５）アースティーカ（第十三章―第五十三章）
（６）最初の家系の降下（第五十三章―第五十八章）
（７）起源（第五十九章―第百二十三章）
（８）ラックの家の火災（第百二十四章―第百三十八章）

法蔵館文庫版『原典訳 マハーバーラタ』の刊行にあたって　　川村悠人

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上村 勝彦
1944年、東京浅草に生まれる。1967年、東京大学文学部卒業。1970年、同大学院人文科学研究科（印度哲学）修士課程修了。サンスクリット詩学専攻。元東京大学東洋文化研究所教授。主な著訳書に、『屍鬼二十五話』（平凡社東洋文庫）、『カウティリヤ実利論』（岩波文庫）、『インド神話』（ちくま学芸文庫）、『始まりはインドから』（筑摩書房）、『インド古典演劇論における美的経験』（東京大学出版会）、『バガヴァッド・ギーター』（岩波文庫）、『インド古典詩論研究』（東京大学出版会）、『真理の言葉・法句経』（中央公論新社）などがある。2003年、逝去。