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Fuke

Fuke, also known as Fuke Zen or Fuke-shū, was a distinctive sub-sect of Rinzai Zen Buddhism in Japan, centered on the meditative practice of suizen ("blowing Zen") through playing the shakuhachi bamboo flute.^[1] Named after the 9th-century Chinese Zen monk Puhua (Fuke in Japanese), who was a contemporary of the Rinzai founder Linji Yixuan, the sect emphasized spiritual enlightenment attained via the sound of the flute rather than traditional zazen meditation or sutra recitation.^[2] Its mendicant monks, known as komusō ("emptiness monks"), wandered Japan begging for alms while performing haunting solo pieces called honkyoku, symbolizing detachment from worldly ego.^[3] The Fuke sect traces its roots to China but was formally introduced to Japan in the 13th century by the Zen master Hottô Kokushi, a disciple in the lineage of the original Fuke school.^[4] It evolved from earlier wandering monks called komosō ("straw mat monks") and gained official recognition from the Tokugawa shogunate in 1677, allowing komusō—many of whom were former rōnin samurai—to travel freely across feudal domains, ostensibly for spiritual practice but also serving as informal spies to maintain social order during the Edo period (1603–1868).^[1] At its peak, the sect supported over 100 temples, including the headquarters at Myōan-ji in Kyoto, founded by the monk Kyochiku (also known as Roan), who formalized its structure.^[1] The komusō were identifiable by their tengai—woven basket hoods covering the face to promote anonymity and focus on the music's transcendent quality—and carried gebako alms bowls, with the shakuhachi serving as both a spiritual tool and a means of livelihood.^[2] Central to Fuke practice was the philosophy of ichion jōbutsu ("enlightenment through one sound"), where the flute's timbre—evoking natural sounds like wind or rain—was believed to embody the "sound of truth" (shinne) leading directly to Buddhist awakening.^[3] The repertoire included over 150 honkyoku pieces, such as Suzuru and Reibo, which varied by region and temple, emphasizing breath control, subtle ornamentation, and emotional depth over technical virtuosity.^[4] Instruments were crafted from root-end bamboo for a resonant, tapered bore, distinguishing Fuke shakuhachi from later concert versions.^[3] Influential figures like the Zen poet Ikkyū (1394–1482) and later masters such as Takahashi Kūzan, dubbed "god of shakuhachi," helped embed the tradition in Japanese culture, blending Zen philosophy with musical expression.^[1]^[4] Despite its cultural impact, the Fuke sect faced decline due to internal misconduct and shifting politics; privileges were curtailed in 1847, and it was officially disbanded in 1871 amid the Meiji Restoration's push for modernization and suppression of feudal religious orders.^[1] Post-dissolution, former komusō transitioned into shakuhachi teachers, preserving the music through schools like Kinko-ryū, founded by Kurosawa Kinko I (1710–1771), whose works synthesized regional styles.^[2] Today, Fuke Zen endures as a philosophical and musical legacy, influencing contemporary shakuhachi performance and inspiring revivals of komusō aesthetics in art and meditation practices worldwide.^[4]

Fuke Zen

Origins and History

The origins of Fuke Zen are rooted in the legendary figure of the Chinese Chan monk Puhua (Japanese: Fuke), a Tang dynasty (618–907) practitioner active in the 9th century, renowned for his unconventional teaching methods that emphasized direct, non-verbal expression of enlightenment. Puhua, said to have wandered the streets of Zhenzhou (modern-day Zhengzhou) in feigned madness, would ring a bell to gather crowds and burst into laughter to convey Zen truths, rejecting conventional sermons in favor of spontaneous acts that challenged societal norms and invited observers to experience awakening intuitively. These eccentric behaviors, recorded in primary Zen texts such as the Linjilu (compiled around 1100), positioned Puhua as a dharma heir in the Linji (Rinzai) lineage, though historical evidence for his life remains sparse and partly hagiographic.^[5] Fuke Zen was introduced to Japan in the 13th century by the Rinzai Zen monk Shinchi Kakushin (1207–1298), who studied under Chinese masters including Wumen Huikai during his sojourn in China from 1249 to 1254. Upon his return, Kakushin established early practices at temples like Saihō-ji (later Kōkoku-ji) in Kii Province, integrating Puhua's eccentric style with Rinzai Zen, particularly through lay-oriented meditation that incorporated the shakuhachi flute as a tool for suizen (blowing Zen). This transmission marked the sect's initial foothold in Japanese Buddhism, blending imported Chan elements with local itinerant traditions. Over the following centuries, Fuke Zen evolved from precursor groups such as the boro-boro and komosō, itinerant monks active from the 14th to 16th centuries during the Muromachi period (1336–1573), who wandered as beggars performing flute music and dances for alms while wearing simple straw or ragged attire. These groups, documented in contemporary scrolls like the Sanjūni-ban Shokunin uta-awase (ca. 1494) and festival records, provided a social model for mendicancy that later formalized into Fuke practices, though their direct Zen ties were initially loose and retrospective.^[6]^[7] The sect achieved institutionalization during the Edo period (1603–1868) through its affiliation with Rinzai Zen and official recognition by the Tokugawa shogunate, which granted komusō (its wandering monks) privileges including unrestricted travel rights and exclusivity in using the shakuhachi, as outlined in decrees like the 1677 Memorandum on temple administration. These concessions, aimed at social control and integrating former samurai (rōnin) into a regulated mendicant order, allowed the Fuke-shū to establish temples such as Myōan-ji and expand its network, peaking in influence by the mid-18th century. The formal naming of the sect as Fuke-shū occurred in the late 18th century, codified in the 1795 text Kyotaku denki, which retroactively constructed a detailed lineage tracing back to Puhua and legitimized its practices within broader Zen orthodoxy. However, mounting criticisms of komusō misconduct led to the revocation of their privileges in 1847, culminating in the sect's abolition in 1871 during the Meiji Restoration's secular reforms, which dismantled feudal Buddhist privileges and restructured religious institutions.^[1]^[1]

Practices and Philosophy

The central practice of Fuke Zen, known as suizen or "blowing Zen," involves playing the shakuhachi bamboo flute as a form of meditation aimed at attaining enlightenment through breath control and sound production.^[3] Practitioners, called komusō or "priests of nothingness," used the shakuhachi not merely as a musical instrument but as a spiritual tool (hōki) to cultivate mindfulness and transcend dualistic thinking, with the ideal expressed in the maxim "one sound, one Buddha" (ichion jōbutsu).^[8] This meditative approach emphasized raw, resonant tones and subtle ornamentation over melodic complexity, allowing the player to embody Zen principles during solitary practice or public performances.^[9] At the heart of suizen are the honkyoku, a repertoire of unaccompanied solo pieces designed to evoke profound spiritual states, such as kū (emptiness). Representative examples include Mukaiji Reibo (Myōan Reibo), which reflects longing for enlightenment, and Kokū Reibo (Empty Sky Reibo), symbolizing the void and impermanence central to Buddhist thought.^[1] These compositions, rooted in the Fuke tradition, prioritize expressive breath and timbre to facilitate direct insight into non-duality, differing from secular music by focusing on internal realization rather than external entertainment.^[10] Komusō integrated honkyoku into their daily routines, performing them while wandering as mendicants to beg for alms, a practice known as takuhatsu, where the music served both as a plea for sustenance and a means of disseminating Zen teachings.^[3] The komusō lifestyle embodied detachment, with many originating from the samurai class after the Sengoku period, seeking solace in itinerant practice under Tokugawa patronage.^[1] They wore the tengai, a deep basket hat woven from sedge, to conceal their identity and symbolize ego dissolution, reinforcing the philosophy of anonymity and release from worldly attachments.^[10] This attire, combined with simple robes, underscored their role as beggars who exchanged performances for rice or alms, living in over a hundred affiliated temples while traveling extensively.^[9] Philosophically, Fuke Zen drew from the eccentric teachings of the ninth-century Chinese Chan monk Puhua (Japanese: Fuke), emphasizing non-duality, impermanence, and enlightenment beyond verbal forms, in line with the Linji (Rinzai) school's direct transmission outside scriptures.^[9] While sharing Rinzai elements like paradoxical koans to provoke insight, Fuke prioritized musical expression through the shakuhachi over discursive debate, viewing sound as a non-conceptual path to realizing śūnyatā (emptiness) and the unity of self and cosmos.^[6] This integration fostered a unique material culture where the flute and tengai became extensions of meditative discipline, promoting a wandering existence free from institutional dogma.^[8]

Key Figures and Texts

Shinchi Kakushin (1207–1298), a prominent Rinzai Zen monk, is regarded as the foundational figure in transmitting Fuke Zen practices to Japan. Born in Shinshū Province, he became a monk at age 18, studied Zen under Japanese masters including Taikō Gyōyū, and received precepts from Dōgen before embarking on a pilgrimage to China between 1249 and 1254 during the Southern Song Dynasty, where he sought deeper insights into Chan (Zen) teachings at various monasteries.^[10] During this journey, Kakushin encountered Chinese monks associated with the eccentric Chan master Puhua (Japanese: Fuke), from whom he received a shakuhachi flute as a meditative tool, symbolizing the integration of breath practice with Zen enlightenment.^[11] Upon returning to Japan, he settled at Kōkokuji temple in present-day Wakayama Prefecture, where he established the initial Fuke lineage by incorporating shakuhachi playing into wandering monastic practices, laying the groundwork for the sect's emphasis on suizen (blowing Zen) as a path to spiritual awakening.^[12] Kurosawa Kinko (1710–1771), a former samurai turned komusō monk during the Edo period, played a pivotal role in formalizing Fuke Zen's musical traditions through the establishment of the Kinko-ryū school. As an itinerant practitioner, Kinko traveled extensively across Japan, collecting and refining disparate honkyoku (original pieces) from various Fuke temples to create a cohesive repertoire.^[13] His efforts focused on standardizing notation systems, which evolved from simple tablature to more precise forms that captured meri and kari techniques essential for expressive shakuhachi performance, thereby making transmission more accessible to disciples.^[14] By compiling approximately 36 core honkyoku, Kinko elevated the instrument's role in suizen, ensuring the school's pedagogical methods emphasized both technical proficiency and meditative depth, influencing subsequent generations of players.^[15] Hisamatsu Fuyo (1790–1845), a devoted shakuhachi practitioner within the Kinko-ryū tradition, advanced the spiritual dimensions of Fuke Zen by reorienting the practice toward enlightenment over mere musicality. Active in the early 19th century, Fuyo critiqued performative aesthetics in his writings, arguing that true suizen required transcending beautiful tones to embody śūnyatā (emptiness), as he stated in a 1820s manuscript: "despicable, if someone loves to produce a splendid tone."^[16] In works such as Hitori Mondo (1823) and Kaisei Hōgo (1838), he articulated suizen as a direct conduit to satori (enlightenment), portraying the shakuhachi as a "Zen instrument of emptiness" that facilitates ego dissolution through breath control and sound production.^[8] These texts, preserved and analyzed in later scholarship, underscore Fuyo's influence in spiritualizing the practice amid Edo-period commercialization of komusō activities.^[16] The Kyotaku Denki (1795), an anonymous Edo-period text also known as Kyotaku Denki Kokuji-kai, serves as the primary historical narrative codifying Fuke Zen's origins and legitimacy. Written in a mix of Chinese and Japanese, it constructs a mythical genealogy tracing the shakuhachi's transmission from the Tang-era Chan master Puhua (d. 860) through 19 generations of disciples to Japanese founders like Shinchi Kakushin, portraying the instrument as a sacred "false bell" (kyotaku) for propagating Zen teachings.^[17] This fabricated lineage, blending legend with selective history, aimed to legitimize the Fuke-shū as an orthodox Zen subsect by linking wandering mendicancy and flute-playing to Puhua's eccentric street performances.^[10] Among other foundational texts, the Sanjūichi-ban Shōfūroku (19th century) represents a key anthology in the Kinko-ryū tradition, compiling 31 honkyoku pieces with integrated philosophical annotations that elucidate their meditative intent. This collection, emerging from Edo-period temple practices, pairs musical notations with commentary on Zen principles such as impermanence and non-attachment, guiding practitioners in interpreting pieces like Kyōrei as vehicles for suizen.^[14] By embedding doctrinal insights into the repertoire, the text reinforced Fuke Zen's synthesis of sound and spirituality, preserving interpretive depth for oral transmission.^[18]

Decline and Modern Revival

In the mid-19th century, the Tokugawa shogunate revoked the special privileges of the komusō in 1847, citing widespread reports of ill-behavior, including vagrancy, monetary exploitation, and suspicions of using their anonymity for espionage activities.^[1]^[19] This decree required the Fuke sect to adhere to the same regulations as the broader Rinzai Zen tradition, effectively curtailing their freedom of movement and mendicant practices, which had been sanctioned since the early Edo period.^[1] The sect faced final dissolution in 1871 under the Meiji government's haibutsu kishaku policies, which aimed to abolish Buddhist institutions and promote state Shinto amid rapid modernization.^[20]^[9] This ban dispersed the komusō order, closed Fuke-affiliated temples, and initially prohibited shakuhachi playing for religious purposes, transforming the instrument from a sacred tool of suizen (blowing Zen) into a secular musical device.^[19]^[1] Begging was further restricted for a decade, forcing former practitioners to adapt by teaching or performing in non-religious contexts.^[19] The 20th century saw a cultural revival of Fuke traditions through preservation efforts focused on honkyoku repertoire, with musicians like Yokoyama Katsuya (1934–2010) playing a pivotal role in transmitting these pieces as intangible cultural heritage.^[21] Yokoyama, a master of the Kinko-ryū style, founded the Kokusai Shakuhachi Kenshūkan in 1988 to systematically teach and record honkyoku, ensuring their survival amid Japan's post-war emphasis on traditional arts.^[22]^[23] This work built on earlier initiatives, such as the establishment of the Myōan Kyōkai in 1896, which reorganized surviving komusō into a lay society dedicated to suizen without formal sectarian ties.^[9] In contemporary contexts, Fuke-inspired practices have integrated into global Zen meditation, New Age soundscapes, and therapeutic applications, often detached from institutional Buddhism. Non-sectarian groups like the Fuke Shakuhachi Association promote suizen as contemplative music, drawing on traditional pieces for mindfulness workshops and international performances since the 1970s.^[24]^[25] Today, no active Fuke-shū temples remain, but the sect's legacy endures in Japanese traditional music ensembles and worldwide programs using shakuhachi for stress reduction and spiritual well-being.^[26]^[27]

Fuke as a Surname

Etymology and Distribution

The surname Fuke has multiple independent origins across different cultures. In its European form, it derives from the Norman personal name Fulco or Fulk, introduced to England following the Norman Conquest of 1066, and traces back to the Old Germanic element folc- or fulc-, meaning "people" or "tribe."^[28]^[29] This personal name was associated with nobility, such as the house of Fulco Nerra, Count of Anjou in the 10th–11th centuries, and evolved into surname variants like Fowke or Fook in Britain.^[29] In Japan, Fuke (ふけ) is a surname typically rendered in kanji as 福家, where 福 denotes "fortune," "blessing," or "luck," and 家 means "house," "home," or "family," suggesting a toponymic or house-name origin tied to regional clans.^[30] It is borne by approximately 4,900 individuals as of October 2025, primarily in prefectures such as Kagawa, Osaka, and Hokkaido.^[30] The surname is most prevalent in India, where it is borne by approximately 7,466 individuals—representing over 92% of global incidence according to one estimate—and is almost exclusively concentrated in Maharashtra, often transliterated in Marathi as फ़ुके or Hindi as फूके.^[31] Outside India, smaller populations exist in 32 countries, including 148 bearers in the United States (primarily in immigrant communities), 89 in Brazil, and 54 in England, with minimal presence in continental Europe.^[31] Historical migrations contributed to this spread: the European variant arrived in England post-1066 and later moved to North America during the 19th–20th centuries, reflected in a 740% increase in U.S. bearers from 1880 to 2014; meanwhile, intra-Indian patterns show sustained regional ties in Maharashtra without broad dispersal.^[31]^[29] Today, no single non-Indian region holds a significant concentration, underscoring the surname's primary Indian footprint alongside diaspora scattering.^[31]

Notable Individuals

Parinay Fuke (born 5 January 1981) is an Indian politician affiliated with the Bharatiya Janata Party (BJP). He has served as a member of the Maharashtra Legislative Council, representing the Bhandara-Gondiya Local Authorities constituency, with his term beginning on 6 December 2016.^[32] Fuke, who holds a PhD and an MBA, has been involved in local governance in the Bhandara-Gondiya region and was appointed as Minister of State in the Maharashtra government in 2019.^[33] In March 2025, he publicly accused opposition leaders of blackmailing rice mill owners by threatening to raise issues in the legislative assembly.^[34] In May 2025, his sister-in-law accused him of fraud and harassment, alleging inaction by state authorities.^[35] In August 2025, Fuke sparked controversy by claiming to be the "father of Shiv Sena," drawing criticism from opposition parties.^[36] Derek Fuke (1934–2025) was a British actor and writer known for his contributions to television and film. Born in Stepney, London, he appeared in the historical drama film Rob Roy (1961) and played the recurring role of Kevin in the BBC sitcom Sorry! (1981–1988), which starred Ronnie Corbett.^[37] Fuke also featured in episodes of the anthology series Centre Play (1973) and contributed to theater productions throughout his career.^[38] Kenio Fuke is a contemporary Brazilian pianist, composer, and conductor specializing in relaxing instrumental music. A native of São Paulo, he graduated from the São Paulo Dramatic and Musical Conservatory and has released albums such as Spirit of Nature and Lullaby for Baby, blending piano with natural soundscapes since the 2000s.^[39]^[40]

Other Meanings

Obsolete English Term for Cosmetic

In historical English usage, "fuke" referred to a cosmetic preparation, particularly a red dye or paint applied to artificially color the face or skin, akin to rouge.^[41] This term derives from Latin fūcus, denoting a reddish dye extracted from rock lichen or seaweed, which was used in antiquity for coloring wool or as a cosmetic; the word entered Middle English as fuke or fuike around the mid-15th century, initially carrying senses of dissimulation or red cloth before extending to facial adornment in the 17th century.^[42] It likely influenced or paralleled borrowings from Old French fard, another term for cosmetics.^[41] The word appears in English literature from the late medieval period onward, with early attestations in agricultural and moral texts rather than prominent literary works like those of Chaucer. By the 16th and 17th centuries, "fuke" was used in contexts implying disguise or enhancement, as seen in Richard Surflet's 1600 translation of Maison Rustique, where it warns, "A good Farmers wife must not be too busie with fukes," equating the cosmetic with frivolous excess.^[41] Another example from 1651 in The Hermeticall Banquet lists "Fukes" alongside other beauty aids like pomades and waters, highlighting its place in period inventories of adornments.^[41] These usages reflect a broader application in prose and treatises, often with connotations of pretense derived from the Latin root.^[42] During the Elizabethan era, such cosmetics were employed by women of higher social classes to achieve idealized pale skin accented by red cheeks, symbolizing wealth and leisure.^[43] However, "fuke" and similar preparations faced moral criticism in contemporary writings for promoting vanity and deception, with Puritan-influenced texts decrying them as tools of artificial beauty that masked natural flaws and invited divine judgment.^[44] This sentiment is echoed in proverbial advice, such as the 1600 farming admonition against overindulgence in fukes, which positioned cosmetic use as incompatible with virtuous, laborious life.^[41] By the mid-17th century, "fuke" had become obsolete, with its last recorded uses around 1651, gradually supplanted by the French-derived "rouge" that gained prominence in the 18th century for the same purpose.^[41] The Oxford English Dictionary notes no citations beyond this period, marking the term's decline amid shifting linguistic preferences for more direct borrowings from French cosmetic nomenclature.^[41]

Miscellaneous Uses

In contemporary digital media, "Fuke" serves as an artist alias or component of pseudonyms. Japanese illustrator Ryohei Fuke, professionally known as "huke," has contributed character designs to influential anime and visual novel franchises, including the character artwork for Steins;Gate (2009) and the original concept for Black Rock Shooter (2008), which spawned multiple adaptations in anime, manga, and games. In pop culture, "Fuke" appears in niche video game titles and media. Ginga Fukei Densetsu Sapphire (1995), developed by CAProduction and published by Hudson Soft for the PC Engine console, is a shoot 'em up game featuring galactic conquest themes, distinct from broader Japanese gaming franchises. Similarly, the Chinese mobile game Koudaiyaoguai Fuke (Pocket Monster Reissue, 2015) faced legal action from The Pokémon Company for intellectual property infringement; the lawsuit, filed in 2021, was won in September 2024 with damages of approximately $15 million awarded.^[45]^[46] Geographically, "Fuke" denotes minor locations in Japan unrelated to religious or cultural traditions. Fuke is a residential neighborhood in Misaki, Osaka Prefecture, with approximately 14,700 residents, situated near coastal areas and supporting local ferry services like the Fuke-Sumoto Liner.^[47] Additionally, Fuke Port facilitates maritime logistics in the region.^[48] In commercial contexts, "Fuke" prefixes niche health and beauty products, primarily in Asian markets. Fuke Zhidai Pian, a traditional Chinese patent medicine, is used to treat gynecological issues such as vaginal discharge and inflammation, with growing market adoption in herbal therapy segments post-2000.^[49] These references, including media aliases and brands, are unrelated to the shakuhachi-based musical practices of Fuke Zen.

References

[1]
History of the Komusō - The International Shakuhachi Society
The komusō belonged to a sub-sect of Rinzai Zen Buddhism called the Fuke-shū who, at their height, had many temples across Japan. The komusō wore special woven ...
[2]
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Sep 18, 2014 · ... Zen preacher from China during the 9th century. However, Fuke was a name for one of Linji Yixuang's peers, Puhua, who co-founded the sect.
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Fuke Shakuhachi has always been more than a sect, but a musical principle and a philosophical school.
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... Fuke, honorifically Fuke Zenji (lit. "Zen master Fuke")—allegedly ca. 770-840 or 860), also called P'u-k'o, and best known by his Japanese name, Fuke, was a ...
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... Fuke sect of Zen Buddhism. With this edict came a corresponding, implied musical proscription against using the shakuhachi as a tool for meditation (suizen ...
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**Summary of Content from https://www.jstor.org/stable/2384292**
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Jan 6, 2014 · ... Fukeshū [ ] or Fuke sect, a subsect of Rinzai Zen. The monks of the Fuke sect were termed komusō [ ] or 'priests of nothingness'. The first ...
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For this record set, in any case, the compositions are all very excellent. And with the better known honkyoku pieces and their superb presentation, it certainly ...Missing: revival 20th century
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Fowke : from the Middle English Anglo-Norman French personal name Folk Fulk Fuke (from Continental Germanic *folc- *fulc- 'people tribe'). Compare Foxon.
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The Fuke family name comes from the Norman personal name Fulco. The line of this name descends from the noble house of Fulco Nerra, who held the title of Count ...Fuke History · Etymology · Early Origins · Spelling Variations
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The last name Fuke (Hindi: फूके, Marathi: फ़ुके, Russian: Фуке) is more commonly found in India than any other country or territory. It may appear as: Fűke or Füke. ...
[32]
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Dr. Parinay Fuke ... (6-DEC-2016, 5-DEC-2022) BHANDARA-CUM-GONDIA- DR. PARINAY FUKE (LOCAL ... Party:BJP ... S/o|D/o|W/o: Ramesh Fuke ... Age: 35.
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Dist gets third minister as Fuke becomes MoS | Nagpur News
Jun 17, 2019 · Nagpur: Hard work done for winning the Bhandara-Gondia Lok Sabha seat for BJP has paid off for MLC Parinay Fuke (a resident of Nagpur) as he ...<|separator|>
[34]
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Mar 13, 2025 · BJP Member of the Legislative Council (MLC) Parinay Fuke has levelled serious allegations against certain Opposition members in Maharashtra, accusing them of ...
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Derek Fuke(1934-2025) - IMDb
Derek Fuke was born in 1934 in Stepney, London, England, UK. He was an actor and writer, known for Rob Roy (1961), Sorry! (1981) and Centre Play (1973).
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Derek Fuke - Biography - IMDb
Derek Fuke was born in 1934 in Stepney, London, England, UK. He was an actor and writer, known for Rob Roy (1961), Sorry! (1981) and Centre Play (1973).
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Spirit of Nature by Kenio Fuke - Album Review | MainlyPiano.com
A native of Sao Paulo, Brazil, Fuke began his music studies and training as a child on harmonica, followed by guitar, piano, and other orchestral instruments.
[38]
Kenio Fuke - Myndstream
Fuke graduated as a classical pianist, composer, and conductor. Fuke's musical compositions are filled with sensitivity and soul.
[39]
fuke, n.¹ meanings, etymology and more | Oxford English Dictionary
A cosmetic used to give an artificial colouring to the face or skin. 1600. A good Farmers wife must not be too busie with fukes [French fards] ...
[40]
Fucus - Etymology, Origin & Meaning
The word was in Middle English as fuke, fuike "dissimulation" (mid-15c.); "red woolen cloth" (late 15c.); later fucus "a paint, dye," especially for the ...Missing: cosmetic historical usage
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[PDF] Cosmetics and Whiteness in Imperial Portraits of Queen Elizabeth I
In the Elizabethan era, critics linked the application of cosmetics with ethnic stereotypes and a prejudiced disdain for foreign products and peoples.3 In.
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[PDF] COSMETICS IN SHAKESPEAREAN AND RENAISSANCE DRAMA
'3 While most critical attention to cosmetics in. Renaissance literature has focused on the moral denigration of feminine rituals of beautification, this book ...
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The Pokémon Company sues Chinese mobile game operators for ...
Sep 1, 2022 · The Japanese video game publisher is suing six Chinese companies over a mobile game called Pocket Monster Reissue, or Koudaiyaoguai Fuke.
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Fuke Map - Neighborhood - Misaki, Osaka, Japan - Mapcarta
Fuke is a neighborhood in Misaki, Sennan-gun, Osaka and has about 14,700 residents. Fuke is situated nearby to the neighborhood Inukai, as well as near Kyoshi.
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https://www.scmp.com/tech/tech-trends/article/3191000/pokemon-company-sues-chinese-mobile-game-operators-intellectual
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Fuke Zhidai Pian Market Size & Share 2025-2032
Fuke Zhidai Pian, a traditional Chinese patent medicine, has emerged as a pivotal herbal therapy addressing a spectrum of gynecological conditions including ...<|control11|><|separator|>