WEKO3
アイテム
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This article discusses how the Kanshinji image, along with the Five Seated Kokuzô Bosatsu (Akasagarbha) images at Jingoji, the Seated Amida Nyorai (Amitatathagata) image in the lecture hall at Kôryûji and the Standing Eleven-Headed Kan’non Bosatsu (Ekadasamukha avalokitesvara bodhisattva) image at Hôkkeji can be considered works that display the style of the Jôwa era (834–848). A comparison of this group of works with the set of five styles of Seated Bosatsu (Bodhisattva) images in the lecture hall at Tôji, which deeply reflect the classical style of the Tempyô and later eras, indicates the fact that while there is almost no difference in their dates of production, they were clearly created in a different style. We might then ask why these stylistic differences. As preparation for a consideration of this question, this article considers the production period and background of the Kanshinji work. Nishikawa Shiji has previously provided a splendid explanation of this work. However, due to the dearth of documentary materials regarding this work, Nishikawa’s discussion includes a number of hypotheses. This article aims to take up Nishikawa’s discussion and hopes to advance it from the stance of Japanese history studies with their understanding of the handling of documentary materials.\n In 9th century Japan, there were the following three types of temples that were operated and funded by the nation: (1) Daiji (temples founded and operated by the national government, the majority of these were established during the Nara period and were limited to the Kinai region); (2) Kokubunji and Kokubun’niji (provincial temples for monks and nuns, founded upon an edict by Emperor Shômu in the Nara period, with the aim of furthering Buddhist worship in their domains); and (3) Jogakuji (first established by individuals as “private temples,” these temples later came under the management and funding of the national government).\n Kanshinji was established in Jôwa 3 (836) as a “private temple,” and was made a “Jogakuji” in Jôgan 11 (869), when the national government took over management and funding of the temple. However, during the period when it was still being run as a private temple, in Jôwa 10 (843), a bettô was established by the national government for the temple as its building manager. Normally a bettô was established to build a hall of a temple after a private temple had become a Jogakuji temple receiving the management and funding of the nation. However, in the case of Kanshinji, the national government established a bettô at the stage of its being a small “private temple.” This was an extremely unusual event. This meant that in Jôwa 10, the nation built and administered some building at this small “private temple.” What was that building? To the extent known from contemporary historical documents, there is only one possible answer to this question. This is the Gogandô commissioned by Kachiko Taikôtaigô (the empress of Emperor Saga). In other words, the building of the Gogandô at Kanshinji can be understood to have been fully begun in 843 when the bettô was established for the temple. The inventory of Kanshinji’s assets produced in Gangyô 7 (883) does not list a building named “Gogandô.” However, judging from the Buddhist implements preserved in each building of the temple and other materials, the kôdô (lecture hall) listed in this inventory can be considered to be this Gogandô.\n Then we might ask, what was the main worship image for this Gogandô when it was first built. Judging from the inventory, there are three possible sculptures that fit this role. The Golden Butsugenbutsumo Nyorai (Buddhalocana tathagatha) image, Golden Miroku Nyorai (Maitreya tathagatha), and the Nyoirin Bosatsu image discussed here. The discussion below follows Nishikawa’s discussion of the work. In other words, the Golden Butsugenbutsumo Nyorai and the Golden Miroku Nyorai are both in the style of works that postdate the Jôwa era. Thus, the Nyoirin Bosatsu is the only work that stylistically would be suitable as the central worship image in the Gogandô when it was built in 843.\n Hence we can understand that production of this work was either begun in 843 or substantially done by that date.\n However, we can ask the question, why did Kachiko Taikôtaigô establish the Gogandô at Kanshinji. Kachiko was famous at the time as a major donor to the Buddhist Shingon sect. On the other hand, a Shingon priest named Shinshô founded Kanshinji. From the 11th month of 843 Shinshô was seconded to the Imperial Palace, and assigned the job of praying for the health of Emperor Ninmyô (the child born to Emperor Saga and Kachiko). This was just at the time that the bettô was established for Kanshinji. In other words, the opportunity for the establishment of the bettô for Kanshinji and the creation of the Gogandô can be seen as Shinshô’s secondment to the Imperial Palace and his prayers for the emperor’s health.\n Previously it has been surmised that Kachiko established the Gogandô at Kanshinji in order to pray for the recovery of her husband retired Emperor Saga or in his memory. However, given that Emperor Saga died in Jôwa 9 (842), the theory regarding prayers for his recovery cannot be substantiated. Further, Retired Emperor Saga left a will that strictly warned against memorial offerings. Thus we cannot imagine that Kachiko would have defied his intentions by building the Gogandô as a memorial offering.\n However, according to research on the familial structures of the 9th century, we understand that at the time the emperor’s mother had an extremely close relationship with her son. And, Emperor Ninmyô was sickly from childhood. Further, Kanshinji was the temple built by Shinshô who had prayed for the health of the emperor. Considering these factors together, at this point it would seem most appropriate to consider that Kachiko’s Gogandô was built to pray for the health of Emperor Ninmyô.", "subitem_description_type": "Abstract"}]}, "item_creator": {"attribute_name": "著者", "attribute_type": "creator", "attribute_value_mlt": [{"creatorNames": [{"creatorName": "佐藤, 全敏"}], "nameIdentifiers": [{"nameIdentifier": "27886", "nameIdentifierScheme": "WEKO"}]}, {"creatorNames": [{"creatorName": "Sato, Masatoshi", "creatorNameLang": "en"}], "nameIdentifiers": [{"nameIdentifier": "27887", "nameIdentifierScheme": "WEKO"}]}]}, "item_files": {"attribute_name": "ファイル情報", "attribute_type": "file", "attribute_value_mlt": [{"accessrole": "open_date", "date": [{"dateType": "Available", "dateValue": "2017-10-05"}], "displaytype": "detail", "download_preview_message": "", "file_order": 0, "filename": "413_1_Satou_Redacted.pdf", "filesize": [{"value": "1.9 MB"}], "format": "application/pdf", "future_date_message": "", "is_thumbnail": false, "licensetype": "license_11", "mimetype": "application/pdf", "size": 1900000.0, "url": {"label": "413_1_Satou_Redacted.pdf", "url": "https://tobunken.repo.nii.ac.jp/record/6068/files/413_1_Satou_Redacted.pdf"}, "version_id": "cb8a67f9-6b97-4f92-96c5-77771baaf43b"}]}, "item_language": {"attribute_name": "言語", "attribute_value_mlt": [{"subitem_language": "jpn"}]}, "item_resource_type": {"attribute_name": "資源タイプ", "attribute_value_mlt": [{"resourcetype": "journal article", "resourceuri": "http://purl.org/coar/resource_type/c_6501"}]}, "item_title": "観心寺如意輪観音像 再考", "item_titles": {"attribute_name": "タイトル", "attribute_value_mlt": [{"subitem_title": "観心寺如意輪観音像 再考"}, {"subitem_title": "A Reconsideration of the Seated Nyoirin Kan’non Bosatsu (Cakravarticintamani avalokitesvara bodhisattava) at Kanshinji", "subitem_title_language": "en"}]}, "item_type_id": "10001", "owner": "3", "path": ["959"], "permalink_uri": "https://tobunken.repo.nii.ac.jp/records/6068", "pubdate": {"attribute_name": "公開日", "attribute_value": "2017-10-05"}, "publish_date": "2017-10-05", "publish_status": "0", "recid": "6068", "relation": {}, "relation_version_is_last": true, "title": ["観心寺如意輪観音像 再考"], "weko_shared_id": 3}
観心寺如意輪観音像 再考
https://tobunken.repo.nii.ac.jp/records/6068
https://tobunken.repo.nii.ac.jp/records/60689166d272-99ab-4231-ac5c-c12eaa63797f
名前 / ファイル | ライセンス | アクション |
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413_1_Satou_Redacted.pdf (1.9 MB)
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Item type | 学術雑誌論文 / Journal Article(1) | |||||
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公開日 | 2017-10-05 | |||||
タイトル | ||||||
タイトル | 観心寺如意輪観音像 再考 | |||||
タイトル | ||||||
言語 | en | |||||
タイトル | A Reconsideration of the Seated Nyoirin Kan’non Bosatsu (Cakravarticintamani avalokitesvara bodhisattava) at Kanshinji | |||||
言語 | ||||||
言語 | jpn | |||||
資源タイプ | ||||||
資源タイプ識別子 | http://purl.org/coar/resource_type/c_6501 | |||||
資源タイプ | journal article | |||||
著者 |
佐藤, 全敏
× 佐藤, 全敏× Sato, Masatoshi |
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抄録 | ||||||
内容記述タイプ | Abstract | |||||
内容記述 | The Nyoirin Kan’non sculpture at Kanshinji is renowned as a superb example of early Heian period Buddhist sculpture. This article discusses how the Kanshinji image, along with the Five Seated Kokuzô Bosatsu (Akasagarbha) images at Jingoji, the Seated Amida Nyorai (Amitatathagata) image in the lecture hall at Kôryûji and the Standing Eleven-Headed Kan’non Bosatsu (Ekadasamukha avalokitesvara bodhisattva) image at Hôkkeji can be considered works that display the style of the Jôwa era (834–848). A comparison of this group of works with the set of five styles of Seated Bosatsu (Bodhisattva) images in the lecture hall at Tôji, which deeply reflect the classical style of the Tempyô and later eras, indicates the fact that while there is almost no difference in their dates of production, they were clearly created in a different style. We might then ask why these stylistic differences. As preparation for a consideration of this question, this article considers the production period and background of the Kanshinji work. Nishikawa Shiji has previously provided a splendid explanation of this work. However, due to the dearth of documentary materials regarding this work, Nishikawa’s discussion includes a number of hypotheses. This article aims to take up Nishikawa’s discussion and hopes to advance it from the stance of Japanese history studies with their understanding of the handling of documentary materials. In 9th century Japan, there were the following three types of temples that were operated and funded by the nation: (1) Daiji (temples founded and operated by the national government, the majority of these were established during the Nara period and were limited to the Kinai region); (2) Kokubunji and Kokubun’niji (provincial temples for monks and nuns, founded upon an edict by Emperor Shômu in the Nara period, with the aim of furthering Buddhist worship in their domains); and (3) Jogakuji (first established by individuals as “private temples,” these temples later came under the management and funding of the national government). Kanshinji was established in Jôwa 3 (836) as a “private temple,” and was made a “Jogakuji” in Jôgan 11 (869), when the national government took over management and funding of the temple. However, during the period when it was still being run as a private temple, in Jôwa 10 (843), a bettô was established by the national government for the temple as its building manager. Normally a bettô was established to build a hall of a temple after a private temple had become a Jogakuji temple receiving the management and funding of the nation. However, in the case of Kanshinji, the national government established a bettô at the stage of its being a small “private temple.” This was an extremely unusual event. This meant that in Jôwa 10, the nation built and administered some building at this small “private temple.” What was that building? To the extent known from contemporary historical documents, there is only one possible answer to this question. This is the Gogandô commissioned by Kachiko Taikôtaigô (the empress of Emperor Saga). In other words, the building of the Gogandô at Kanshinji can be understood to have been fully begun in 843 when the bettô was established for the temple. The inventory of Kanshinji’s assets produced in Gangyô 7 (883) does not list a building named “Gogandô.” However, judging from the Buddhist implements preserved in each building of the temple and other materials, the kôdô (lecture hall) listed in this inventory can be considered to be this Gogandô. Then we might ask, what was the main worship image for this Gogandô when it was first built. Judging from the inventory, there are three possible sculptures that fit this role. The Golden Butsugenbutsumo Nyorai (Buddhalocana tathagatha) image, Golden Miroku Nyorai (Maitreya tathagatha), and the Nyoirin Bosatsu image discussed here. The discussion below follows Nishikawa’s discussion of the work. In other words, the Golden Butsugenbutsumo Nyorai and the Golden Miroku Nyorai are both in the style of works that postdate the Jôwa era. Thus, the Nyoirin Bosatsu is the only work that stylistically would be suitable as the central worship image in the Gogandô when it was built in 843. Hence we can understand that production of this work was either begun in 843 or substantially done by that date. However, we can ask the question, why did Kachiko Taikôtaigô establish the Gogandô at Kanshinji. Kachiko was famous at the time as a major donor to the Buddhist Shingon sect. On the other hand, a Shingon priest named Shinshô founded Kanshinji. From the 11th month of 843 Shinshô was seconded to the Imperial Palace, and assigned the job of praying for the health of Emperor Ninmyô (the child born to Emperor Saga and Kachiko). This was just at the time that the bettô was established for Kanshinji. In other words, the opportunity for the establishment of the bettô for Kanshinji and the creation of the Gogandô can be seen as Shinshô’s secondment to the Imperial Palace and his prayers for the emperor’s health. Previously it has been surmised that Kachiko established the Gogandô at Kanshinji in order to pray for the recovery of her husband retired Emperor Saga or in his memory. However, given that Emperor Saga died in Jôwa 9 (842), the theory regarding prayers for his recovery cannot be substantiated. Further, Retired Emperor Saga left a will that strictly warned against memorial offerings. Thus we cannot imagine that Kachiko would have defied his intentions by building the Gogandô as a memorial offering. However, according to research on the familial structures of the 9th century, we understand that at the time the emperor’s mother had an extremely close relationship with her son. And, Emperor Ninmyô was sickly from childhood. Further, Kanshinji was the temple built by Shinshô who had prayed for the health of the emperor. Considering these factors together, at this point it would seem most appropriate to consider that Kachiko’s Gogandô was built to pray for the health of Emperor Ninmyô. |
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書誌情報 |
美術研究 en : The bijutsu kenkyu : the journal of art studies 号 413, p. 1-18, 発行日 2014-10-24 |