WEKO3
アイテム
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The author dealt with documents recently discovered inside the body of the main image which have conclusively show the date of its production to be the twelfth century. She considers that the main image was made by sculptors of the capital region and the other images are earlier works made locally.\n In the present number, she discusses the problems of how this type of image, which has been called Zaō Gongen since the tenth century is treated in the early Buddhist iconographical books and Buddhist scriptures, and how they are titled in such writings.\n Zaō Gongen statues were made as main images for the belief called Shugendo whose first emergence presumably took place in the seventh century. Its iconographical problems should be discussed from two viewpoints, one, its iconographical feature, the other, the origin of its name.\n It may have taken its from in imitation of Shūkongōshin (Skt. Vajra-dhara) type and paired Vajra-dhara type which are the protectors of Buddhism. If we look for similar forms in the scriptures and iconographical books of Esoteric Buddhism newly brought from China in the ninth century, we find the image of Kongō Dōji. Many of the sets of scriptures brought by Kūkai and others from China include Shōkani-funnu-kongodōji-bosatsu-jōju-giki (Ch. Shêng-chia-ni-fên-nu-chin-kangt\u0027ung-tsu-p\u0027u-ch\u0027êng-chiu-z-kuei) which refers to the image of Kongō Dōji. And among the Buddhist sculptures brought back by Priest Engyō from T\u0027ang China a statue of Kongō Dōji is included. Not only that, but it is one of the deities in the Garbhadhātu Maṇḍala.\n The origin of its name is not clear, but in scriptures brought from China in the eighth and ninth ceuturies a deity with a similar name, Kongō Zaō (Skt. Așțôttarasatabhuja-vajra-dhara), is mentioned. 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蔵王権現像と金剛童子像
https://tobunken.repo.nii.ac.jp/records/6699
https://tobunken.repo.nii.ac.jp/records/6699cc3cb9db-483d-433a-adfa-d2f9a89e1501
Item type | 学術雑誌論文 / Journal Article(1) | |||||
---|---|---|---|---|---|---|
公開日 | 2017-10-05 | |||||
タイトル | ||||||
タイトル | 蔵王権現像と金剛童子像 | |||||
タイトル | ||||||
言語 | en | |||||
タイトル | Statues of Zao Gongen and Kongo Doji | |||||
言語 | ||||||
言語 | jpn | |||||
キーワード | ||||||
主題Scheme | Other | |||||
主題 | 蔵王権現像・同胎内納入文書(仁安三年銘・鳥取 三仏寺蔵)・蔵王権現像(京都 広隆寺蔵)・蔵王権現像(静岡 佐野美術館蔵)・蔵王権現像(東京 高木正氏蔵)・蔵王権現像(東京 加住御嶽神社蔵) | |||||
キーワード | ||||||
言語 | en | |||||
主題Scheme | Other | |||||
主題 | Statue of Zao Gongen, The Koryuji, Kyoto / Statue of Zao Gongen, Sano Art Museum, Shizuoka / Statue of Zao Gongen, Owned by Mr. Takagi Tadashi, Tokyo / Statue of Zao Gongen, The Kasumi-Mitake Shrine, Tokyo | |||||
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 | |||||
アクセス権 | ||||||
アクセス権 | metadata only access | |||||
アクセス権URI | http://purl.org/coar/access_right/c_14cb | |||||
著者 |
猪川, 和子
× 猪川, 和子× Ikawa, Kazuko |
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抄録 | ||||||
内容記述タイプ | Abstract | |||||
内容記述 | In No. 251 of this journal the author discussed the statue of Zao Gongen in the Sambutsuji, Tottori Prefecture, referring to the main image and the six other Zaō Gongen statues of the temple. The author dealt with documents recently discovered inside the body of the main image which have conclusively show the date of its production to be the twelfth century. She considers that the main image was made by sculptors of the capital region and the other images are earlier works made locally. In the present number, she discusses the problems of how this type of image, which has been called Zaō Gongen since the tenth century is treated in the early Buddhist iconographical books and Buddhist scriptures, and how they are titled in such writings. Zaō Gongen statues were made as main images for the belief called Shugendo whose first emergence presumably took place in the seventh century. Its iconographical problems should be discussed from two viewpoints, one, its iconographical feature, the other, the origin of its name. It may have taken its from in imitation of Shūkongōshin (Skt. Vajra-dhara) type and paired Vajra-dhara type which are the protectors of Buddhism. If we look for similar forms in the scriptures and iconographical books of Esoteric Buddhism newly brought from China in the ninth century, we find the image of Kongō Dōji. Many of the sets of scriptures brought by Kūkai and others from China include Shōkani-funnu-kongodōji-bosatsu-jōju-giki (Ch. Shêng-chia-ni-fên-nu-chin-kangt'ung-tsu-p'u-ch'êng-chiu-z-kuei) which refers to the image of Kongō Dōji. And among the Buddhist sculptures brought back by Priest Engyō from T'ang China a statue of Kongō Dōji is included. Not only that, but it is one of the deities in the Garbhadhātu Maṇḍala. The origin of its name is not clear, but in scriptures brought from China in the eighth and ninth ceuturies a deity with a similar name, Kongō Zaō (Skt. Așțôttarasatabhuja-vajra-dhara), is mentioned. In the tenth century the terms Kongō Zaō and Zao Gongen are used interchangeably, and Kakuzenshō, a twelfth century book of Buddhist iconography, states that Shūkongōshin, Kongō Dōji and Kongō Zaō are all the same. Thus it becomes clear that the Zaō Gongen type of statue is connected with the Kongō Dōji type, and it shows that the main object of worship in the Shugendō belief, which developed outside the main current of Buddhism, also was intimately related to Buddhist scriptures and iconographical books. The wooden statues of Zaō Gongen, which are introduced in the present paper, are in the posession of the Kōryūji, Kyōto, Sano Art Museum, Shizuoka, Gofukuji, Nagano, Kasumi-Mitake Shrine, Tokyo, all of which date to the eleventh and twelfth centuries, and additional examples. |
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書誌情報 |
美術研究 en : The bijutsu kenkyu : the journal of art studies 号 252, p. 1-12, 発行日 1968-03-25 |