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D. 421 by Buddhabhadra and the “newer version” in eighty volumes translated in 699 by Śikṣānanda.\n After the translation of the scripture it became fashionable to illustrate the text in various manners. The oldest example in Japan of such illustrations noted in historical records is a large embroidered picture made in 742 by Dōji, a priest of the Daian-ji Monastery, and others, and dedicated to the same monastery. The composition of this picture was based upon the text of the “newer version,” probably following that of Chinese works of the T\u0027ang Dynasty. It is fairly imaginable that it was more or less like the illustrations found among the murals at Tun-huang.\n In 752, at the consecration Ceremony of the Great Buddha statue in the Tōdaiji Monastery at Nara, six zushi (miniature shrines) containing the scriptures of six Buddhist sects were placed in the Great Buddha Hall, which was, in effect, the main hall of the Tōdaiji. The first of these zushi was for the Kegon Sect. Its doors bore images of personnages described in the Kegon-kyō: Two Dōji (boy messengers, Fushōgon Dōji and Zenzai Dōji), Two Priests (Kaidō Biku and Kai-un Biku) and Two Guardian Gods (Shuya-jin and Shuchū-jin), painted in conformity with the descriptions in the “older version.” It seems that the custom of illustrating deities and other figures in the Kegon-kyō was continued through the Heian Period and even later. The existing examples, however, are all of the twelfth and thirteenth centuries. The Kegon-kai-e Sho-shōju Mandara owned by the Kōzan-ji and the Kegon-kai-e Zenzai Zen-chishiki Mandara in the Tōdaiji show respectively a large group of figures described in the Kegon-kyō. The personnages are arranged in a regular, geometrical fashion not unlike the maṇḍala used in Esoteric Buddhism.\n The Zenzai Zen-chishiki mandara, based on the Nyū-hokkai-bon Chapter (Ganṇ\nḍavyūha) of the Kegon-kyō, illustrates a story of Zenzai Doji (Sudhana-kumāra), in which young novice visits fifty odd Zen-chishiki (enlightened persons, either deites or humans) to learn the tenets of Kegon teaching. It shows these fifty odd figures in asingle picture.\n The story of Zenzai Dōji\u0027s pilgrimage has been much favoured since olden times. It is recorded in the Sanbō-e, written in the tenth century by Minamoto-no-Tamenori, that the Hokke-ji, a Buddhist nunnery founded in the eighth century by Empress Kōmyō, used to celebrate the Kegon-e (i. e., the Kegon Ceremony) in March : statues of Zenzai Dōji and more than fifty Zen-chishiki were arranged and draped in beautiful clothes by the nuns. Towards the end of the twelfth century when the Kegon Sect was brought to a renewed activity, which centered around the Tōdaiji in Nara and the Kāzan-ji in Kyoto, the story of the scripture came to be depicted in the form of picture scrolls convenient for handling. The scroll existing in the Tōdaiji is the most famous. It is interesting to note that the Tōdaiji owns another work on the same subject, dating from about the same time as the scroll but consisting of separate pictures mounted in frames, each depicting a scene of Zenzai Dōji\u0027s visit to one of the Zen-chishiki. Most likely it was originally in a set of fifty odd pictures, of which only ten now remain in the Tōdaiji. There are two in the possession of the Fujita Art Museum, six in the Nezu Museum, and one each in the Ōkura Shūko-kan Museum and in the Sasaki Collection; and some of them are here reproduced in colour and monochrome.\n In China there are several kinds of paintings illustrating the story of Zenzai Dōji, made in the tenth century (Sung Dynasty) and later. Of these the Wên-shu-chihnan-t\u0027u-tsan by the priest Wei Po was reproduced in wood-cut printing, and many copies of this work were imported to Japan. The framed version in the Tōdaiji does not agree with this Chinese version in the treatment of the figures, nor with the above mentioned Zenzai Zen-chishiki Mandara in the same monastery. The question arises here is to what the iconographic source of the framed version really as. 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額装本華厳五十五所絵について 上
https://tobunken.repo.nii.ac.jp/records/7027
https://tobunken.repo.nii.ac.jp/records/7027f74d5a3d-7fb8-4fcb-ad1d-4332916e4468
名前 / ファイル | ライセンス | アクション |
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173_36_Tanaka_Redacted.pdf (13.3 MB)
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Item type | 学術雑誌論文 / Journal Article(1) | |||||
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公開日 | 2016-12-27 | |||||
タイトル | ||||||
タイトル | 額装本華厳五十五所絵について 上 | |||||
タイトル | ||||||
言語 | en | |||||
タイトル | On the Framed Version of the “Kegon-gojugosho-e,” Representing the Fifty-five Localities (Visited by the Pilgrim, Sudhana-kumare) of the Gandavyuha | |||||
言語 | ||||||
言語 | jpn | |||||
キーワード | ||||||
主題Scheme | Other | |||||
主題 | 華厳五十五所絵(婆娑婆陀神・観自在菩薩・奈良 東大寺蔵)・華厳五十五所絵(妙月長者・瞿夷女・東京 根津美術館蔵)・華厳五十五所絵(弥勒菩薩・文殊師利菩薩・大阪 藤田美術館蔵) | |||||
キーワード | ||||||
言語 | en | |||||
主題Scheme | Other | |||||
主題 | On the Framed Version of the “Kegon-gojugosho-e,” Representing the Fifty-five Localities (Visited by the Pilgrim, Sudhana-kumare) of the Gandavyuha | |||||
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 |
田中, 一松
× 田中, 一松× Tanaka, Ichimatsu |
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抄録 | ||||||
内容記述タイプ | Abstract | |||||
内容記述 | The most widely used in China and Japan of the Chinese translations of the Buddhist scripture, Kegon-kyō (Avataṁsaka-sūtra), are the “older version” in sixty volumes translated in A. D. 421 by Buddhabhadra and the “newer version” in eighty volumes translated in 699 by Śikṣānanda. After the translation of the scripture it became fashionable to illustrate the text in various manners. The oldest example in Japan of such illustrations noted in historical records is a large embroidered picture made in 742 by Dōji, a priest of the Daian-ji Monastery, and others, and dedicated to the same monastery. The composition of this picture was based upon the text of the “newer version,” probably following that of Chinese works of the T'ang Dynasty. It is fairly imaginable that it was more or less like the illustrations found among the murals at Tun-huang. In 752, at the consecration Ceremony of the Great Buddha statue in the Tōdaiji Monastery at Nara, six zushi (miniature shrines) containing the scriptures of six Buddhist sects were placed in the Great Buddha Hall, which was, in effect, the main hall of the Tōdaiji. The first of these zushi was for the Kegon Sect. Its doors bore images of personnages described in the Kegon-kyō: Two Dōji (boy messengers, Fushōgon Dōji and Zenzai Dōji), Two Priests (Kaidō Biku and Kai-un Biku) and Two Guardian Gods (Shuya-jin and Shuchū-jin), painted in conformity with the descriptions in the “older version.” It seems that the custom of illustrating deities and other figures in the Kegon-kyō was continued through the Heian Period and even later. The existing examples, however, are all of the twelfth and thirteenth centuries. The Kegon-kai-e Sho-shōju Mandara owned by the Kōzan-ji and the Kegon-kai-e Zenzai Zen-chishiki Mandara in the Tōdaiji show respectively a large group of figures described in the Kegon-kyō. The personnages are arranged in a regular, geometrical fashion not unlike the maṇḍala used in Esoteric Buddhism. The Zenzai Zen-chishiki mandara, based on the Nyū-hokkai-bon Chapter (Ganṇ ḍavyūha) of the Kegon-kyō, illustrates a story of Zenzai Doji (Sudhana-kumāra), in which young novice visits fifty odd Zen-chishiki (enlightened persons, either deites or humans) to learn the tenets of Kegon teaching. It shows these fifty odd figures in asingle picture. The story of Zenzai Dōji's pilgrimage has been much favoured since olden times. It is recorded in the Sanbō-e, written in the tenth century by Minamoto-no-Tamenori, that the Hokke-ji, a Buddhist nunnery founded in the eighth century by Empress Kōmyō, used to celebrate the Kegon-e (i. e., the Kegon Ceremony) in March : statues of Zenzai Dōji and more than fifty Zen-chishiki were arranged and draped in beautiful clothes by the nuns. Towards the end of the twelfth century when the Kegon Sect was brought to a renewed activity, which centered around the Tōdaiji in Nara and the Kāzan-ji in Kyoto, the story of the scripture came to be depicted in the form of picture scrolls convenient for handling. The scroll existing in the Tōdaiji is the most famous. It is interesting to note that the Tōdaiji owns another work on the same subject, dating from about the same time as the scroll but consisting of separate pictures mounted in frames, each depicting a scene of Zenzai Dōji's visit to one of the Zen-chishiki. Most likely it was originally in a set of fifty odd pictures, of which only ten now remain in the Tōdaiji. There are two in the possession of the Fujita Art Museum, six in the Nezu Museum, and one each in the Ōkura Shūko-kan Museum and in the Sasaki Collection; and some of them are here reproduced in colour and monochrome. In China there are several kinds of paintings illustrating the story of Zenzai Dōji, made in the tenth century (Sung Dynasty) and later. Of these the Wên-shu-chihnan-t'u-tsan by the priest Wei Po was reproduced in wood-cut printing, and many copies of this work were imported to Japan. The framed version in the Tōdaiji does not agree with this Chinese version in the treatment of the figures, nor with the above mentioned Zenzai Zen-chishiki Mandara in the same monastery. The question arises here is to what the iconographic source of the framed version really as. It is the writer's intention to discuss this matter in the next issue. |
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書誌情報 |
美術研究 en : The bijutsu kenkyu : the journal of art studies 号 173, p. 36-43, 発行日 1954-03-30 |