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Widely worshipped in Japan from the Heian period onwards, this worship led to diverse painted and sculpted images of the deity. This article is a detailed examination of the iconography and style of two paintings of Fudô, namely Fudô Myôô and Two Child Attendants handed down at Zenrinji, Kyoto, and the Fudô Myôô with Four Child Attendants handed down at Kôkiji, Osaka. Both are Japanese medieval period images of Fudô Myôô. The central iconography of Fudô Myôô flanked by two dôji (child attendants) is the same in the two paintings. The Kôkiji version with a total of four child attendants is a rare iconography which is thought to be a new iconography conceived in the medieval period. When we consider the process by which this novel iconography was created, we can see that the resemblance between the Zenrinji version and the Kôkiji version is extremely important. This article suggests the possibility that a work like the Zenrinji version was used as a model in the creation of the Kôkiji version.\n The Zenrinji version is painted in color on silk, measuring 110.6 cm tall and 40.5 cm wide. Fudô Myôô is shown in the center of the composition, flanked to left and right by two child attendants, with all three figures standing on rocks above the ocean. Fudô Myôô\u0027s left eye is half-shut, he holds a rope in his left hand and a sword in his right hand. This iconography is essentially faithful to the 19 aspects (jûkyû sôkan) considered appropriate for a Fudô Myôô image in the Heian period. Judging from other examples and the characteristics of each figure described in the sutras, the figure on the left of each version is Kongara Dôji, while that on the right is Seitaka Dôji. An examination of their stylistic features indicates that the designs painted on the garments of each deity are consistent with examples from approximately the end of the Kamakura period through the Nambokuchô period, and we can consider the Zenrinji version to date from around that time.\n The Kôkiji version is painted in color on silk, with a height of 121.0 cm and width of 57.4 cm. The darkening of the painting surface over time has meant that it is hard to discern with the naked eye, making reference to infrared photographs essential. Fudô Myôô stands in the middle of the composition, with two figures each to right and left, for a total of four child attendants. The central figure and two child attendants who stand in the right and left foreground are essentially the same iconography as the Zenrinji version. The painting style suggests that the Kôkiji painting was created around the end of the Nambokuchô to Muromachi period. However, the Zenrinji and Kôkiji versions differ in size and there are some differences in the depiction of their details, and thus it is hard to consider that there was a direct model-copy relationship. We can surmise that the Kôkiji version was based on iconography and examples similar to those seen in the Zenrinji version, with the addition of two child attendants.\n There are no examples of Fudô Myôô with four child attendants in the sutra texts, but references to four child attendants, Kongara, Seitaka, Renge and Kissho, can be found in iconography compilations by Kamakura period priests. If the two figures in the front right and left of the Kôkiji version are Kongara and Seitaka, then the figure to the left back holding a lotus flower would be Renge Dôji and the figure to the right left would be Kissho. \n A comparison of the Zenrinji and Kôkiji versions indicates that the unusual composition of Fudô and four child attendants in the Kôkiji version would have been created on the basis of existing iconography. 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研究ノート 二幅の不動明王画像―禅林寺本と高貴寺本―
https://doi.org/10.18953/00008973
https://doi.org/10.18953/00008973552e0a8c-732f-4a03-b786-98c8e25e487f
名前 / ファイル | ライセンス | アクション |
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430_27_Maizawa_Redacted (2.0 MB)
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Item type | 学術雑誌論文 / Journal Article(1) | |||||
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公開日 | 2022-03-27 | |||||
タイトル | ||||||
タイトル | 研究ノート 二幅の不動明王画像―禅林寺本と高貴寺本― | |||||
タイトル | ||||||
言語 | en | |||||
タイトル | Research Note: Two Paintings of Fudô Myôô: The Zenrinji and the Kôkiji Versions | |||||
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 | |||||
ID登録 | ||||||
ID登録 | 10.18953/00008973 | |||||
ID登録タイプ | JaLC | |||||
著者 |
米沢, 玲
× 米沢, 玲× Maizawa , Rei |
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抄録 | ||||||
内容記述タイプ | Abstract | |||||
内容記述 | Fudô Myôô was a Hindu deity adopted by Buddhism, whose fearsome aspect was aimed at assisting Dainichi Nyorai teach Buddhism to the masses . Widely worshipped in Japan from the Heian period onwards, this worship led to diverse painted and sculpted images of the deity. This article is a detailed examination of the iconography and style of two paintings of Fudô, namely Fudô Myôô and Two Child Attendants handed down at Zenrinji, Kyoto, and the Fudô Myôô with Four Child Attendants handed down at Kôkiji, Osaka. Both are Japanese medieval period images of Fudô Myôô. The central iconography of Fudô Myôô flanked by two dôji (child attendants) is the same in the two paintings. The Kôkiji version with a total of four child attendants is a rare iconography which is thought to be a new iconography conceived in the medieval period. When we consider the process by which this novel iconography was created, we can see that the resemblance between the Zenrinji version and the Kôkiji version is extremely important. This article suggests the possibility that a work like the Zenrinji version was used as a model in the creation of the Kôkiji version. The Zenrinji version is painted in color on silk, measuring 110.6 cm tall and 40.5 cm wide. Fudô Myôô is shown in the center of the composition, flanked to left and right by two child attendants, with all three figures standing on rocks above the ocean. Fudô Myôô's left eye is half-shut, he holds a rope in his left hand and a sword in his right hand. This iconography is essentially faithful to the 19 aspects (jûkyû sôkan) considered appropriate for a Fudô Myôô image in the Heian period. Judging from other examples and the characteristics of each figure described in the sutras, the figure on the left of each version is Kongara Dôji, while that on the right is Seitaka Dôji. An examination of their stylistic features indicates that the designs painted on the garments of each deity are consistent with examples from approximately the end of the Kamakura period through the Nambokuchô period, and we can consider the Zenrinji version to date from around that time. The Kôkiji version is painted in color on silk, with a height of 121.0 cm and width of 57.4 cm. The darkening of the painting surface over time has meant that it is hard to discern with the naked eye, making reference to infrared photographs essential. Fudô Myôô stands in the middle of the composition, with two figures each to right and left, for a total of four child attendants. The central figure and two child attendants who stand in the right and left foreground are essentially the same iconography as the Zenrinji version. The painting style suggests that the Kôkiji painting was created around the end of the Nambokuchô to Muromachi period. However, the Zenrinji and Kôkiji versions differ in size and there are some differences in the depiction of their details, and thus it is hard to consider that there was a direct model-copy relationship. We can surmise that the Kôkiji version was based on iconography and examples similar to those seen in the Zenrinji version, with the addition of two child attendants. There are no examples of Fudô Myôô with four child attendants in the sutra texts, but references to four child attendants, Kongara, Seitaka, Renge and Kissho, can be found in iconography compilations by Kamakura period priests. If the two figures in the front right and left of the Kôkiji version are Kongara and Seitaka, then the figure to the left back holding a lotus flower would be Renge Dôji and the figure to the right left would be Kissho. A comparison of the Zenrinji and Kôkiji versions indicates that the unusual composition of Fudô and four child attendants in the Kôkiji version would have been created on the basis of existing iconography. Given the rarity of their shared Fudô Myôô iconography, these two scrolls can be seen as art historically greatly important. |
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書誌情報 |
美術研究 en : The bijutsu kenkyu : the journal of art studies 号 430, p. 27-40, 発行日 2020-03-26 |