WEKO3
アイテム
高麗の阿弥陀画像と普賢行願品
https://tobunken.repo.nii.ac.jp/records/6221
https://tobunken.repo.nii.ac.jp/records/6221eec847a0-2593-49dd-b5f6-dba4fff6e498
| 名前 / ファイル | ライセンス | アクション |
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362_1_Ide_Redacted.pdf (42.7 MB)
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| アイテムタイプ | 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 | 高麗の阿弥陀画像と普賢行願品 | |||||||||
| タイトル | ||||||||||
| タイトル | A Koryo Painting of Amida and the Fugen Gyogan-bon | |||||||||
| 言語 | en | |||||||||
| 言語 | ||||||||||
| 言語 | jpn | |||||||||
| キーワード | ||||||||||
| 主題Scheme | Other | |||||||||
| 主題 | 阿弥陀如来図（至元二十三年銘）・阿弥陀如来図（香川 萩原寺蔵）廉承益・法華経信仰・華厳信仰 | |||||||||
| キーワード | ||||||||||
| 言語 | en | |||||||||
| 主題Scheme | Other | |||||||||
| 主題 | Amida Nyorai (Amitabha) / Amida Nyorai (Amitabha), Hagiwaradera, Kagawa | |||||||||
| 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 |
井手, 誠之輔
× 井手, 誠之輔
× Ide, Seinosuke
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| 抄録 | ||||||||||
| 内容記述タイプ | Abstract | |||||||||
| 内容記述 | The painting of the Buddha Amida formerly in the Shimazu collection with an inscribed date of Zhiyuan 23 (King Chung Yeul 12,1286) is known today as one of the finest examples Koryo Buddhist painting that can be dated as far back as the thirteenth century. This work has attracted the interest of scholars with its unusual iconography of a human-scale Amida that stands on fully opened lotus leaf in a lotus pond and seems to beckon toward the viewer. The goal of the present article is through a thorough examination of the Buddhist prayer inscribed on the painting, to clarify the nature of the Amidist faith of the people associated with the production of the painting. It is also the aim of this article to consider the meaning of the painted image, and what kind of Buddhist ideology the painting embodies. Lastly, this essay seeks to investigate the question of what sort of religious ritual provided the context for the painting's appreciation. (1) Following the inscription on the painting by the high-ranking monk Jo Hae, it is evident that in the fifth month of the twelfth year of King Chung Yeul's reign (1286), the retainer Yeum Sung ik ordered the painting made to pray for the eternal good fortune of King Chung Yeul and Won Sung (a princess), and so that Yeum Sung ik would not experience hardship, and at the end of his life encounter no difficulties, he should have the image of Amida before his very eyes and be welcomed into Amida's Pure Land Paradise. (2) The gāthā of four lines of seven syllables each that comprises the inscription is taken from the Fugen Gyōgan-bon, chapter 40 of the forty-chapter version of the Kegon Sutra (798). The fortychapter version of the Kegon Sutra differs in content from its predecessors, the versions of the Kegon Sutra in sixty and eighty chapters. In the Fugen Gyōgan-bon the Pure Land Paradise of Amida is located at the entrance to the Kegon Paradise. Through belief in the Fugen Gyōgan-bon one is welcomed into the Pure Land Paradise at death and receives Buddha-nature from Amida as a result of the merits attained through practice of Fugen's bodhisattva-vow. The Fugen Gyōgan-bon also teaches that after rebirth as a buddha, one travels to the Kegon World and aids all living beings. The reason patron Yeum Sung ik quotes this paticular gāthā lies in his fervent belief in which he regarded his own wish for rebirth in Paradise to be a part of the goals of self-completion and saving other living beings that make up the bodhisattva's vow. Yeum Sung ik's beliefs follow those of Ui Sang and Won Hyo of Silla, and Kun Yeu and Ui Chun of Koryo, in that they also illustrate the special nature of Koryo Buddhism, which places special emphasis on Kegon Philosophy. (3) I would like to offer the following interpretation as an alternative to the previously held explanation that the painting formerly in the Shimazu collection represents the Buddha Amida beckoning the devotee to the Pure Land Paradise. It is rather to the Kegon Paradise, which contains the Pure Land Paradise, to which Amida gestures, summoning the devotee to be reborn on the lotus platform on his right hand into the Buddha realm, and be enveloped by Amida's limitless light. The special characteristics apparent in the work's spatial expression, in which deity is shown life-size, are related to repentence ceremonies of the Fugen Gyōgan-bon. The painting of Amida formerly in the Shimazu collection, which is based not on Pure Land scriptures but on Kegon Philosophy, is a masterpiece that reflects the particular nature of Koryo Kegon Buddhism. It also can be cleary distinguished from paintings of Amida in the raigo-zu format from the fourteenth century onwards. In other words, the Amida painting formerly in the Shimazu collection is an apogee of late thirteenth century Koryo painting. |
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| 書誌情報 |
美術研究 en : The bijutsu kenkyu : the journal of art studies 号 362, p. 1-32, 発行日 1995-03-30 |
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