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聖衆来迎寺本「六道絵」と如法経供養の儀礼空間－閻魔堂建築から「閻魔王庁幅」への中世的展開－
https://doi.org/10.18953/00009203
https://doi.org/10.18953/00009203d3e4bb95-8c43-47c2-a49f-ed207d41ebff
| 名前 / ファイル | ライセンス | アクション |
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438号 pp.21-40 (1.1 MB)
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| Item type | 学術雑誌論文 / Journal Article(1) | |||||||||
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| 公開日 | 2025-02-28 | |||||||||
| タイトル | ||||||||||
| タイトル | 聖衆来迎寺本「六道絵」と如法経供養の儀礼空間－閻魔堂建築から「閻魔王庁幅」への中世的展開－ | |||||||||
| タイトル | ||||||||||
| タイトル | The Six Realms Paintings (Rokudô-e) of Shôjuraigôji and the Ritual Space for Nyohokyo Offerings: A Medieval Transformation from Enma-dô Structures to the Hanging Scroll of King Enma’s Court | |||||||||
| 言語 | en | |||||||||
| 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 | 10.18953/00009203 | |||||||||
| ID登録タイプ | JaLC | |||||||||
| 著者 |
山本, 聡美
× 山本, 聡美
× Yamamoto, Satomi
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| 抄録 | ||||||||||
| 内容記述タイプ | Abstract | |||||||||
| 内容記述 | The Shôjuraigôji version Six Realms Paintings (rokudô-e,referred to here as the Shôjuraigôji version) consists of 15 hanging scrolls. Twelve of the scrolls depict the Six Realms of the illusory world, namely hell, the realm of hungry demons, realm of animals, asura, humans, and gods. Two of the scrolls depict how reciting the nembutsu incantation saves one from descending into hell. One scroll depicts souls being judged by Enma, King of the Afterworld. In terms of dating, inscriptions from the first restoration on the hanging scroll’s old roller bar suggests that they were made no later than that inscription’s date of 1313 (Shôwa 2), and, in general, sometime during the latter half of the 13th century.Poem square (shikishi) shaped cartouches set off in the upper section of each hanging scroll present inscriptions that are primarily based on the Ôjô yôshû, compiled and annotated by the Tendai priest Genshin (942-1017) in 985 (Kanna 1) at Shuryôgon’in on Mt. Hiei. The painting contents are similarly based in general on this source. The previously mentioned restoration inscription noted the provenance of these scrolls, indicating that they were the sacred treasure of Yokawa Ryôzen’in. This further deepens the connection between this work and Yokawa, which can be considered the sacred site of Ôjô yôshû’s compilation. However, the influence from this source varies from scroll to scroll, from roughly to intricately influenced. In particular, there is considerable divergence in terms of both the poem square inscriptions and the painting contents between those seen on the four Suffering in the Human Realm scrolls and the one King Enma’s Court scroll.In a previous article on the King Enma’s Court scroll, I clarified that the text of the poem square inscription on this scroll was edited from a broad survey of texts related to Enmaten and Enma-ô. I also clarified that the painting composition was based on the Enmaten Mandala of the Eleven Deities type which was distributed by the Shingon sect, with the addition of iconography related to the various kings of the afterworld as seen in the Ningbo lineage Ten Kings iconography and the Ten Kings Sutra excavated at Dunhuang. Further, regarding the Suffering in the Human Realm scrolls, recently Abe Mika has newly introduced three different types of transcriptions, namely the Ninnaji version Rokudôshaku, the Shôren’in version Rokudô kôshiki, and the Tosotsudani version Rokudôshiki. In particular, we can discern a close connection between the main text of the Ninnaji version and the poem square inscription texts and painting contents of the Shôjuraigôji version Suffering in the Human Realm scrolls.In this manner the Shôjuraigôji version used as its starting point the samvega concept of escaping the suffering of samsara and turning to the worship of Enmaten (Enma-ô, King Enma), as the central worship image of rites known in Shingon as enma tenku, and in Tendai, as Myôdôku. These rites prayed for benefits in the real world, namely protection from calamity, longevity, protection from illness, and safe birth. These paintings were formulated by using this basis and then further layering on prayers for rebirth in Pure Land paradise through the intervention of the Nijûgozanmaie rites. In other words, these paintings are large-format hanging scroll paintings created against a backdrop of Esoteric Buddhist style Pure Land worship. This fact further suggests the nature of the place where these paintings would have been used when they were produced.Based on the above state of research, in this article I reconsider the production aims of the Shôjuraigôji version in terms of the actual religious nature of the place called Yokawa Ryôzen’in, where this version was handed down. After presenting an overview recent studies about the Shôjuraigôji version in Chapter 1, in Chapter 2 I also survey the textual research on Enma Hall, mainly compiled by Abe Mika. Then, in Chapter 3, I position the Shôjuraigôji version within the lineage of Enma-dô structures built in various regions of medieval Japan. By decree of Emperor Toba (1103-56), an Enmatendô was built at Anrakujuin in 1140 (Hôen 6). Influenced by this structure, in 1223 (Jôô 2), Sen’yômon’in Kinshi (1181-1252) commissioned the building of the Enmadô at Daigoji, and thus determined the trend towards linking Esoteric Buddhist Enmaten with Pure Land beliefs. In particular, influence from the Daigoji Enmadô spread widely through the Kamakura period, and sacred precincts representing hell or the afterlife were built in various regions. The Shôjuraigôji version was produced within such trends. Here I discuss this process through an examination of the iconographic composition of all 15 scrolls in the set.Finally, in Chapter 4, I turn my attention to Yokawa Ryôzen’in. When Genshin founded Ryôzen’in, it had an image of Sakyamuni as its central worship image, and was a site for sermons on and discussion of the Lotus Sutra. Then, I focus on how, in the 13th century, Ryôzen’in occupied an important place as a sacred site for sutra transcription and memorial services. I consider how Ryôzen’in was linked with the Nijûgozanmaie rites carried out at Kedai’in, which had built at Yokawa during Genshin’s time as the pair for Ryôzen’in. Through these considerations, I position the Shôjuraigôji version as the fusion of Exoteric Buddhism and Esoteric Buddhism, and Pure Land belief systems that occurred during medieval Pure Land worship. In Chapter 4, I note how Enma is often positioned as the supervisor of beneficence in historical sources related to medieval Nyohokyo offerings, and focus on the fact that the rebirth destination for those who recite the nembutsu is Toriten (Trayastrimsa Heaven) as depicted in the Karmic Merit of Nenbutsu Recitation as Explained in the Sutra of Precepts for Laymen scroll of the Shôjuraigôji version. Thus, I discuss the possibility that the Shôjuraigôji version was created in close connection to the Nyohokyo offerings and memorial offerings conducted at Ryôzen’in.Through these various observations, in this article I clarify the following two points about the Shôjuraigôji version. First, this set of paintings was created with the aim of prayers for peace and wellbeing in this world and the afterlife through a linking of Esoteric Buddhist worship of Enmaten with Pure Land rebirth worship. In contrast to previous studies that have examined the composition of the fifteen scrolls based on the Ôjô yôshû while also recognizing their partial inconsistency with the Ôjô yôshû, this paper offers the concept that the fifteen scrolls were used with the King Enma’s Court scroll as the central deity. Second, the production of this painting was closely connected to the 13th century situation in Yokawa, namely the revival of the Nijûgozanmaie rituals at Kedai’in and the revival of Ryôzen’in as the locus for Nyohokyo offerings and memorial services. A sense of the multi-layered nature of medieval Pure Land belief systems that incorporated conventional and esoteric teachings and rituals is reiterated by these findings. Thus, we can say that further room remains for deepening our understanding and interpretation of the Shôjuraigôji version as a representative artistic example of this multilayered nature. | |||||||||
| 書誌情報 |
美術研究 en : The bijutsu kenkyu : the journal of art studies 号 438, p. 21-40, 発行日 2023-02-28 |
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