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Honen's Senchaku Doctrine and His Artistic Agenda |
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| 著者 |
Kanda, Fusae C.
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| 掲載誌 |
Japanese Journal of Religious Studies
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| 巻号 | v.31 n.1 |
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| 出版年月日 | 2004 |
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| ページ | 3 - 27 |
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| 出版者 | Nanzan Institute for Religion and Culture=南山宗教文化研究所 |
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| 出版サイト |
http://nirc.nanzan-u.ac.jp/en/
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| 出版地 | 名古屋, 日本 [Nagoya, Japan] |
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| 資料の種類 | 期刊論文=Journal Article |
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| 言語 | 英文=English |
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| ノート | Fusae Kanda is a postdoctoral fellow at the Reischauer Institute of Japanese Studies, Harvard University. She completed her dissertation on paintings of Amida's welcoming descent for Yale University in 2002. |
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| キーワード | Senchaku hongan nenbutsushu; Pure Land; Buddhist art; raigo; Gosho manolara |
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| 抄録 | As the founder of the Pure Land School, Hõnen (1133–1212) had a profound impact on the doctrines of the medieval period. His teachings on the exclusive selection of invocational nenbutsu generated a new doctrinal matrix with farreaching social and theological implications. Less well understood is the relation between Hõnen and the visual images of Pure Land Buddhism. A fresh
examination of Hõnen’s writings illuminates the monk’s novel interpretation
of a key soteriological icon: the paintings of Amida’s welcoming descent with
his celestial assembly. Special attention is given to the Gõshõ mandara and its
role both as a manifestation of Hõnen’s doctrines and as a prototype for later
paintings of Amida’s welcoming descent with twenty-3ve bodhisattvas.
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| ISSN | 03041042 (P) |
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| ヒット数 | 1675 |
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| 作成日 | 2005.09.23 |
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| 更新日期 | 2017.08.29 |
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