This paper explores the relation between religion and beauty as seen in Yanagi Muneyoshi's Namu-amidabutsu. In this book Yanagi is concerned with philosophies of religion and the "folk craft" movement, a movement he initiated and whose source lies in Jodo Buddhist thought. Specifically, he integrates, and thereby finds common ground between, philosophies of religion and conceptions of beauty as reflected in the "folk craft" movement. Keeping such integration in mind, the fundamental problematic of this paper is how Yanagi, upon attaining a certain level of awareness of religion, was able to develop his principles of beauty. First, by considering the fundamental underlying messages of "The (Longer) Amitabha Sutra," this paper examines Yanagi's demonstration of how belief and beauty are related at their very root. It then examines the relationship between chanting the Buddha's name and "true work," a relationship that ultimately makes possible the integration of religion and beauty. Finally, it concludes by revealing how Yanagi, in writing Namuamidabutsu, proposes that by means of three concrete and visible elements-belief as it is seen acted out in reality, beauty as seen in myokonin, and folk craft goods-religious awareness is transmitted.
This paper explores the relation between religion and beauty as seen in Yanagi Muneyoshi's Namu-amidabutsu. In this book Yanagi is concerned with philosophies of religion and the "folk craft" movement, a movement he initiated and whose source lies in Jodo Buddhist thought. Specifically, he integrates, and thereby finds common ground between, philosophies of religion and conceptions of beauty as reflected in the "folk craft" movement. Keeping such integration in mind, the fundamental problematic of this paper is how Yanagi, upon attaining a certain level of awareness of religion, was able to develop his principles of beauty. First, by considering the fundamental underlying messages of "The (Longer) Amitabha Sutra," this paper examines Yanagi's demonstration of how belief and beauty are related at their very root. It then examines the relationship between chanting the Buddha's name and "true work," a relationship that ultimately makes possible the integration of religion and beauty. Finally, it concludes by revealing how Yanagi, in writing Namuamidabutsu, proposes that by means of three concrete and visible elements-belief as it is seen acted out in reality, beauty as seen in myokonin, and folk craft goods-religious awareness is transmitted.
