 |
|
|
|
|
|
|
Honen's Senchaku Doctrine and His Artistic Agenda |
|
|
|
| Author |
Kanda, Fusae C.
|
|---|
| Source |
Japanese Journal of Religious Studies
|
|---|
| Volume | v.31 n.1 |
|---|
| Date | 2004 |
|---|
| Pages | 3 - 27 |
|---|
| Publisher | Nanzan Institute for Religion and Culture=南山宗教文化研究所 |
|---|
| Publisher Url |
http://nirc.nanzan-u.ac.jp/en/
|
|---|
| Location | 名古屋, 日本 [Nagoya, Japan] |
|---|
| Content type | 期刊論文=Journal Article |
|---|
| Language | 英文=English |
|---|
| Note | 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. |
|---|
| Keyword | Senchaku hongan nenbutsushu; Pure Land; Buddhist art; raigo; Gosho manolara |
|---|
| Abstract | 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.
|
|---|
| ISSN | 03041042 (P) |
|---|
| Hits | 1670 |
|---|
| Created date | 2005.09.23 |
|---|
| Modified date | 2017.08.29 |
|---|
 |
Best viewed with Chrome, Firefox, Safari(Mac) but not supported IE
|
