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Honen's Senchaku Doctrine and His Artistic Agenda |
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Author |
Kanda, Fusae C.
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Source |
Japanese Journal of Religious Studies
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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/
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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.
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ISSN | 03041042 (P) |
Hits | 1709 |
Created date | 2005.09.23 |
Modified date | 2017.08.29 |
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