 |
|
|
|
|
|
|
Honen's Senchaku Doctrine and His Artistic Agenda |
|
|
|
| 作者 |
Kanda, Fusae C.
|
|---|
| 出處題名 |
Japanese Journal of Religious Studies
|
|---|
| 卷期 | v.31 n.1 |
|---|
| 出版日期 | 2004 |
|---|
| 頁次 | 3 - 27 |
|---|
| 出版者 | Nanzan Institute for Religion and Culture=南山宗教文化研究所 |
|---|
| 出版者網址 |
http://nirc.nanzan-u.ac.jp/en/
|
|---|
| 出版地 | 名古屋, 日本 [Nagoya, Japan] |
|---|
| 資料類型 | 期刊論文=Journal Article |
|---|
| 使用語言 | 英文=English |
|---|
| 附註項 | 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. |
|---|
| 關鍵詞 | Senchaku hongan nenbutsushu; Pure Land; Buddhist art; raigo; Gosho manolara |
|---|
| 摘要 | 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) |
|---|
| 點閱次數 | 1677 |
|---|
| 建檔日期 | 2005.09.23 |
|---|
| 更新日期 | 2017.08.29 |
|---|
 |
建議您使用 Chrome, Firefox, Safari(Mac) 瀏覽器能獲得較好的檢索效果，IE不支援本檢索系統。
|
