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Shinnyo-En and the Formulation of a New Esoteric Iconography |
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| Author |
Winfield, Pamela D. (著)
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| Source |
Material Religion: The Journal of Objects, Art and Belief
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| Volume | v.15 n.1 |
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| Date | 2019 |
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| Pages | 27 - 53 |
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| Publisher | Bloomsbury Journals |
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| Publisher Url |
http://www.bloomsbury.com/journals
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| Location | London, UK [倫敦, 英國] |
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| Content type | 期刊論文=Journal Article |
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| Language | 英文=English |
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| Keyword | Shinnyo-en; Itō Shinjō; Esoteric Buddhism; icons; mandalas; ritual; doctrine; text-image analysis; gender |
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| Abstract | In 1936, Itō Shinjō established the modern lay esoteric Buddhist group known today as Shinnyo-en, The Garden of Truth. This article surveys the ways in which Itō used image and text to reimagine Japanese esoteric Buddhism throughout the twentieth century. It examines not only Itō’s iconographic innovations, but also his own autobiographical account called The Path to Oneness (Inchinyo no michi) in order to chart the major institutional, ritual, and doctrinal developments of Shinnyo-en. Specifically, this article argues that Itō’s veneration of the King of Immovable Wisdom, Fudō Myōō, from 1935–1936 onwards, as well as Fudō’s two acolytes (ryōdōji), helped him to make doctrinal sense and personal meaning out of the tragic death of his own two sons. It also argues that his addition of gendered dharma protectors and the Diamond and Womb World mandalas further expanded Itō’s personalized worldview, and that his addition of the Buddha in Nirvana in 1957 and the Eleven-Headed Kannon Bodhisattva of Compassion in 1979 further filled out the so-called three wheel bodies of esoteric Buddhism. These images, and the institutional and ritual developments associated with them, reinforced Itō’s remarkable doctrinal claim that Shinnyo-en represents the third culminating sect of esoteric Buddhism in Japan. This case study thus provides rare insight into the use of image and text to imagine, illustrate, and shape the major contours of a “new” religious movement in the modern period. |
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| Table of contents | Abstract 28
Introduction 29
Image as Authority, Text as Tradition 30
Fudō Myōō, the Immovable Wisdom King 32
Art and Institution: The Image of Fudō Myōō and Itō’s Charismatic Leadership 32
Art and Ritual: Fudō Myōō and the Fire-Walking Ceremony 34
Art and Doctrine: Fudō-Myōō, the Ryōdōji and Bakku-Daiju 35
Gendered Symbolisms 38
Art and Institution: Enshrining Fudō Myōō at Shinchōji Temple 38
Art and Ritual: Shrines for Venerating Dharma Protectors 39
Art and Doctrine: The Two World Mandalas and Itō’s Gendered Worldview 40
New Imagery and the Three Wheel Bodies of Esoteric Buddhism 43
Art and Institution: New Imagery and Rapid Growth 43
Art and Ritual: A New Generation of Imagery 45
Art and Doctrine: Kannon, Nehanzō, and Fudō as the Three Wheel Bodies (Sanrinjin) 47
Conclusion 49
Acknowledgements 51
Funding 51
ORCID 51
Notes and References 51 |
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| ISSN | 17432200 (P); 17518342 (E) |
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| DOI | https://doi.org/10.1080/17432200.2019.1568756 |
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| Hits | 119 |
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| Created date | 2023.08.04 |
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| Modified date | 2023.08.04 |
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