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The Buddhist Sculpture of Chusonji: The Meaning of Style at the Hiraizumi Temples of the Oshu Fujiwaras |
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| Author |
Yiengpruksawan, Melanie Hall
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| Date | 1987 |
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| Pages | 414 |
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| Publisher | University of California, Los Angeles |
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| Publisher Url |
http://www.ucla.edu/
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| Location | Los Angeles, CA, US [洛杉磯, 加利福尼亞州, 美國] |
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| Content type | 博碩士論文=Thesis and Dissertation |
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| Language | 英文=English |
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| Degree | doctor |
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| Institution | University of California, Los Angeles |
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| Department | Japanese Art |
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| Publication year | 1987 |
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| Keyword | 尸羅=戒=command=Precept=sila=morality=rule=discipline=prohibition; 佛教人物=Buddhist; 佛教藝術=Buddhist Art; 圖像學=Iconography; 雕塑=雕刻=Sculpture |
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| Abstract | It is often said that one of the great collections of Heian-period Japanese Buddhist art is preserved at Chusonji, the redoubtable temple complex that, deep in Tohoku, has played a remarkable role in Japanese history since its consecration early in the twelfth century. There is a certain irony to this observation, for the majority of the Chusonji works are of local manufacture. In the twelfth century Chusonji could not have been more distant from the Kinai hub of Heian society, nor its patrons--the Oshu Fujiwaras--less controversial as sponsors of Buddhist art. Scions of an old local lineage with deep Emishi roots, they were scorned as cultural outsiders by their Kinai contemporaries, yet used their magnificent wealth to present themselves and their projects in the vocabulary of mainstream Buddhist culture. Out of this compulsion arose a complex of highly idiosyncratic temples at Hiraizumi, the seat of Oshu Fujiwara rule, that required a vast corpus of icons and accoutrements, of which the Chusonji collection is the legacy.
Sculptures in wood, some monumental, form the heart of the Chusonji collection. These are the icons that once were worshiped by the Oshu Fujiwaras in their splendid halls. It is thus reasonable to see in them a path to understanding the nature of Buddhism and Buddhist art under the Oshu Fujiwaras at their Hiraizumi capital. Consequently this study focuses on style and iconography in sculpture as a means to exploring how and why, and the significance of the fact that, the Oshu Fujiwaras managed, at their distant capital on the traditional periphery of Kinai civilization, to forge a version of full-blown late Heian mainstream culture whose artifacts continue to be viewed as a precious receptacle of Heian aristocratic art at its finest while at the same time calling into question entrenched notions about the fundamental homogeneity of Japanese culture. Deep analysis of style and iconography at Chusonji, against a critical overview of twelfth-century mainstream sculpture as a whole, opens a thought-provoking window on a complex cultural phenomenon in eastern Honshu, long a frontier zone in Japanese history.
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| Hits | 526 |
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| Created date | 2008.04.29 |
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| Modified date | 2016.08.15 |
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