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Mapping Sacred Spaces: Representations of Pleasure and Worship in Sankei Mandara |
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| Author |
Andrei, Talia Johanna (撰)
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| Date | 2016 |
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| Pages | 376 |
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| Publisher | Columbia University |
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| Publisher Url |
https://www.columbia.edu/
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| Location | New York, NY, US [紐約, 紐約州, 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 | Columbia University |
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| Department | Art History and Archaeology |
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| Advisor | McKelway, Matthew Philip |
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| Publication year | 2016 |
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| Keyword | Mandala in art; Japanese; Mandala (Buddhism); History; Art |
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| Abstract | This dissertation examines the historical and artistic circumstances behind the emergence in late medieval Japan of a short-lived genre of painting referred to as sankei mandara (pilgrimage mandalas). The paintings are large-scale topographical depictions of sacred sites and served as promotional material for temples and shrines in need of financial support to encourage pilgrimage, offering travelers worldly and spiritual benefits while inspiring them to donate liberally. Itinerant monks and nuns used the mandara in recitation performances (etoki) to lead audiences on virtual pilgrimages, decoding the pictorial clues and touting the benefits of the site shown. Addressing themselves to the newly risen commoner class following the collapse of the aristocratic order, sankei mandara depict commoners in the role of patron and pilgrim, the first instance of them being portrayed this way, alongside warriors and aristocrats as they make their way to the sites, enjoying the local delights, and worship on the sacred grounds. Together with the novel subject material, a new artistic language was created—schematic, colorful and bold. We begin by locating sankei mandara’s artistic roots and influences and then proceed to investigate the individual mandara devoted to three sacred sites: Mt. Fuji, Kiyomizudera and Ise Shrine (a sacred mountain, temple and shrine, respectively). For each of the sites, we read the histories (political, religious, economic, social) and diaries (of pilgrims, monks and warlords), noting upheavals, power dynamics, and institutional relationships, and how these circumstances and relationships changed over the course of the 16th and early 17th centuries. We then apply this textual history to a formal analysis of each of the mandara devoted to the site, studying how the history of the site and the layout of the shrines and temples and the route to them are expressed in the pictorial language of the mandara, and we try to imagine how these paintings were employed and enlivened in etoki performances. Furthermore, by closely studying similarities and differences in choice and emphasis we show that the mandara, above their call for pilgrimage and donations, also encode the historical conditions at the time they were painted, capturing for example the tensions between religious groups and classes or the changing fortunes of a particular institution over time. This investigation thus aims to show how reading the artistic language of sankei mandara enlarges our understanding of a particular moment in Japan’s social and religious history, making these images valuable primary sources that enhance and supplement research in a wide range of fields. |
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| Table of contents | List of Illustrations iii
Acknowledgements xiv
Notes to the Reader xviii
1 What is a Sankei mandara?
i. Introduction 1
ii. Appearance and Disappearance of Sankei mandara 12
iii. Describing the Genre 15
iv. Etoki in Japanese History 31
v. History of the Term Sankei mandara 35
vi. Salient Characteristics of Sankei mandara 38
vii. History of Sankei mandara Studies 44
2 Prehistory: Sankei mandara’s Origins
i. Introduction 51
ii. Historical Background 52
iii. Sankei mandara’s Origins 53
a. Shaji engi-e 54
b. Miya mandara and Suijaku mandara 62
c. Koezu 73
d. Rakuchū rakugai zu 78
e. Kinsei shoki fūzokuga 84
iv. Summary 87
3 Fuji Sankei mandara
i. Introduction 89
ii. History of Fuji and Fuji shinkō 92
iii. History of Fuji Painting 107
iv. Fuji sankei mandara 113
a. Hongū A mandara 114
b. Hongū B mandara 128
c. Takeuchi version Fuji sankei mandara 135
d. Koezu-style Shizuoka and Hongū Fuji sankei mandara 144
v. Summary 150
4 Ise sankei mandara
i. Introduction 153
ii. History of the Grand Shrine of Ise 155
iii. Ise and Buddhism 160
iv. Description of the Ise sankei mandara 178
v. Kongōshōji sankei mandara and Ise ryogū mandara 184
vi. Detailed analysis of the Ise sankei mandara 192
a. Jingū Chōkokan mandara 195
b. Powers mandara 201
c. Mitsui mandara 206
d. Sugimoto mandara 209
vii. Summary 213
5 Kiyomizudera sankei mandara
i. Introduction 215
ii. History of Kiyomizudera 217
iii. History of Painting Kiyomizudera 230
iv. Kiyomizudera sankei mandara 236
v. Detailed Analysis of Kiyomizudera sankei mandara (a) Patronage and Tensions Among Religious Classes
a. Idealization of Gojō Bridge 245
b. Tamuradō 249
c. Kiyomizudera engi 251
d. Asakuradō 252
e. Warriors 253
vi. Detailed Analysis of Kiyomizudera sankei mandara (b) Appealing to a Wide Range of Audiences
a. A place to pray for a child and for an easy childbirth 255
b. A place to drink, relax and find love 257
c. Teahouses 260
d. For those interested in literature and history 262
e. For those who aspire to help others 265
vii. Summary 270
Epilogue 272
Illustrations 276
Bibliography 359
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| DOI | https://doi.org/10.7916/D8VX0GPV |
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| Hits | 444 |
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| Created date | 2021.12.13 |
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