|
|
|
 |
|
|
|
|
|
|
寶慶寺石佛龕像再考(鎌田茂雄教授追悼号)=The Stone Sculptures of Pao-ch'ing Temple : Revisited : The Role of Fa-tsang 法藏, Third Patriarch of Hua-yen Buddhism 華嚴宗(Shigeo Kamata Memorial Volume) |
|
|
|
| 著者 |
杉山二郎 (著)=Sugiyama, Jiro (au.)
|
|---|
| 掲載誌 |
国際仏教学大学院大学研究紀要=Journal of the International College for Advanced Buddhist Studies=コクサイ ブッキョウガク ダイガクイン ダイガク ケンキュウ キヨウ
|
|---|
| 巻号 | n.5 |
|---|
| 出版年月日 | 2002.03.31 |
|---|
| ページ | 1 - 53 |
|---|
| 出版者 | 国際仏教学大学院大学 |
|---|
| 出版サイト |
http://www.icabs.ac.jp/
|
|---|
| 出版地 | 東京, 日本 [Tokyo, Japan] |
|---|
| 資料の種類 | 期刊論文=Journal Article |
|---|
| 言語 | 日文=Japanese |
|---|
| 抄録 | The stone sculptures of the seven-storied pagoda Ch'i-pao lou-t'ai七寶楼台are usually divided into three categories of Buddhist iconography, i.e., Sakyamuni Buddha is often represented with his right hand touching the ground as witness for his defeat of Mara at the time of his awakening. All Sakyamuni sculptures at Ch'i-pao lou-t'ai wear right hand armlets, and two of its images also have crowns and necklaces. My ex amination of all details of Buddhist iconography has led me to believe that these images actually do not represent Sakyamuni but Vairocana. During the reign of Empress Wu則天武后, the Hua-yen school evolved by Fa-tsang encouraged the worship of Vairocana Buddha. The images representing Vairocana, combined with Tantric elements, point at the possibility of Fa-tsang's being directly involved in the creation of these sculptures at Ch'i-pao lou-t'ai. |
|---|
| 目次 | はじめに 1
第一章 龕像の図像学的再吟味 3
第二章 武則天と法蔵と 10
第二章 法蔵と地婆訶羅と寶冠佛 33
第三章 寶冠降魔触地印像の図像学 45
むすび 50 |
|---|
| ISSN | 13434128 (P) |
|---|
| ヒット数 | 510 |
|---|
| 作成日 | 2016.03.31 |
|---|
| 更新日期 | 2017.10.31 |
|---|
 |
Chrome, Firefox, Safari(Mac)での検索をお勧めします。ＩＥではこの検索システムを表示できません。
|
|
|
