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メトロポリタン美術館所蔵「燃燈仏授記」浮彫図の図像解釈=Interpretation of the Image of the Relief of “Dīpaṃkara Buddha’s Prophecy” Owned by the Metropolitan Museum of Art |
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著者 |
小山一太 (著)=Oyama, Itta (au.)
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掲載誌 |
印度學佛教學研究 =Journal of Indian and Buddhist Studies=Indogaku Bukkyōgaku Kenkyū
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巻号 | v.68 n.2 (總號=n.150) |
出版年月日 | 2020.03.20 |
ページ | 946 - 943 |
出版者 | 日本印度学仏教学会 |
出版サイト |
http://www.jaibs.jp/
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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 |
キーワード | 燃燈仏授記; ガンダーラ; 仏伝図; Mahāvastu; Divyāvadāna |
抄録 | The relief of “Dīpaṃkara Buddha’s Prophecy,” which was excavated near the Swāt Valley and now owned by the Metropolitan Museum of Art, portrays the scene of purchasing a flower from a young flower-selling girl. The girl’s left hand holds a bag containing money received from a man who represents Śākyamuni in a previous life, and her right hand holds two lotus flowers. Since the girl has a bag of money, we understand that the image portrays the moment after she has been paid for the lotus flowers, and two lotus flowers are assumed to have been retained by the girl in order to throw them at the Buddha. On the other hand, in the Buddhist literature that preserves the narrative of “Dīpaṃkara Buddha’s Prophecy,” only the Sanskrit Mahāvastu and Divyāvadāna depict the girl as throwing lotus flowers on the Buddha. In the Chinese translation literature, after the character who would later become Śākyamuni bought five lotus flowers, the girl handed over the remaining two lotus flowers to him, or the girl had only five lotus flowers to begin with, so the person who throws flowers at the Buddha was only this individual who would later become Śākyamuni, that is, the bodhisattva. Thus the Metropolitan Museum of Art relief is based on the same narrative scheme also preserved in the Mahāvastu and Divyāvadāna. |
目次 | 0.はじめに 946 1.スワート地方出土作例の様式的特徴 946 2.テキストにおける〈購華〉場面の記述との照合 945 4.結論 944 |
ISSN | 00194344 (P); 18840051 (E) |
DOI | https://doi.org/10.4259/ibk.68.2_946 |
ヒット数 | 41 |
作成日 | 2022.09.29 |
更新日期 | 2022.09.29 |
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