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gobu shinkan@άSΟ | ||||||
KEY WORD :@art history / iconography | ||||||
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A collection
of iconographical line drawings *hakubyou
` in handscroll form depicting the deities of the *Kongoukai
mandara ΰEΦδΆ
; strictly speaking, the six mandara
explained in Chap. 1 of the KONGOUCHOUKYOU ΰΈo (Sk: Sarvatathag
atatattvasam graha); together with their mudras *in
σ and mantras (Singon ^Ύ: True Words). Its full title is ritasougyara
gobu shinkan ½mPάSΟ. It was brought to Japan from China by Enchin
~Ώ (814-91), as were the *Taizou
zuzou Ω } and *Taizou
kyuuzuyou Ω }l, but, whereas the originals of the latter two works
have been lost and only copies exist, the original version of the gobu
shinkan has been preserved at Onjouji ι in Shiga preference, a temple
that was restored by Enchin. In content, the gobu shinkan is considered
to reflect the traditions of the lineage of Shanwuwei (Jp: Zenmui P³Ψ, Sk: Subhakarasimha;
637-735), who first introduced to China the Esoteric Buddhism mikkyou §³ of the DAINICHIKYOU
εϊo (Sk:Vairocanabhisambodhi sutra / or Mahavairocana sutra); and it represents
an early form of the Kongoukai mandara predating the *Kue
mandara γοΦδΆ
. There are two manuscripts of this work preserved
at Onjouji, one of them a complete manuscript and the other incomplete,
with part of the first half missing. Previously it had been thought that
the latter incomplete version represented the original manuscript brought
to Japan by Enchin, but following an examination of the sanskrit script
bonji used in the two manuscripts Takada Osamu cC concluded that
it was the complete manuscript that represented the original version , and
this view is still generally accepted today. The complete manuscript is
a rare example of an iconographical collection of simple line drawings dating
from the late Tang dynasty, while the incomplete manuscript is a fine
example of similar drawings from the Heian period, and both have been designated
national treasures. Because the gobu shinkan was carefully preserved
as a rare work brought to Japan by Enchin and was not generally made public,
it did not exert much influence on the Buddhist iconography of Japan, although
there does exist a commentary called ROKUSHU MANDARA RYAKUSHAKU
ZνΦδΆ
ͺί (A Brief Commentary on the Six Mandala), and in recent years it
has been confirmed that a number of its illustrations were copied in other
works. |
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(C)2001 Japanese Architecture and Art Net Users System.@No reproduction or republication without written permission. fΪΜeLXgEΚ^ECXgΘΗASΔΜRecΜ³f‘»E]ΪπΦΆά·B |
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