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Hannya bosatsu@ΚαμF | ||||||
KEY WORD :@art history / iconography | ||||||
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In full
Hannya-haramitsu (or Hannya-haramitta) bosatsu Καg
¨(Καg
¨½)μF. A bodhisattva
*bosatsu μF personifying
hannya-haramitsu (Sk:prajna-paramita) or the the process of
the perfection of wisdom and, by extension, the sutra HANNYAGYOU
Καo (Sk: Prajnaparamita sutra) of Mahayana Buddhism devoted to the exposition
of this perfection of wisdom. These processes, usually six-fold, when
performed perfectly, will allow one to cross from the shore of delusion
and suffering to the shore of enlightenment. Since, therefore, this wisdom
is considered to constitute the basis of enlightenment, Hannya bosatsu is
also known as Butsumo §κ or mother of the Buddhas. For this reason, and
also because in Sanskrit both prajna and pramita are feminine
nouns, Hannya bosatsu is generally depicted in female form. Her worship
was very popular in Indian Buddhism, and the texts describe a variety of
forms, but a feature common to most forms is that she holds a volume of
scriptures representing the HANNYAGYOU. In Japan she is sometimes invoked
instead of *Shaka ίή
during the daihannya-e εΚαο, a service dedicated to the ritual reading
of the 600-fascicle translation of the HANNYAGYOU by Xuanzang
(Jp: Genjou Ίχ
; 600/602-664). Where works are related to this ritual she is
depicted either alone or surrounded by the Sixteen Protectors of Shaka *juuroku
zenjin \ZP_ believed to protect those who recite the HANNYAGYOU.
In Esoteric Buddhism mikkyou §³ Hannya bosatsu appears in the Womb
World Mandala *Taizoukai
mandara Ω EΦδΆ
@as the central figure in the Jimyouin Ύ@ (with six
arms and clad in armour) and as a personification of one of the 'ten perfections'
in the Kokuuzouin σ @ (with two arms). There is also a mandala known as
Hannya bosatsu mandara ΚαμFΦδΆ
centred on Hannya bosatsu and variously described
in different texts. |
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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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