Kangyou hensou　観経変相

KEY WORD :　art history / iconography

A transformation scene of the Pure Land *joudo hensou 浄土変相 based on the Kangyou an abbreviation for the KANMURYOUJUKYOU 観無量寿経 (Ch :Guanwuliangshoujing; no sanskrit original is known to exist), one of the three main sutras of Pure Land Buddhism JOUDO SANBUKYOU 浄土三部経. The iconography of Kangyou hensou is not always consistent, although the most developed compositions follow the text of the Tang dynasty monk Shantao's (Jp: *Zendou 善導; 613-81) KANMURYOUJUKYOUSHO 観無量寿経疏 (Commemtary on the Kanmuryoujukyo, also known as KANGYOU SHIJOUSHO 観経四帖疏). As in *Amida joudo hensou 阿弥陀浄土変相, most versions show an Amida triad *Amida sanzon 阿弥陀三尊 with surrounding heavenly bodhisattvas *bosatsu 菩薩 placed in the center scene of *Amida's 阿弥陀 Paradise gokuraku joudo 極楽浄土. In addition, the vertical left court depicts the story about Prince Ajatasatru (Jp: Ajase Taishi 阿闍世太子), who imprisoned his father Bimbisara (Jp: Binbashara 頻婆沙羅) and mother Vaidehi (Jp:Idaike 韋提希). To alleviate this suffering, the historical Buddha *Shaka 釈迦 appears before his mother and preaches about the Pure Land joudo 浄土; the vertical right and horizontal bottom courts continue the story with depictions of the Sixteen Contemplations juurokkan 十六観 that Shaka preached to the king's wife as a guide for visualizing Amida's Pure Land. These Sixteen Contemplations are divided into thirteen contemplations placed in the court on the right side and three more contemplations, also termed the Nine Degrees of Rebirth *kubon raigou 九品来迎, which are located in the bottom court. Such paintings originated in China where numerous examples may be seen in the Dunhuang (Jp; Tonkou 敦煌) caves dating from the Tang to early Song (7-10c). Buddhist travelers brought similar paintings to Japan where the *Taima mandara 当麻曼荼羅 is the best known example. Notable variations include the Painting of the Sixteen Contemplations of the KANMURYOUJUKYOU, Kangyou juurokkan hensou 観経十六観変相.

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