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kinkan shutsugen-zu@à»o»} | ||||||
KEY WORD :@art history / iconography | ||||||
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Lit. painting of Sakyamuni emerging from the golden
coffin. A genre of painting depicting one of the scenes from the life of the historical
Buddha *Shaka ßÞ, also
Shaka kinkan shutsugen-zu ßÞà»o»}. According to the MAKAMAYAGYOU ædëo (Ch: Mohemoyejing: Mahamaya Scripture),
upon hearing of Shaka's death, his mother Mahamaya (Jp: Makamaya or Maya
bunin ëvl; Lady Maya) descended from the Heaven of the Thirty-three Gods *Sanjuusanten
O\OV to where he lay in a coffin between two sal trees sara souju
¹
o÷ near Kusinagara (Jp: Kushinajou Sßé). Shaka's mother was overcome with
grief at the mournful scene that met her. Seeing this, Shaka thereupon opened
the lid of his coffin, raised himself, uttered a verse of consolation, and then
disappeared once again within the coffin, closing the lid as he did so. Depictions
of this scene have been found in a number of murals at Dunhuang (Jp:
Tonkou Öà) in China, and Kizil in Central Asia, and it has been suggested that, as a result
of the influence of Christianity, they were meant to represent the resurrection
of Shaka. In Japan, the scene is to be found included in pictorial representations
of Shaka's death *nehan-zu
žÏ}, but the only example of a painting devoted solely to this episode is that
at Kyoto National Museum (formerly at Chouhouji ·@, Kyoto, late 11c), regarded
as one of the finest examples of Buddhist painting from the Heian period. It
depicts Shaka in the center and his mother and astounded bodhisattvas
*bosatsu ìF, gods and
monks in the foreground and on both sides. A distinctive feature of this painting
is the use of gold leaf on and around the figure of Shaka in order to produce
the effect of a resplendent halo shining forth from his person . |
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(C)2001 Japanese Architecture and Art Net Users System.@No reproduction or republication without written permission. fÚÌeLXgEÊ^ECXgÈÇASÄÌRec̳f¡»E]ÚðֶܷB |
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