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kinkan shutsugen-zu@‹àŠ»oŒ»}
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 Žß‰Þ, also Shaka kinkan shutsugen-zu Žß‰Þ‹àŠ»oŒ»}. According to the MAKAMAYAGYOU –€æd–€–ëŒo (Ch: Mohemoyejing: Mahamaya Scripture), upon hearing of Shaka's death, his mother Mahamaya (Jp: Makamaya or Maya bunin –€–ë•vl; Lady Maya) descended from the Heaven of the Thirty-three Gods *Sanjuusanten ŽO\ŽO“V to where he lay in a coffin between two sal trees sara souju ¹—…‘oŽ÷ near Kusinagara (Jp: Kushinajou S›™“ߏé). 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 “ÖàŠ) 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 ŸžžÏ}, but the only example of a painting devoted solely to this episode is that at Kyoto National Museum (formerly at Chouhouji ’·–@Ž›, 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 •ìŽF, 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.
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