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Ryoukai mandara@—ΌŠE™ΦδΆ—…
KEY WORD :@art history / iconography
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Lit. mandala of the two realms, namely, the *Taizoukai mandara ‘Ω‘ ŠE™ΦδΆ—… described in the DAINICHIKYOU ‘ε“ϊŒo (Sk: Vairocanabhisambodhi sutra/Mahavairocana sutra) and the *Kongoukai mandara ‹ΰ„ŠE™ΦδΆ—… described in the KONGOUCHOUKYOU ‹ΰ„’ΈŒo (Diamond Peak Sutra ; Sk:Sarvatathagatatattvasamgraha). These two mandala evolved separately in India and entered China by different routes, but in China they subsequently came to be regarded as forming a pair. Hints of the idea that the DAINICHIKYOU and KONGOUCHOUKYOU represent complementary systems may already be found in the Chinese translations of Esoteric texts by Bukong (Jp: Fukuu •s‹σ, Sk: Amoghavajra; 705-74), but it is thought to have been Huiguo (Jp: Keika Œb‰Κ; 746-805), the teacher of *Kuukai ‹σŠC (774-835), who adapted these two mandala to form a pair of religious paintings. Kuukai further developed this concept in his writings, thereby establishing the non-duality of the two divisions ryoubu funi —Ό•”•s“ρ, namely, the idea that the DAINICHIKYOU and KONGOUCHOUKYOU are complementary systems through the integration of which ultimate truth is revealed . Thenceforth the Ryoukai mandara have been looked upon as the basis of the iconography of Esoteric Buddhism mikkyou –§‹³ in Japan, and they have exerted considerable influence not only on art, but also on thought and culture.
In Japanese Esoteric Buddhism the Taizoukai mandara is referred to as the "mandala of principle" ri mandara —™ΦδΆ—… or "mandala of cause" in mandara ˆφ™ΦδΆ—…, while the Kongoukai mandara is known as the "mandala of wisdom" chi mandara ’q™ΦδΆ—… or "mandala of result" ka mandara ‰Κ™ΦδΆ—…, and they are customarily hung facing each other in temple halls on the eastern and western walls respectively. The original name of the Taizoukai mandara is Daihitaizoushou mandara ‘ε”ί‘Ω‘ Ά™ΦδΆ—… (mandala born of the womb of great compassion), but once it began being used in conjunction with the Kongoukai mandara, came to be known as the Taizoukai mandara. The term Ryoukai mandara is thought to have been first used by Godai-in Annen Œά‘ε‰@ˆΐ‘R (841-889`898) of the Tendai “V‘δ sect, and because of its associations with the Tendai sect, there are even today many scholars of the Shingon ^ŒΎ sect who instead use the term Ryoubu mandara —Ό•”™ΦδΆ—…, or mandala of the two divisions. However, not only is the term Ryoukai mandara widely used by art historians, but it is also used in the designation of national treasures and important cultural properties.
In the Shingon sect the form of the Taizoukai mandara used in the Ryoukai mandara is that known as the *Genzu mandara Œ»}™ΦδΆ—…, while the form of the Kongoukai mandara used is the *Kue mandara ‹γ‰ο™ΦδΆ—…; in the Tendai sect the *Kongoukai hachijuuisson mandara ‹ΰ„ŠE”ͺ\ˆκ‘Έ™ΦδΆ—… is sometimes used instead of the Kue mandara. Representative examples of the Ryoukai mandara include the Den shingon-in mandara “`^ŒΎ‰@™ΦδΆ—… at Touji “ŒŽ› in Kyoto, the Takao mandara ‚—Y™ΦδΆ—… at Jingoji _ŒμŽ› in Kyoto, and the *Kojima mandara Žq“‡™ΦδΆ—… at Kojimadera Žq“‡Ž› in Nara, which have all been designated national treasures, but there are minor differences in the disposition of the deities.
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(C)2001 Japanese Architecture and Art Net Users System.@No reproduction or republication without written permission.
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