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sanmaya mandara@ŽO–†–λ™ΦδΆ—…
KEY WORD :@ art history / iconography
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Also read samaya mandara. A form of *mandara ™ΦδΆ—… (mandala) in which the deities are depicted by means of symbolic objects sanmayagyou ŽO–†–λŒ` such as the vajra *kongousho ‹ΰ„‹n and lotus. It is one of the four types of mandala *shishu mandara ŽlŽν™ΦδΆ—…, and whereas the great mandala daimandara ‘ε™ΦδΆ—…, in which the deities are shown in their physical form, represents the Buddhas' mystery of the body shinmitsu g–§, the sanmaya mandara represents their mystery of mind imitsu ˆΣ–§. Typical of the sanmaya mandara are the Himitsu mandara ”ι–§™ΦδΆ—… (Secret mandala) described in the DAINICHIKYOU ‘ε“ϊŒo (Sk:Vairocanabhisambodhi sutra/Mahavairocana sutra; Taishou No.848) and the Kongou himitsu mandara ‹ΰ„”ι–§™ΦδΆ—… (Adamantine secret mandala) described in Chap. 1 of the KONGOUCHOUKYOU ‹ΰ„’ΈŒo (Diamond Peak Sutra; Sk:Sarvatathagatatattvasamgraha; Taishou Nos.865,882), the latter corresponding to the *Sanmaya-e ŽO–†–λ‰ο of the *Kue mandara ‹γ‰ο™ΦδΆ—…. Copies of the sanmaya mandara of both the *Taizoukai mandara ‘Ω‘ ŠE™ΦδΆ—… and *Kongoukai mandara ‹ΰ„ŠE™ΦδΆ—… were brought from China to Japan by *Kuukai ‹σŠC (774-835), but there are not many examples of independent versions of the sanmaya mandara. The Daihitaizou sanmaya mandara ‘ε”ί‘Ω‘ ŽO–†–λ™ΦδΆ—… brought back to Japan by Ennin ‰~m (794-864) is a line drawing *hakubyou ”’•` of a sanmaya mandara of the Taizoukai mandara deriving from the lineage of Shanwuwei (Jp:‘P–³ˆΨ; Sk:Subhakarasimha; 637-735), and it is closely related to the *Taizou zuzou ‘Ω‘ }‘œ. The original is no longer extant, but a copy made in 1019, Daigoji ‘ηŒνŽ›, Kyoto, is thought to be the oldest extant copy of iconographical line drawings in Japan. In the case of the *shiki mandara •~™ΦδΆ—… used during initiation rites, the sanmaya mandara is often used for both the Taizoukai mandara and Kongoukai mandara. This is probably because the deities are more readily distinguishable in a sanmaya mandara than in a mandara in which they are shown in their physical form, and this would have proved expedient when the initiate chose his/her tutelary deity by casting a flower onto the mandara. A typical example of such a sanmaya mandara is the shiki mandara preserved at Touji “ŒŽ›, Kyoto, and dating from the Momoyama period.
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