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Sannou mandara @ŽR‰€™ΦδΆ—…
KEY WORD :@ art history / iconography
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Also Hie Sannou mandara “ϊ‹gŽR‰€™ΦδΆ—…. A class of Shinto devotional paintings having to do with Hie Sannousha “ϊ‹gŽR‰€ŽΠ (also popularly called Hiyoshi Sannousha), a shrine at the foot of Mt. Hiei ”δ‰b in Sakamoto β–{ in Shiga prefecture. The name Sannou was given to the original deity Ooyamagui ‘εŽRξ by the monk Saichou ΕŸ (766-822) when he returned from China where he had been studying, and comes from the Chinese god who protected Mount Tientai (Jp: Tendai “V‘δ). As at many other shrines, the name of the deity served as his collective name and as the name of the shrine. There are a total of twenty one Shrines at the site known collectively as the Sannou Nijuuissha ŽR‰€“ρ\ˆκŽΠ but also split into three groups of seven. The first of these is the Upper Seven Sannou Shrines, Sannou kami no shichisha ŽR‰€γŽ΅ŽΠ which forms the core of Sannou. It comprises four sanctuaries in the eastern group and three in the western group. The eastern group is dominated by the Ninomiya “ρ‹{, where Ooyamagui (who came to be called Kobie no kami ¬”δ‰b_, also read Kohiegami) was worshipped and the western group is led by the Oomiya ‘ε‹{, where the deity was Ookuninushi no mikoto ‘卑Žε–½ or Oonamuchi no kami ‘εŒΘ‹M_ (who came to be called Oobie no kami ‘ε”δ‰b_, also read Ohiegami). Both of these kami are mentioned as present by KOJIKI ŒΓŽ–‹L (712) Ooyamagui was the original presence jinushigami ’nŽε_, and Oumonushi was brought from Miwa ŽO—Φ in 668 by the Emperor Tenji “V’q (626-671), whose capital was in Ootsu ‘ε’Γ. These seven Shrines are associated with Tendai traditions concerning the seven stars of the Big Dipper, Hokuto shichisei –k“lŽ΅―. The Sannou Nijuuissha is completed by the Middle and Lower groups of seven shrines which are composed of more minor sanctuaries. The shrine buildings are spread over a considerable area at the foot of Mt. Hiei and at the foot of a small hill called Hachioujisan ”ͺ‰€ŽqŽR, which is the shrine's sacred mountain shintaizan _‘ΜŽR (see *shintai _‘Μ). At the summit of this hill, buildings are constructed around a boulder. In the Kamakura period the area was filled with Shinto and Buddhist buildings and could be called the One Hundred and Eight Inner and One Hundred and Eight Outer Shrines. In 788 Saichou called upon the deity to act as the guardian of his temple, which became Enryakuji ‰„—οŽ›. By the late 12c the shrine and temple together formed a well developed *honji suijaku –{’n‚η‘ complex. The shrine's cult was particularly important to the temples on Mt. Hiei, to the temples and residences in Sakamoto, and to devotional confraternities kou u. Like the Kasuga cult (see *Kasuga mandara t“ϊ™ΦδΆ—…), the Sannou cult also spread in the areas where the shrine was powerful, and branch shrines developed. The deity has a certain notoriety as the protector and religious weapon of the Enryakuji monks in the descents on the capital that they began to make in the late 11c. The considerable power of Enryakuji was not entirely destroyed until 1571 when Oda Nobunaga D“cM’· (1534-82) burned the temples and scattered the monks. When the temple was re-established, it and other temples were no longer allowed large land-holdings and other economic advantages; and with all government power removed from Kyoto they also lost the advantages of having court connections. The shrine suffered again in the separation of Shinto and Buddhism shinbutsu bunri _•§•ͺ—£ in 1868, losing much syncretic art Most Sannou mandara show the deities in their shrines, on pedestals against screens or ranged in tiers against a conventionalized landscape background, sometimes in a conceptual building (with a foundation, but without walls or a roof). Most paintings show the deities of the Upper Seven Sannou Shrines, either in their Buddhsit or Shinto form. The three most revered kami as found in Sannou mandara are the Ninomiya whose Buddhist counterpart *honjibutsu –{’n•§ is *Yakushi –ςŽt, the Oomiya, whose honjibutsu is *Shaka Žί‰ή, and the Shoushinji Ή^Žq whose honjibutsu is *Amida ˆ’–ν‘Ι. Although there are paintings of both the kami and their honjibutsu, there do not seem to be shaji mandara ŽΠŽ›™ΦδΆ—… (paintings of the shrine and temple together). The monkey is the messenger tsukai Žg‚’ of Sannou and can be found on the steps of buildings or in the landscape of the paintings. Sometimes a dressed monkey deity appears among the shrine kami in paintings. Paintings of single deities are less common than in the art of the Kasuga cult, but the Shoushinji was identified with Hachiman ”ͺ”¦ (see *sougyou hachiman ‘mŒ`”ͺ”¦) and there are paintings of Hachiman as a youth that are called Sannou mandara. Sannou mandara were used on Mt. Hiei and in affiliated temples to express the protection of the shine and by devotional confraternities in regular meetings: they were also hung in Tendai temples for certain rituals. As with Kasuga mandara (and in contrast to *Kumano mandara ŒF–μ™ΦδΆ—…), Sannou mandara lack folk appeal and are most characteristically paintings of high quality dating from the Kamakura through Muromachi periods. Along with the vertical scrolls called mandara, there is also an illustrated history of the wonders of the shrine dated 1288, Sannou reigenki ŽR‰€—μŒ±‹L (Hie Jinja “ϊŽ}_ŽΠ, Numazu ΐ’Γ, Shizuoka prefecture), and there are screen paintings of the shrine's festival *Hie Sannou matsuri “ϊ‹gŽR‰€Υ. These screen paintings, from Momoyama and Edo periods, stress the popular appeal of this large, lively festival. There are fine *miya mandara ‹{™ΦδΆ—… that show the shrine buildings set below and on an exaggeratedly large Hachioujisan. These display the meticulous attention to architectural detail that suggests their use as records, but also present a close approximation of the real landscape and shrine for use in devotion. The first recorded instance of the making of a Sannou mandara occurs in GYOKUYOU ‹Κ—t, the diary of Kujou Kanezane ‹γπŒ“Žΐ (1149-1207), and refers to a scroll painting of the deities. Extant paintings date from the middle of the Kamakura period.
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