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Taima mandara@“––ƒ™ΦδΆ—…
KEY WORD :@art history / iconography
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Mandala of Taima. The most complete depiction of the *Kangyou hensou ŠΟŒo•Ο‘Š, or the transformation scene *hensou •Ο‘Š of the KANMURYOUJUKYOU ŠΟ–³—ΚŽυŒo. It is a religious image usually hung to the left of the main altar in the sanctuary of a Pure Land joudo ς“y temple. The pictorialization was based on a commentary on the Buddhist sutra by Shantao (Jp: *Zendou ‘P“±; 613-81). The appellation arose because the original version in Japan has been handed down at Taimadera “––ƒŽ›, Nara. One of the Three Joudo Mandalas *joudo sanmandara ς“yŽO™ΦδΆ—…, which are revered by followers of Pure Land Buddhism. As with the *Amida joudo hensou ˆ’–ν‘ɏς“y•Ο‘Š, the painting subject focuses on an Amida triad *Amida sanzon ˆ’–ν‘ΙŽO‘Έ, Amida surrounded by bodhisattvas *bosatsu •μŽF. In the center background is an ornate palace representing Amida's Paradise gokuraku joudo ‹ΙŠyς“y. In addition, the left vertical panel or court shows the story of Prince Ajatasatru (Jp: Ajase Taishi ˆ’苐’‘ΎŽq) from the preface of the sutra. In the right vertical and lower horizontal courts the story is continued with additional depictions of the Sixteen Contemplations juurokukan \˜ZŠΟ that *Shaka Žί‰ή preached to the king's wife as a guide to visualize Amida's paradise. Thirteen Contemplations are arranged on the right side and the remaining three contemplations, commonly referred to as the Nine Stages of Rebirth *kubon raigou ‹γ•i—ˆŒ} or kubon oujou ‹γ•i‰Ά, are placed in the bottom court. Scholars believe that the original Taima mandara was a large-scale embroidery imported from Tang China. It is believed that in 763 during the Nara period Chuujouhime ’†«•P had it woven with lotus threads guushi εXŽ… based on a vision she had experienced. Thus the original woven work is sometimes also called the Guushi mandara εXŽ…™ΦδΆ—…. The miraculous weaving of the 4.5 meters square tsuzure-ori ’ԐD, usually translated as "figured (hand woven) brocade", is said to have been accomplished by a nun who was believed to be a human incarnation of the bodhisattva *Kannon ŠΟ‰Ή, the main attendant to Amida. This 8c work is still preserved today at Taimadera in fragments with a great many Kamakura period repairs. From the Heian period, with the increasing popularity of Pure Land beliefs, the work grew ever more revered. In the Kamakura period *Hounen's –@‘R (1133-1212) disciple Shoukuu Ψ‹σ (1177-1247), founder of the Seizan ΌŽR branch of the Joudo sect, actively propagated the teachings of the Taima mandala. Hence, at this time numerous commentaries on the iconography were written and many copies of various sizes were also painted. The most notable was the well known work from 1217 preserved in Zenrinji ‘T—ΡŽ›, Kyoto which is regarded as the closest extant copy. Numerous later copies also exist. Moreover, the illustrated scrolls of the Legends of the Taima Mandala Taima mandara engi emaki “––ƒ™ΦδΆ—…‰‹NŠGŠͺ (13c, Koumyouji Œυ–ΎŽ›, Kanagawa prefecture), with its vivid illustrations and text of the mandala's miraculous origins, played an important role in the diffusion of Taima mandala beliefs.
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(C)2001 Japanese Architecture and Art Net Users System.@No reproduction or republication without written permission.
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