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tenbourin-in@]@Φσ | ||||||
KEY WORD :@art history / sculptures | ||||||
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Lit. Mudra for turning the Dharma-wheel. A mudra
or hand gesture *in σ symbolizing
the Buddha's turning of the Dharma-wheel, i.e., his preaching of the Dharma, or
Buddhist law. It assumes a variety of forms: both hands, with the thumbs and forefingers
joined, are held at chest-level with the left palm turned inwards and the right
palm turned outwards (e.g., central deity of the *Amida ’νΙ pentad in relief *oshidashibutsu o§ at Houryuuji @²); alternatively, the right hand, with the thumb and forefinger
joined, is turned outwards while the left hand, with the thumb and middle finger
joined, is turned inwards (e.g., mural of Amida in Houryuuji *Kondou ΰ°).
In the Buddhist iconography of India it is known as the Dharma-wheel mudra
(Sk:dharmacakra-mudra) or mudra for setting the Dharma-wheel in motion
(Sk: dharmacakrapravartana-mudra), and the Sino-Japanese term tenbourin-in also tenpourin-in is probably a translation of the latter. The prototype of this mudra, although not identical to it, appears already in Gandharan sculpture , and many fine examples dating from the Gupta dynasty may be seen at Sarnath. Sarnath was the site of the Buddha's first sermon, and the fact that images of *Shaka ίή found here displayed this mudra was probably one of the reasons that this mudra took root as the symbol of the Buddha's preaching of the Dharma. In Japan there are many examples of tathagata *nyorai @ images with this mudra dating from the Heian period and earlier, e.g., the aforementioned Houryuuji mural of Amida and the central deity of the *Taima mandara ΦδΆ . There are also instances in which the fingers of the right hand are not bent (e.g., Shaka nyoraizou ίή@ at Gangouji θ», Gifu prefecture), and since there are similar examples from Tang China (e.g., Metropolitan Museum of Art, New York), it is possible that they are the source of this finger position. At the same time, from the end of the Nara period onward, production began of many Tathagata images displaying a symmetrical tenbourin-in with the palms of both hands turned outwards and the thumbs joined with either the forefingers (e.g., Amida nyoraizou ’νΙ@ in Houryuuji Eden Ga), the middle fingers (e.g.,Amida nyoraizou, Hakkakuin ͺp@, Kyoto), or the third fingers (e.g., Amida nyoraizou in Kouryuuji Koudou L²u°, Kyoto). The traditional asymmetrical tenbourin-in, on the other hand, came to be referred to as the mudra of the auspiciousness of wisdom or chikichijou-in qgΛσ (e.g., Gouhou άσ ;1306-63, DAINICHIKYOUSHO ENNOUSHOU εϊo`ηβ). The tenbourin-in is especially common in images of Amida predating the dissemination of the *mida-no-jouin νΙθσ in the mid- and late Heian period. According to the temple traditions of Saidaiji Όε, Nara, the image displaying the tenbourin-in among the Four Buddhas *shibutsu l§ in its stupa and dating from the late Nara period, represents Houshou σΆ (Sk: Ratnasambhava), but today scholars consider it to represent Amida. The systematization of the different forms of the tenbourin-in found in images of Amida gave birth to the following three types from among the mudras of the nine grades of Amida *Amida kubon-in ’νΙγiσ): mudra of the upper grade, middle birth joubon chuushou-in γiΆσ; mudra of the middle grade, middle birth chuubon chuushou-in iΆσ; and mudra of the lower grade, middle birth gebon chuushou-in ΊiΆσ. It is, however, anachronous to apply these terms to images antedating the Edo period. This mudra is also occasionally used in certain versions of the *Taizoukai mandara Ω EΦδΆ . Some scholars refer to this mudra as the *seppou-in ΰ@σ, but since another mudra formed with only the right hand is also known by this name, it causes confusion if the same term is used as a synonym for the tenbourin-in. |
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(C)2001 Japanese Architecture and Art Net Users System.@No reproduction or republication without written permission. fΪΜeLXgEΚ^ECXgΘΗASΔΜRecΜ³f‘»E]ΪπΦΆά·B |
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