|
||||||
@ | ||||||
mikkyou bijutsu@§³όp | ||||||
KEY WORD :@art history / general terms | ||||||
@ | ||||||
The art of Esoteric Buddhism mikkyou §³. Esoteric Buddhism was introduced to Japan from China in the 8c by the monks *Kuukai σC who founded the Shingon ^Ύ sect, and Saichou Ε (767-822) who founded the Tendai Vδ sect. The most prominent deity in Esoteric Buddhism is *Dainichi εϊ, whose symbol, the vajra kongou ΰ gives us the Sanskrit term Vajrayana (Vehicle of the diamond or). The influence of Hindu imagery is very strong, particularly in the multiple limbs and heads of some deities and also in the often violent aspect they present in the pursuit of good. Also female deities achieve a new prominence. The tolerance towards folk deities of Indian Buddhism made the establishment of the religion in Japan much smoother, since there was little initial conflict with the indiginous Shinto religion. The number of deities soared to huge figures as a result, and the co-existance of Buddhist temples and Shinto shrines on the same site is witness to this smooth syncretism, as is the existence of hybrid deities such as *Zaou Gongen € ». The main form of artistic expression of Esoteric Buddhism is the mandala *mandara ΦδΆ , of which there are many different types. They can be two dimensional paintings or three dimensional arrangements of sculptures. These are a means of giving formal expression to the Buddhist ideals of symmetry, form and sense in life: the Sanskrit word tantra meaning system or model is applied. In both painting and sculpture the forms reflect Mahayana (Jp. Daijou εζ) traditions from India, but there is a clear departure in the increased animation and violence of the figures, which is well illustrated by the silk hanging scrolls *kakemono |¨ of the Five Forceful Ones *Godairiki Bosatsu άεΝμF kept in the Mt. Kouya μ treasure House, which date from the 10c in Wakayama prefecture. By contrast there is a strain of sculpture in esoteric Buddhist art which exhibits a sense of contemplation and mystery, as exemplified by the sculptures of the Bodhisatvas of the Void Godai Kokuuuzou Bosatsuzou άεσμF in the Tahoutou ½σ of Jingoji _μ in Kyoto, dating from the 9c. Seated and rigid, they are the antithesis of the violent images seen elsewhere. Many works from this time were carved from single trees, reflecting the Japanese belief in their sanctity. These are often plain and heavy, in further contrast to the complex images of Mahayana Buddhist art. A fine example is the sculpture of the healing Buddha Yakushi Nyorai ryuuzou ςt@§ (783) at Jingoji in Kyoto. | ||||||
@ | ||||||
@ | ||||||
@ |
||||||
REFERENCES: | ||||||
@ | ||||||
EXTERNAL LINKS: | ||||||
@@ | ||||||
NOTES: | ||||||
@ | ||||||
(C)2001 Japanese Architecture and Art Net Users System.@No reproduction or republication without written permission. fΪΜeLXgEΚ^ECXgΘΗASΔΜRecΜ³f‘»E]ΪπΦΆά·B |
||||||
@ |