仏教図像の表現と理論

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  • Representation and Theory in Buddhist Iconography
  • ブッキョウ ズゾウ ノ ヒョウゲン ト リロン

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Considering the representation of Buddhist icons and the theoretical concepts underlying them is important in all topics making up the framework of Buddhist art. Buddhist imagery that was born in India eventually crossed the Himalayas, was carried through Central Asia and into China, and then introduced to Japan via the Korean peninsula. Beginning with Buddha, iconographical drawings sustained the representation of Buddhist art. While many issues such as faith and representation as well as worship and representation arose in India and elsewhere, until now comparative research has been carried out only fragmentarily on the relationship of Buddhist art to scriptures and regulations, and the diverse forms of history and culture have not yet been fully examined.<br>This study includes an analysis of the Sakyamuni triad, in which the main image is teaching (a situation in which Sakyamuni delivers a sermon, and people gather in front to listen). The form of the triad, with central icon flanked by left and right images, radiates power, and the domain of worship spreads accordingly, achieving a sense of balance. The objects of worship that unfold from this scene give birth to the mandala. Ultimately one becomes aware of a separate object of worship known as Besson Mandara among the multitudinous Buddhist iconographical images brought together in the mandala of two worlds (ryogai mandara). A comparison of changes in the iconography of the Besson Mandara with the Ryogai Mandara brought back by Kukai in 806 shows that special characteristics can be discerned through that one part of the structure. Therein the problem of Kantoku image lies; the evolution of worship is included. Several other issues in Japanese Buddhism, such as problems related to the Besson zakki, the Heian period books of esoteric iconographical drawings, and the iconograpical sketches at Ninnaji and Daigoji, as well as worship are critically examined.<br>Attempts are also made to historically distinguish the iconography in Buddhist art from ancient to medieval Buddhist times, revealing in great detail the intricate relationship of compositional design and theory in images, esoteric Buddhist implements, Mandara, illustrations of Sakyamuni's life, and so forth.

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