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| 迎講と来迎図 : 山越阿弥陀図の画因について=Mukaekō and Raigōzu : The Motif of Yamagoshi Amida Raigōzu | ||
| 作者 | 辻本臣哉 (著)=ツジモトシンヤ (au.) |
|---|---|
| 出處題名 | 武蔵野大学仏教文化研究所紀要=Journal of Institute of Buddhist Culture, Musashino University=ムサシノ ダイガク ブッキョウ ブンカ ケンキュウジョ キヨウ |
| 卷期 | n.38 |
| 出版日期 | 2022.02.28 |
| 頁次 | 57 - 80 |
| 出版者 | 武蔵野大学仏教文化研究所 |
| 出版者網址 | http://www.musashino-u.ac.jp/bukken/ |
| 出版地 | 西東京市, 日本 [Nishitokyo-shi, Japan] |
| 資料類型 | 期刊論文=Journal Article |
| 使用語言 | 日文=Japanese |
| 附註項 | 武蔵野大学仏教文化研究所研究生博士（仏教学） |
| 關鍵詞 | 迎講; 来迎図; 山越阿弥陀図; 六波羅蜜寺; 吉田寺 |
| 摘要 | This paper discusses the relationship between mukaekō (“performance of welcoming”) and raigōzu (“diagram of the welcoming”) by hypothesizing that the motif of Yamagoshi Amida raigōzu comes from mukaekō. Though this motif has been researched from a philosophical points of view, this paper instead focuses on the actual sights at mukaekō which might affect the motif. This paper tests the hypothesis through three mukaekō cases, namely, Taima temple, Rokuharamitsu temple, and Yoshida temple. Although the mukaekō of Taima temple is still held today, the others have ceased doing so long ago. Additionally, even though we can watch the mukaekō at Taima temple, it might be different from that in the Kamakura period, meaning that we are not able to see the actual mukaekō from that time. Therefore, this research depends on literature that describes mukaekō during the Kamakura period. Results show that the cases of Rokuharamitsu temple and Yoshida temple support the hypothesis, while the case of Taima temple contradicts the hypothesis. Since Yoshida temple has close relations with Konkai-Kōmyō temple and Zenrin temple, both of which have the famous Yamagoshi Amida raigōzu paintings, the case of Yoshida is more important than the others. An assumption of this paper is that mukaekō were held in the evening or night, when participants can see the moon on the edge of the mountain. In addition, the dates of the mukaekō should fall on the day of a full moon. Further examinations in this paper also support the possibility that participants could see the moon at mukaekō. In conclusion, participants who attended mukaekō felt Amitâbha by seeing the moon on the edge of the mountain. Since mukaekō makes people not distinguish between dreams and reality, the image attracts them, and thus the experience of mukaekō leads to the motif of Yamagoshi Amida raigōzu. |
| 目次 | はじめに 59 一 山越阿弥陀図の画因についての先行研究 61 二 迎講 62 三 迎講と来迎図 64 四 仮説の設定と考察の方法 65 五 当麻寺の迎講 67 六 六波羅蜜寺の迎講 68 七 吉田寺の迎講 70 八 追加検証 72 九 山中他界観 76 おわりに 77 註 78 |
| ISSN | 18820107 (P) |
| 點閱次數 | 144 |
| 建檔日期 | 2022.06.28 |
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