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| 宝土寺所蔵宝冠阿弥陀三尊来迎図について=The Hōkan-Amida-sanzon-raigō-zu (宝冠阿弥陀三尊来迎図) in the Hōdo-ji (宝土寺) | ||
| 作者 | 髙間由香里 (著)=Takama, Yukari (au.) |
|---|---|
| 出處題名 | 印度學佛教學研究 =Journal of Indian and Buddhist Studies=Indogaku Bukkyōgaku Kenkyū |
| 卷期 | v.67 n.2 (總號=n.147) |
| 出版日期 | 2019.03.20 |
| 頁次 | 550 - 556 |
| 出版者 | 日本印度学仏教学会 |
| 出版者網址 | http://www.jaibs.jp/ |
| 出版地 | 東京, 日本 [Tokyo, Japan] |
| 資料類型 | 期刊論文=Journal Article |
| 使用語言 | 日文=Japanese |
| 關鍵詞 | 阿弥陀; 来迎図; 南宋; 浄土教美術 |
| 摘要 | The image studied here is very rare in terms of iconography, as everyone, including Amitābha, is represented by the figure of a Bodhisattva. Amitābha is represented by the figure of the chief of the Pure Land. Also, while the contour line of the central Buddha was lost its vitality, those of the left and right Bodhisattva have freedom. The latter are reminiscent of the Amida-25-bosatsu-raigō-zu (阿弥陀二十五菩薩来迎図) (National Treasure), owned by the Chion-in (知恩院) . In other words, the time of production of this picture is can be place in the second quarter of the 14th century. Meanwhile, while the central Buddha has the characteristics of the Southern Song Dynasty of China, the left and right Bodhisattvas are full of Japanese elements. That is, the model of this painting was a Southern Song painting with only Amitābha painted in order for a dying person to image the moment of going to Pure Land as soon as possible to meet Amitābha. With this South Song painting as their model, the Tendai-Sanmon (天台山門) artists daringly added 2 Bodhisattva to promote their understanding that Raigō (来迎) precedes Ōjō (往生), and produced this picture. |
| ISSN | 00194344 (P); 18840051 (E) |
| DOI | https://doi.org/10.4259/ibk.67.2_550 |
| 點閱次數 | 89 |
| 建檔日期 | 2022.08.12 |
| 更新日期 | 2022.08.12 |
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