Hōnen's Senchaku Doctrine and His Artistic Agenda
As the founder of the Pure Land School, Hōnen (1133-1212) had a profound impact on the doctrines of the medieval period. His teachings on the exclusive selection of invocational nenbutsu generated a new doctrinal matrix with far-reaching social and theological implications. Less well understood is t...
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| Type de support: | Électronique Article |
| Langue: | Anglais |
| Vérifier la disponibilité: | HBZ Gateway |
| Fernleihe: | Fernleihe für die Fachinformationsdienste |
| Publié: |
Nanzan Institute
[2004]
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| Dans: |
Japanese journal of religious studies
Année: 2004, Volume: 31, Numéro: 1, Pages: 3-27 |
| Sujets non-standardisés: | B
Méditation
B Rebirth B Religious Studies B Art genres and movements B Images B Bodhisattva B Vows B Painting B Prayer |
| Accès en ligne: |
Volltext (kostenfrei) |
| Résumé: | As the founder of the Pure Land School, Hōnen (1133-1212) had a profound impact on the doctrines of the medieval period. His teachings on the exclusive selection of invocational nenbutsu generated a new doctrinal matrix with far-reaching social and theological implications. Less well understood is the relation between Hōnen and the visual images of Pure Land Buddhism. A fresh examination of Hōnen's writings illuminates the monk's novel interpretation of a key soteriological icon: the paintings of Amida's welcoming descent with his celestial assembly. Special attention is given to the Gōshō mandara and its role both as a manifestation of Hōnen's doctrines and as a prototype for later paintings of Amida's welcoming descent with twenty-five bodhisattvas. |
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| Contient: | Enthalten in: Japanese journal of religious studies
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