著者

村瀬 博春

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.54, no.3, pp.15-28, 2003

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Japanese Accomplishments such as Noh performance and Tea-ceremony are considered to be located on the final phase of development of Mahayana Buddhism in Japan based on principal scripture Lotus Sutra especially chapter on Expedient means that preaches even if infant draw image of Buddha by the wood tip on the ground capriciously, the act is regarded as meritorious deed toward enlightenment. That cultural environment cultivated artistry of Tawaraya Sotatsu's painting style which aims at stimulating transcendental wisdom by full use of fictitiousness. From this point of view Sotatsu's Wind God and Thunder God is interpreted as Vairocana and two attendants, namely Vairocana, Manjusri and Samantabhadra. According to the "Words of Lin-chi", Buddha with concrete image is a tempter who should be killed by a discipliner. Sotatsu incarnated Lin-chi's principle Zen idea perfectly by putting severed gold void in the center of the composition. Sotatsu made this work as the confession of his mind of final enlightenment. Ogata Korin issued a challenge to this work by making a copy and drawing Red and White Flowring Plum Trees which is the incarnation of the Leitmotiv of Noh drama "Eguchi" as abandonment of persistence. Through these works, Korin stated that he understood Sotatsu's profound artistic idea. This way of statement is originated in Zen Buddhism that is also the ideative Band between Tawaraya Sotatsu and Ogata Korin.