著者

渡辺 洋子 井手 誠 坂根 靖子 岩橋 叔恵 岩橋 徳英 中嶋 久美子 髙栁 宏樹 園田 紀之 小川 佳宏

出版者

一般社団法人 日本糖尿病学会

雑誌

糖尿病 (ISSN:0021437X)

巻号頁・発行日

vol.63, no.8, pp.528-533, 2020-08-30 (Released:2020-08-30)

参考文献数

10

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思春期は精神心理的問題を抱えやすく,慢性疾患である1型糖尿病を発症し受け入れることは容易ではない.今回我々は,心理社会的課題を抱えた1型糖尿病の女児がインスリンポンプ導入を通じ,自身の課題に向き合い解決へと進むことができた1例を経験したので報告する.患児は13歳時に1型糖尿病を発症.いじめが原因で小学校時から不登校であり,親からのマネジメントを十分に受けていないなど心理社会的問題を抱えていた.幼い兄弟が多く,針による怪我を心配してインスリンポンプを自ら希望した.ポンプ導入の際に,エンパワーメントアプローチや認知行動療法などの心理社会的・行動医学的介入を行った.その結果,患児は糖尿病治療中に遭遇した様々な困難を解決する過程で自己効力感を高め,自立性を得ることができた.治療を通じて自身の心理社会的問題にも取り組み,他者との良好な関係を築けるようになり,学校生活復帰を果たすことができた.

著者

井手 誠之輔

出版者

東京大学大学院人文社会系研究科グローバルCOEプログラム「死生学の展開と組織化」

雑誌

死生学研究 (ISSN:18826024)

巻号頁・発行日

no.16, pp.237-216, 2011-10

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公開・国際シンポジウム「イメージとヴィジョン : 東西比較の試み」

著者

井手 誠之輔

雑誌

美術研究 = The bijutsu kenkiu : the journal of art studies

巻号頁・発行日

no.354, pp.19-34, 1992-09-29

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Lu Xinzhong is known as one of a group of professional painters of Buddhist subjects who was active in the port city of Ningbo (also called Qingyuanfu) in Zhejiang Province the late Song through early Yuan dynasties. Extant paintings attributed to Lu Xinzhong include sets of the Ten Kings of Hell, Sixteen Arhats, and a Nirvāṇa painting. However, among these works there is considerable difference in the brushwork, so it is difficult to attribute these materials to a single master. In light of this state of the field, my aim in this papers is to reconsider Lu's work, through an examination of one of the few recognized masterpieces to come from his studio, the Nirvāṇa painting in the collection of the Nara National Museum (hereafter referred to as the NNM Nirvāṇa painting), and through a comparison of this work with other Nirvāṇa paintings of the Song-Yuan through Ming-Qing periods. In the NNM Nirvāṇa painting, we do not find the extreme expressions of grief. The disciples who have climbed up onto Śākyamuni's bier are depicted in a variety of poses and expressions. In this painting, nirvāna clearly has associations other than sadness and mourning. Such clues as the expressions of the disciples, and the representation of the leaves of the sala tree in seven layers (an auspicious pattern normally found in paradise paintings), suggest that the intent of this painting is to pose a question to its viewers: "Is the meaning of Śākyamuni's nirvāṇa death? or life?" There is evidence that this question was one shared by the artist and his clients in Song-Yuan China. In that this Nirvāṇa painting reflects contemporary values and views about death and life, rather than being a faithful illustration of a Buddhist text, it departs from earlier standards of both iconography and meaning. One of the distinctive features of this painting is its relationship to an important phenomenon in Song and later Chinese Buddhism, that of Paradise Associations (Ch. jingtu jieshe 浄土結社). Such associations thrived at Yangingsi Temple, a large Buddhist temple in Ningbo that was undoubtedly one of the major clients for painters such as Lu Xinzhong. Yangingsi was one of the major Tiantai sect temples in China in the late Song period. From the early 11th through the early 13th century, there were some 10,000 persons, tonsured and lay, in Yanqingsi Paradise Associations. The Associations were organized in 210 groups of 48 persons (based on Amitābha's 48 vows), each group headed by an influential member of the community. A plenary meeting of all the Paradise Associations was held annually at Yanqingsi on the 15th day of the 2nd month, the day considered the anniversary of Śākyamuni's nirvāṇa. The 210 leading members would no doubt have taken part in these annual meetings, and they are the most likely group of clients for the NNM Nirvāna painting. Although it is not possible to point to specific and concrete evidence of a link between the NNM Nirvāna painting and the Yanqingsi paradise associations, the religious and social context of Yanqingsi in the Song-Yuan period, and the environment created there for the consumption of Buddhist paintings, cannot be ignored. In Ming dynasty nirvāṇa paintings--for example, that by Wu Bin in the collection of Sōfukuji, Nagasaki, or a work by an unknown painter at Shuntokuji, also in Nagasaki--we continue to see double layers of signification. But what had been a double reference to nirvāṇa and Amitābha's Western Paradise in the Lu Xinzhong painting has been transformed into double imagery of nirvāṇa and immortality, and the dominant imagery is celebratory. For the ordinary Chinese, the logic of rebirth in paradise was, like popular Taoist notions of immortality, one of the most easily comprehended and most welcome aspects of Buddhist doctrine, as both offered comforting visions of death. From the point in the Song dynasty when the very concept of nirvāṇa--portrayed in traditional texts as an occasion for mourning--became associated with Pure Land Sect beliefs in rebirth in Paradise, it already was on the path toward the felicitous associations with eternal life that we see in the Ming paintings. The NNM painting by Lu Xinzhong is an important document of this process of the redefinition of nirvāṇa in Chinese Buddhism. Although the NNM Nirvāṇa painting has long been in Japanese collections, that it has been overlooked thus far can be attributed to a difference in Japanese and Chinese attitudes toward not only the concept of nirvāṇa, but also toward the illustration of Buddhist texts in general. Historically, Japan has tended toward a more conservative and textcentered imagery. Thus a work such as the NNM Nirvāṇa painting, which poses the question, "Is the meaning of Śākyamuni's nirvāṇa death? or life?" but leaves the interpretation to the viewer, was ill understood by the Japanese, and met with resistance.

著者

井手 誠之輔 KIM Jongmin

出版者

九州大学

雑誌

特別研究員奨励費

巻号頁・発行日

2008

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アメリカの美術館・図書館において、高麗時代及びそれに関係する中国の写経の調査を行った(Kim、7/13-7/24)。1)『紺紙金字大方廣佛華嚴經』第45巻、高麗、スペンサー図書館、カンサスシティ2)『紺紙金字大方廣佛華嚴經』第78巻、高麗、クリーブランド美術館、クリーブランド3)『紺紙金字大方廣佛華嚴經』断簡、高麗、ハーバード大学燕京図書館、ケンブリッジ4)『紺紙金字妙法蓮華經』、朝鮮王朝、ハーバード大学燕京図書館、ケンブリッジ5)『紺紙金字維摩詰経』、大理、メトロポリタン美術館、ニューヨークこれらの調査によって、14世紀の高麗写経が高麗大蔵経ではなく、さまざまな中国の大蔵経のテクストを参照していることを改めて確認した。13世紀の末に高麗写経の形式や様式に大きな変化が起こったことが指摘しうるが、その理由は、元時代の支配が強まる過程で、高麗王朝は、元に写経生を派遣して、都の大都で中国の規範にしたがった写経を制作したことに求められる。これまでに井手は、13世紀から14世紀の高麗仏画は、同時代の元時代の仏画とさほど強い関係性をもっていないことを明らかにしてきたが、この共同研究では、仏画と写経において中国の受容に大きな違いがあることが確認されることになった。なお、高麗版大蔵経にのみ典拠をもつ40巻華厳経の場合は、法華経とは逆に忠実に高麗のテクストにもどいていることも確認し、これらについては、Kimが韓国の仏教美術史学会の紀要に論文を発表した。