著者

園田 沙弥佳

出版者

日本印度学仏教学会

雑誌

印度學佛教學研究 (ISSN:00194344)

巻号頁・発行日

vol.68, no.1, pp.361-356, 2019-12-20 (Released:2020-09-10)

参考文献数

15

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This presentation concerns Sādhanamālā (SM) 134, a meditation on the Mārīcī of three faces and eight arms (an image seen on extant art objects). The traits of the sādhana of SM 134 are elucidated via an understanding of its structural components.Among the Buddhist goddesses of the Pāla Empire (8th–12th century CE), works depicting Mārīcī are said to have been second in number only to those of the goddess Tārā, and Mārīcī worship was especially widespread in India. Sixteen types of Mārīcī sādhana are recorded in the SM, with Mārīcī displaying variously one face and two arms, three faces and eight arms, five faces and ten arms, six faces and twelve arms, or three faces and sixteen arms.In SM 134, in the preparatory stage for meditation, the concrete description of the figure of the goddess is characteristic. The reason is not clear, but in SM 142, in the preparatory stage for meditation (similar to SM 134) is the phrase “depict images [paṭa], etc. of the figure of the holy mother [Mārīcī]” (paṭādigatamūrrtiṃ bhagavatīm avatārrya); therefore, it may be that the concrete figure of Mārīcī spoken of in the preparatory stage of SM 134 is suggesting not only a mediation, but also the creation of actual objects depicting the goddess. From the fact that numerous holy images of Mārīcī have been confirmed in India, we surmise that in addition to mediation, emphasis was also placed on the mechanism of gaining blessings by the pious act of creating actual art objects.