著者

芳澤 元

出版者

禅文化研究所

雑誌

禅文化 (ISSN:05143012)

巻号頁・発行日

no.246, pp.67-71, 2017

著者

芳澤 元

出版者

明星大学

雑誌

若手研究

巻号頁・発行日

2018-04-01

著者

芳澤 元

出版者

明星大学日野校

雑誌

明星大学研究紀要. 人文学部・日本文化学科 = Bulletin of Meisei University. Department of Japanese and Comparative Culture, School of Humanities (ISSN:21862818)

巻号頁・発行日

no.31, pp.29-50, 2023-03-10

著者

芳澤 元

出版者

公益財団法人 史学会

雑誌

史学雑誌 (ISSN:00182478)

巻号頁・発行日

vol.120, no.10, pp.1675-1696, 2011-10-20 (Released:2017-12-01)

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When taking up the question of the essential character of Japanese Buddhism during the Muromachi Period, it is necessary to investigate its influence on the era's cultural phenomena. For example, in the recent research dealing with Muromachi culture, focus has been placed on the period's Oei 応永 Era (1394-1428), which amends conventional Kitayama vs. Higashiyama view of the period's cultural history; however, when turning to the subject of the cultural influence of Zen Buddhism, the discussion has not developed beyond the classic study by Tamamura Takeji, which concentrates on the unique character of Shogun Ashikaga Yoshimochi. The cause of the problems that have now arisen is that the research taking up 1) obscure source materials related to the Gozan 五山 Zen temples and 2) the social aspects of Zen Buddism has not yet dealt with the Oei Era. This situation is mainly the responsibility of the historical research done on Buddhism in general and Zen in particular that ignores the aspect of culture. The present article discusses the Tale of Totou Tenjin 渡唐天神, a Buddhist story about Sugawara-no-Michizane (later diefied as Tenjin, the patron of scholarship and the literary arts) appearing in a dream of a Zen monk who advises him to journey to Tang China to learn the art of Zen meditation from his master Fojian 仏鑑, in relation to poetic picture scrolls and the renga 連歌 genre of Japanese poetry. It was during the Oei Era that such aspects of the tale appearing in the latter half of the 14th century as the dream about Michizane and Tenjin folk beliefs, as well as the activities of Zen monks studying abroad in China writing poetry about such subjects as the literati of Jiangnan (Jiangnan renwen 江南文人) and the legend of Tobiume 飛梅, a legendary plum tree planted by Michizane at the Dazaifu Tenjin shrine (Kyushu), all began to be edited as illustrated versions. The author argues that despite the vast research literature dealing with the Tale of Totou Tenjin, no definitive work has yet to appear on the meaning of and historical background to its popularity during the Oei Era. Next, the author takes up records of Ouchi Morimi, the governor of Suo and Nagato Province (Yamaguchi) and home of the Matsuzaki Tenjin shrine, presenting a pictorial image of Totou Tenjin to Shogun Yoshimochi while residing in Kyoto and excerpts from literary works on the subject of the image, in order to show Morimi's conversion to Tenjin beliefs while in Kyushu and the process by which Morimi traveled to Kyoto after Yoshimochi the suceeded to the head of the House of Ashikaga and received the Shogun's favor. From that time on, what led to the further development of the Tale were 1) Yoshimochi and Morimi's adoration of Tenjin and the participation of the shogun and Gozan Zen monks in Tenjin-related Buddhist ceremonies sponsored by Morimi, which would end with renga poetry writing and 2) Koun Myogi, aristocrat, Zen monk and literatus serving the shogun, who was also deeply interested in the Tale of Totou Tenjin, instructing Gozan Zen monks in the literary arts. The world of the Gozan temples and provincial governors participating in the promotion of the literary arts and the appreciation of the fine arts was formed under the auspices of cooperative personal relationships developed between the capital and the provinces during the Oei Era; and it was this world in which the Tale of Totou Tenjin became the main theme in a wide range of artwork. The image of Totou Tenjin is characterized not only by elements limited exclusively to the events and social structure specific to the Oei Era, but also by more fluid elements easily articulated with themes unrelated to Zen Buddhism. This dual character enabled the Tale to develop while gradually drifting away from its original Zen context, and it could not have continued on past the Muromachi cultural scence into the late premodern period merely on(View PDF for the rest of the abstract.)

著者

芳澤 元

出版者

明星大学日野校

雑誌

明星大学研究紀要 : 人文学部・日本文化学科 = Bulletin of Meisei University. Department of Japanese and Comparative Culture, School of Humanities (ISSN:13444387)

巻号頁・発行日

no.26, pp.45-58, 2018-03-09

著者

芳澤 元

出版者

勉誠出版

雑誌

アジア遊学

巻号頁・発行日

no.250, pp.35-47, 2020-07

著者

芳澤 元

出版者

藝能史研究會

雑誌

藝能史研究 = History of the performing arts (ISSN:03869504)

巻号頁・発行日

no.228, pp.30-45, 2020-01

著者

芳澤 元

出版者

明星大学日野校

雑誌

明星大学研究紀要. 人文学部・日本文化学科 (ISSN:21862818)

巻号頁・発行日

no.26, pp.45-58, 2018

著者

芳澤 元

出版者

古典ライブラリー

雑誌

日本文学研究ジャーナル = Academic journal of Japanese literature (ISSN:24327387)

巻号頁・発行日

no.10, pp.97-110, 2019-06

著者

芳澤元著 相国寺教化活動委員会編

出版者

相国寺教化活動委員会

巻号頁・発行日

2019

著者

芳澤 元

出版者

公益財団法人 史学会

雑誌

史学雑誌 (ISSN:00182478)

巻号頁・発行日

vol.120, no.10, pp.1675-1696, 2011

---

<p>When taking up the question of the essential character of Japanese Buddhism during the Muromachi Period, it is necessary to investigate its influence on the era's cultural phenomena. For example, in the recent research dealing with Muromachi culture, focus has been placed on the period's Oei 応永 Era (1394-1428), which amends conventional Kitayama vs. Higashiyama view of the period's cultural history; however, when turning to the subject of the cultural influence of Zen Buddhism, the discussion has not developed beyond the classic study by Tamamura Takeji, which concentrates on the unique character of Shogun Ashikaga Yoshimochi. The cause of the problems that have now arisen is that the research taking up 1) obscure source materials related to the Gozan 五山 Zen temples and 2) the social aspects of Zen Buddism has not yet dealt with the Oei Era. This situation is mainly the responsibility of the historical research done on Buddhism in general and Zen in particular that ignores the aspect of culture. The present article discusses the Tale of Totou Tenjin 渡唐天神, a Buddhist story about Sugawara-no-Michizane (later diefied as Tenjin, the patron of scholarship and the literary arts) appearing in a dream of a Zen monk who advises him to journey to Tang China to learn the art of Zen meditation from his master Fojian 仏鑑, in relation to poetic picture scrolls and the renga 連歌 genre of Japanese poetry. It was during the Oei Era that such aspects of the tale appearing in the latter half of the 14th century as the dream about Michizane and Tenjin folk beliefs, as well as the activities of Zen monks studying abroad in China writing poetry about such subjects as the literati of Jiangnan (Jiangnan renwen 江南文人) and the legend of Tobiume 飛梅, a legendary plum tree planted by Michizane at the Dazaifu Tenjin shrine (Kyushu), all began to be edited as illustrated versions. The author argues that despite the vast research literature dealing with the Tale of Totou Tenjin, no definitive work has yet to appear on the meaning of and historical background to its popularity during the Oei Era. Next, the author takes up records of Ouchi Morimi, the governor of Suo and Nagato Province (Yamaguchi) and home of the Matsuzaki Tenjin shrine, presenting a pictorial image of Totou Tenjin to Shogun Yoshimochi while residing in Kyoto and excerpts from literary works on the subject of the image, in order to show Morimi's conversion to Tenjin beliefs while in Kyushu and the process by which Morimi traveled to Kyoto after Yoshimochi the suceeded to the head of the House of Ashikaga and received the Shogun's favor. From that time on, what led to the further development of the Tale were 1) Yoshimochi and Morimi's adoration of Tenjin and the participation of the shogun and Gozan Zen monks in Tenjin-related Buddhist ceremonies sponsored by Morimi, which would end with renga poetry writing and 2) Koun Myogi, aristocrat, Zen monk and literatus serving the shogun, who was also deeply interested in the Tale of Totou Tenjin, instructing Gozan Zen monks in the literary arts. The world of the Gozan temples and provincial governors participating in the promotion of the literary arts and the appreciation of the fine arts was formed under the auspices of cooperative personal relationships developed between the capital and the provinces during the Oei Era; and it was this world in which the Tale of Totou Tenjin became the main theme in a wide range of artwork. The image of Totou Tenjin is characterized not only by elements limited exclusively to the events and social structure specific to the Oei Era, but also by more fluid elements easily articulated with themes unrelated to Zen Buddhism. This dual character enabled the Tale to develop while gradually drifting away from its original Zen context, and it could not have continued on past the Muromachi cultural scence into the late premodern period merely on</p><p>(View PDF for the rest of the abstract.)</p>

著者

芳澤 元

出版者

校倉書房

雑誌

歴史評論 (ISSN:03868907)

巻号頁・発行日

no.797, pp.30-42, 2016-09

著者

芳澤 元

出版者

大阪歴史学会

雑誌

ヒストリア (ISSN:04392787)

巻号頁・発行日

no.235, pp.87-111, 2012-12