著者

髙間 由香里

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.67, no.2, pp.550-556, 2019-03-20 (Released:2019-09-20)

参考文献数

4

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The image studied here is very rare in terms of iconography, as everyone, including Amitābha, is represented by the figure of a Bodhisattva. Amitābha is represented by the figure of the chief of the Pure Land.Also, while the contour line of the central Buddha was lost its vitality, those of the left and right Bodhisattva have freedom. The latter are reminiscent of the Amida-25-bosatsu-raigō-zu (阿弥陀二十五菩薩来迎図) (National Treasure), owned by the Chion-in (知恩院) . In other words, the time of production of this picture is can be place in the second quarter of the 14th century.Meanwhile, while the central Buddha has the characteristics of the Southern Song Dynasty of China, the left and right Bodhisattvas are full of Japanese elements.That is, the model of this painting was a Southern Song painting with only Amitābha painted in order for a dying person to image the moment of going to Pure Land as soon as possible to meet Amitābha. With this South Song painting as their model, the Tendai-Sanmon (天台山門) artists daringly added 2 Bodhisattva to promote their understanding that Raigō (来迎) precedes Ōjō (往生), and produced this picture.