著者
赤塚 祐道
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.2, pp.713-718, 2020-03-20 (Released:2020-09-10)
参考文献数
2

Studies of Kakuban (覚鑁, 1095–1143) are based on the Kōgyō Daishi zenshū (興教大師全集). However, regarding Kakuban’s representative work, the Gorin kujimyō himitsushaku (五輪九字明秘密釈), a comparison of the Kōgyō Daishi zenshū text with various other sources reveals differences in words and phrases. A comparison of the manuscript and printed editions shows that the following classification can be made: (1) the Hokekyō-ji and Shōmyō-ji texts, (2) the Ninna-ji text and the Buzan Mitsugon shohishaku printed text, (3) the Chisan Mitsugon shohishaku printed text and the Kōgyō Daishi zenshū text, and (4) other manuscripts.In group (1), the Hokekyō-ji text (copied 1251) and the Shōmyō-ji text (copied 1254) are in agreement in their attached annotations, obverse annotations, verses, and lacunas. They are clearly in the same lineage. In group (2), the Ninna-ji text (copied 1308) and Buzan printed text (published around 1690) are alike in their okurigana and words and phrases. They are chronologically separated, but the two texts are in a close relationship.For group (3), the Chisan text is a revision of the Buzan text, with corrections in the Chinese word order and illustrations added. The Kōgyō Daishi zenshū text was edited with reference to the words and phrases and illustrations in the Chisan text. The texts in group (4), including the former Kanchi-in text, the Zuishin-in text, the colored Shōmyō-ji text, the Hōki-in text, and others do not belong to groups (1) and (3), and with the exception of the okurigana are close to (2) the Ninna-ji text.As explained above, the manuscripts of the Gorin kujimyō himitsushaku fall into four groups. From this it will be noted that the Kōgyō Daishi zenshū text does not necessarily transmit the content of all the preceding manuscripts.
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

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.
著者
舘 隆志
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.70, no.2, pp.651-656, 2022-03-23 (Released:2022-09-09)
参考文献数
2

This study is about the differences between the Sōtō sect’s gokan no ge 五観偈 and that of the Rinzai, with considerations based on their historical transitions and how they were inherited down to the present day. The gokan no ge are the five verses recited before the meals in Zen institutions. The present study focuses on the third of the five in order to look at the differences in interpretation of the Sōtō and Rinzai sects. I focus on the basic version of the Chinese Nanshan 南山 Vinaya master 律宗 Daoxuan’s 道宣 gokan no ge. I clarify that the present day Sōtō understanding corresponds to that of Daoxuan, while the Rinzai does not.Next I have examine two works composed by medieval Rinzai monks, the Chokushu hyakujō shingi Untō-shō 勅修百丈清規雲桃抄 and the Nichiyō shingi Shōun-shō 日用清規笑雲抄, both of which convey an understanding in line with the Sōtō interpretation. The present day Rinzai sect’s interpretation first appeared in the Shoekō shingishiki 諸回向清規式, published in the early Edo period, and this was accepted by the sect thereafter. However, Muchaku Dōchū 無著道忠 of the Myōshin-ji mentioned in his Shosōrin ryakushingi 小叢林略清規 interpretations quite similar to those of the present day Sōtō. Moreover, from the situations of Edo period Sōtō, both the interpretations of Dōgen and the Nichiyō shingi Shōun-shō seem to have become mixed, with no definite interpretations for the Third Passage. At least by the end of the Edo period, there was no definitive or sectarian interpretation of this text. It was only during the Meiji period that the different sectarian interpretations came to be accepted by the Sōtō and the Rinzai, and their respective different interpretations were developed gradually.
著者
石田 勝世
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.3, pp.1210-1215, 2019-03-25 (Released:2019-09-30)
参考文献数
4

本研究の目的は,コンピュータによるテキスト校訂を行うためのアルゴリズムを開発することである.この目的に向けて,本論文では,テキスト校訂のうち「テキストの系統分類」と「校合のための底本の選択」の作業を処理するアルゴリズムを提案して,蔵訳『賢愚経』第2章に適用した結果について報告する.すでに生物系統学を利用した系統推定(系統樹の作成)について報告しているが,本論文ではテキスト校訂への拡張を試みた.生物系統学を利用した系統推定では各テキストの位置づけが系統樹の上で可視化される.そこで,「アーキタイプは系統樹のルートに近い」という前提に基づいて系統推定手法をテキスト校訂に応用する.アーキタイプに近いテキスト(底本)を見つけるためには,テキストが系統樹のルートに近づくように異読の読みを選択すればよい.試行錯誤による探索でも可能だが,時間と労力を要する.試行錯誤に代わる何らかのヒューリスティックスが必要である.本論文では多数決の原理を導入して底本を求めた.ここで求めた底本は他のテキストと校合し読み(異読あるいは新しい読み)を選択して,最終的な校訂テキストを作成するが,この作業についてのアルゴリズムの詳細は未だ検討中である.
著者
加納 和雄
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.2, pp.913-907, 2020-03-20 (Released:2020-09-10)
参考文献数
15
被引用文献数
1

Hardly any Sanskrit manuscripts of Buddhist scriptures remain in India proper today, even though such manuscripts have been discovered in surrounding regions. Tibet in particular is one of the richest treasuries of precious Sanskrit manuscripts from as early as the 8th century. While these materials are currently studied mostly in order to clarify Indian Buddhism, their historical aspects (e.g. their origins in India, their transmission to Tibet, their preservation in Tibetan monasteries) are yet to be clarified. Currently, almost all of them are preserved in Lhasa, but they were once preserved in various monasteries outside Lhasa, though we do not know the relevant details. The present paper investigates two examples that show their preservation at monasteries in the medieval period, focusing on the Sanskrit manuscripts once preserved at gCung Ri bo che and at sPos khang tshogs pa. Those preserved at gCung Ri bo che are mentioned by Tāranātha in his autobiography. He mentions a Sanskrit manuscript of the Suhṛllekha from this place, which might be identified with that currently preserved at ’Bras spungs monastery. In sPos khang there were once three bundles of Sanskrit manuscripts, as mentioned by Rāhula Sāṅkṛtyāyana and dGe ’dun chos ’phel, of which one bundle (a paper manuscript of verses of the Madhyāntavibhāga, Dharmadharmatā[pra]vibhāga, and Abhisamayālaṃkāra) was produced in Ya tse and presented to Tibet in the 14th century.
著者
辻本 臣哉
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.70, no.1, pp.101-105, 2021-12-20 (Released:2022-09-09)
参考文献数
8

This paper discusses the time concept of Tendai hongaku 本覚 philosophy. The Sanjushika no kotogaki 三十四箇事書, one of the main Tendai hongaku texts, states that eternal and present are coming together and dissolving into oneness. It leads to the “eternal now.” In addition, we can see present, past and future at the same time in other spaces as well as this space, although the spaces have their own time. This time concept seems to belong to eternalism, which states that there are things that exist at other times. As a result it leads to the creation of art and literature. However, it is also related to the negative sides of Tendai hongaku philosophy such as discrimination, because the future is already decided.