紀要論文

紀要論文

text

フィロカリア. 2024, 41, p. 43-64

大阪大学大学院人文学研究科　芸術学専攻

日本語

text

2024-03-20

Takada Keiho (1674-1755) was a painter in the mid-Edo period. He first studied painting under Kano Eikei (1662-1702) of the Kano family in Kyoto, and after his death, he studied painting under Myoyo Kokan (1653-1717), a Buddhist monk, and became a private admirer of Sesshū and established his own family. This paper will focus on “Tenge Wajunzu”, a Buddhist painting by Keiho that is of great significance due to its unique subject matter, and will discuss the meaning of the motifs and the background of its production. This work is a set of three hanging scrolls, each painted on silk, consisting of “Shaka, Kassapa, and Ananda” (middle), “Cultivation” (left), and “Landscape” (right), and was painted in 1733. The subject of the painting, “Tenge Wajun,” meaning Harmonious world under the Buddha, is a passage from The Immeasurable Life Sutra. Including this work, there are currently four different drawings of “Tenge Wajun,” one by Kokan and all the others by Keiho. A comparison of these versions shows that the left and right scrolls of this work are a rendering of the text of the sutra below “Tenge Wajun”. The middle scroll depicts Shaka in his missionary work. Referring to The Immeasurable Life Sutra, we find the phrase “There is no country, village, or hamlet where the Buddha has traveled that does not receive his teaching” immediately before the phrase “Tenge Wajun”. In other words, the world depicted in the left and right scrolls is the ideal world of countries that have achieved Harmonious world as a result of the Buddha’s missionary works in the middle scroll. Ryōshō Gizan (1648-1717) was a leading scholar of the Pure Land sect during the mid-Edo period, and it is assume that Keiho drew on Gizan’s ideas when he painted this work. This work not only depicts the Buddha’s past practices, but also implies the dissemination of his dharmakāya, in this work The Immeasurable Life Sutra, which would result in the creation of an ideal land. While relying on the sutra and Gizan’s thought, Keiho reinforces the intent of this work by skillfully utilizing the various styles he has mastered as a painter in order to render these ideas into a painting. Traditionally, Buddhist paintings were created based on sutras and specific beliefs, but in the early modern period, it was common practice to follow the normative style of ancient paintings. However, the uniqueexpression found in this work suggests that it was newly created in response to the wishes of Gizan, who was the backbone of this work. While some drawings were handed down from generation to generation, others, such as Keiho’s, challenged new Buddhist paintings. This work is an example of the diversity of Buddhist paintings in the early modern period.

95654

高田敬輔筆「天下和順図」（滋賀・信楽院蔵）について

中澤, 菜見子

大阪大学大学院人文学研究科　芸術学専攻

日本語

2024-03-20

フィロカリア

41

43

64

https://hdl.handle.net/11094/95654