Issued by the Freer Gallery of Art, Smithsonian Institution and Department of the History of Art, University of Michigan
An eighth-century sculpture of Kokūzō Bosatsu (Space Repository Bodhisattva) from Kakuanji in Nara sits upon a base with two inscriptions: the first, dated to Kōan 5 (1282), recounts the eighth-century role of the sculpture as the primary object of worship for the priest Dōji (d. 744) in the gumonjihō (ritual for memory retention), followed by its thirteenth-century restoration and subsequent (re)consecration by the priest Eison (1200–1290). The second inscription is from Meiji 12 (1879) and states that, in this year, this inscription was reported to Home Minister Itō Hirobumi by the Kakuanji head priest. This article explores these inscriptions and their role in the conceptual reuse of the sculpture in different periods; first as a tool to legitimize the Buddhist activities of the thirteenth-century priest Eison; and later as a prime example of Japan’s long-standing religious “art” tradition, which was being developed in the Meiji period.奈良の額安寺に由来する8世紀の虚空蔵菩薩像の台座には、2つの銘文が残されている。弘安5年(1282年）に年代づけられる1つ目の銘文は、この像が、8世紀に導慈律師（-744）が求聞持法（記憶力増進のための修法）の本尊であったこと、および13世紀に修復が行われ、叡尊（1200-1290）によって再び開眼供養が行われたことを語っている。2つ目の銘文は明治12年（1879年）のもので、同年、額安寺の僧から内務卿伊藤博文に、13世紀の銘文について報告が行われたと記されている。本論文ではこれらの銘文を考察し、各時代において、さまざまな思想に基づいた仏像の再利用にそれらが果たした役割を考察する。1つ目は13世紀の叡尊による仏教活動を正当化するための手段/象徴としての仏像の利用、そしてその後、明治期に推し進められた日本の宗教「芸術」の長い伝統の優れた実例としてである。
Issued by the Freer Gallery of Art, Smithsonian Institution and Department of the History of Art, University of Michigan
Issued by the Freer Gallery of Art, Smithsonian Institution and Department of the History of Art, University of Michigan
Issued by the Freer Gallery of Art, Smithsonian Institution and Department of the History of Art, University of Michigan
Issued by the Freer Gallery of Art, Smithsonian Institution and Department of the History of Art, University of Michigan
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