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Genzu mandara@Œ»}™ΦδΆ—…
KEY WORD :@art history / iconography
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Genzu mandala. A version of the *Taizoukai mandara ‘Ω‘ ŠE™ΦδΆ—… that is widely used today in Japan. The original version, brought to Japan from China by *Kuukai ‹σŠC (774-835), was kept at Touji “ŒŽ› (Kyoto), but because it began to show signs of wear in Kuukai's later years, a copy was made in 821 (Kounin Om 12), this first copy is known as the Kounin version. The version presently used at Touji is the fourth copy, made in the Genroku Œ³˜\ era (late 17c), and is known as the Genroku version. In addition, three mandala *mandara ™ΦδΆ—…, fragments were discovered in 1954 in the attic of the treasure house Houzou •σ‘  at Touji, and of these the so-called kouhon b–{ (version A) is thought to be a fragment of the second copy of the Genzu mandara, made in 1191, while the so-called Einin ‰im version is thought to be a fragment of the third copy, made in 1296 (Einin 4). The Genzu mandara is considered to have been brought to completion by Kuukai's teacher, Huiguo (Jp: Keika Œb‰Κ, 746-805), and it represents the final form of the Taizoukai mandara, which evolved from the mandala of the DAINICHIKYOU ‘ε“ϊŒo (Sk:Vairocanabhisambodhi-sutra via the *Taizou zuzou ‘Ω‘ }‘œ and *Taizou kyuuzuyou ‘Ω‘ ‹Œ}—l. Its composition varies somewhat, but it consists of approximately 400 deities systematically arranged in 12 sections called Chuudai hachiyouin ’†‘δ”ͺ—t‰@, Henchi-in •Υ’m‰@, Jimyouin Ž–Ύ‰@, Rengebu-in ˜@‰Ψ•”‰@, Kongoushu-in ‹ΰ„Žθ‰@, Shaka-in Žί‰ή‰@, Kokuuzouin ‹•‹σ‘ ‰@, Monju-in •ΆŽκ‰@, Soshitsuji-in / Soshitchi-in ‘hŽ»’n‰@, Jizouin ’n‘ ‰@, Jogaishouin œŠWα‰@ and Gekongoubu-in ŠO‹ΰ„•”‰@. Compared with the approximately 120 deities mentioned in the DAINICHI-KYOU this represents a more than threefold increase in the number of deities. The term genzu Œ»} (current depiction) was first used by Godai-in Annen Œά‘ε‰@ˆΐ‘R (841-889/898?) of the Tendai “V‘δ sect. Later, in his SHOSETSU FUDOUKI ”ΰ•s“―‹L a detailed comparison of the iconography of the deities depicted in the Taizoukai mandara, the imperial prince and Buddhist priest Shinjaku ^Žβ (886-927) used the term to designate the orthodox Taizoukai mandara as transmitted by Kuukai in contradistinction to that brought to Japan by Shuuei @‰b (809-884) and that preserved in the Tendai sect, and it subsequently passed into general usage. The term genzu should therefore be used to refer to the current depiction of the Taizoukai mandara. There are, however, some art historians who use the term Genzu Kongoukai mandara Œ»}‹ΰ„ŠE™ΦδΆ—… to refer to the current depiction of the *Kongoukai mandara ‹ΰ„ŠE™ΦδΆ—…, viz. *Kue mandara ‹γ‰ο™ΦδΆ—…, but this usage is inappropriate. To date examples of the Taizoukai mandara that have been discovered are slightly different than the Shouei versions and Tendai version alluded to by Shinjaku, but the differences between these versions and the Genzu mandara are not as marked as those between the Genzu mandara and the Taizou zuzou and Taizou kyuuzuyou and they may therefore be regarded as variants of the Genzu mandara in a broad sense?.
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