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Ninnougyou mandara@m‰¤Œo™Ö䶗…
KEY WORD :@art history / iconography
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A variety of *besson mandara •Ê‘¸™Ö䶗…@based on the NINNOU GOKOKU HANNYA HARAMITTA KYOU m‰¤Œì‘”ÊŽá”g—…–¨‘½Œo, a translation of the NINNOUGYOU m‰¤Œo by Bukong (Jp: Fukuu •s‹ó, Sk: Amoghavajra; 705-74), and the NINNOU GOKOKU HANNYA HARAMITTA KYOU DARANI NENJU GIKI m‰¤Œì‘”ÊŽá”g—…–¨‘½Œo‘É—…“ò”Oæu‹V‹O, a related ritual manual. *Fudou Myouou •s“®–¾‰¤ is depicted in the center surrounded by symbolic objects representing the four bodhisattvas *bosatsu •ìŽF ; Kongousatta ‹à„ŽF‚½, Kongouhou ‹à„•ó, Kongouri ‹à„—˜ and Kongouge ‹à„‰å and the four inner offering bodhisattvas (Joy, Garland, Song and Dance); the four *myouou –¾‰¤ ; *Gouzanze Myouou ~ŽO¢–¾‰¤, *Gundari Myouou ŒR䶗˜–¾‰¤, *Daiitoku Myouou ‘åˆÐ“¿–¾‰¤ and *Kongouyasha Myouou ‹à„–鍳–¾‰¤, are depicted in the second enclosure in the east, south, west and north respectively, while the four guardian bodhisattvas, shishou bosatsu ŽlÛ•ìŽF, the guardian deities of the four directions *shitennou Žl“V‰¤ ; *Taishakuten ’éŽß“V, Katen ‰Î“V, Fuuten •—“V and Suiten …“V, are depicted in the outer enclosure. The iconographical features of the five great myouou *godai myouou ŒÜ‘å–¾‰¤@differ markedly from their usual depictions, with Fudou for example holding a wheel instead of a noose in his left hand. In versions of this mandara used in rites of pacification the upper quarter represents north, while in versions used in rites for increasing prosperity the upper quarter represents east. Representative of the former type is that belonging to Jinjouji _ãŽ› in Yamaguchi prefecture and of the latter type those kept at Daigoji ‘çŒíŽ› in Kyoto and Kumedadera ‹v•Ä“cŽ› in Osaka, all of which have been designated important cultural properties.
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NOTES
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(C)2001 Japanese Architecture and Art Net Users System.@No reproduction or republication without written permission.
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