joudo hensou　浄土変相

KEY WORD :　art history / iconography

Abbreviation of joudo hensou-zu 浄土変相図. Also known as joudo mandara 浄土曼荼羅. Pictorial representations, often schematically arranged *hensou 変相, of Buddhist Pure Lands or paradises, joudo 浄土. Strictly speaking, a joudo hensou is a figural representation of the Pure Land of one of the various Mahayana Buddhist deities, which include the Buddhas *Yakushi薬師, *Shaka 釈迦, and *Miroku 弥勒, along with bodhisattvas :*bosatsu 菩薩 such as *Kannon 観音. The earliest, most popular and longest tradition is the depiction of * Amida 阿弥陀. Indeed, the term joudo hensou is often taken to indicate a depiction of Amida's paradise gokuraku 極楽 (Sk: Sukhavati); also known as the Western Paradise saihou joudo 西方浄土 although this is more properly called *Amida joudo hensou 阿弥陀浄土変相. The different forms of Amida depictions include: paintings on hanging scrolls, screens, and walls; low relief in bronze and clay; and embroidered versions. The term joudo 浄土 (Ch: qingtu) is derived from Chinese translations of the sutras, and not from any single Sanskrit term. It signifies the idealized paradisiacal realm where any one of the multitude of Mahayana Buddhas, or bodhisattvas destined to become Buddhas, resides. Descriptions of these pure lands are found in various sutras; figural representations may be based on these texts or on visions and dreams. Although many variations exist, a typical Amida joudo hensou depicts the Buddha Amida in the center preaching, flanked on either side by attendant bodhisattvas. The triad is surrounded by a heavenly group of bodhisattvas. In the foreground, several reborn bodhisattvas are shown seated on lotuses in a jeweled pond. In the background stands a splendid palace with jeweled towers. Accordingly, hensou 変相 (Ch: bianxiang), or just hen 変 (Ch: bian), refers to illusionary manifestations or representation of Buddha figures and their realms. The term hensou is also associated in China and later in Japan with performances by preachers or storytellers and therefore the illustrations typically have narrative content. The oldest extant Chinese joudo hensou are dated to the late 6c. From the 7c there are numerous depictions of Amida's Pure Land and some representations in the paradises of other Buddhas, including wall paintings of the Dunhuang (Jp: Tonkou 敦煌 caves; late 6c/7c-10c). In Japan, evidence of joudo hensou dates back to 7c. There are many well-known examples that date from 8c when Japan was under the influence of continental Tang culture. They include: wall paintings of Four Buddhas *shibutsu 四仏 and Paradises, in Houryuuji *Kondou 法隆寺金堂, scorched in 1949; The Lotus Cosmos of Roshana *Rushanabutsu 盧舎那仏, or rengezou sekai 蓮華蔵世界 (Kegonkyou hensou 華厳経変相), carved on the lotus petal throne of the Great Buddha *Daibutsu 大仏 of Toudaiji 東大寺; Vulture Peak ryouzen joudo 霊山浄土 of Shaka *Hokekyou hensou 法華経変相 from Toudaiji *Hokkedou 法華堂 ; and the woven *Taima mandara 当麻曼荼羅 in Taimadera 当麻寺, Nara (8c), that may have been imported from China. In the 8c literary sources indicate the production of other joudo hensou as well, but from around the 10c (the latter Heian period) the popularity of Amidist beliefs led to the dominance of Amida joudo hensou. The principal variations of these Amidist paintings are often called the "Three Pure Land Mandalas" *joudo sanmandara 浄土三曼荼羅: *Chikou mandara 智光曼荼羅, Taima mandara, and *Seikai mandara 清海曼荼羅. Another variety of closely related paintngs are the *Kangyou hensou 観経変相.

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