バーミヤーンの涅槃図 : ガンダーラ美術の中央アジア的変容
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概要
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■The representation of the parinirv??a scene in B?miy?n followed the iconographical tradition of Gandh?ra; at the same time, the B?miy?n murals contain many differences from Gandh?ran art and reveal the development of that scene. Based on our observation of the parinirvv??a scene from the B?miy?n murals, we can extract the iconographic features as follows: (1) Subhadra meditating on the final conflagration. (2) Mah?k??yapa worshipping the sacred feet of the Buddha. (3) The lamentation of Queen M?y?. (4) The fervent gestures of people in grief. (5) Representation of Sun God and Moon God. (6) Combination of the parinirv??a scene, Bodhisattva Maiteya and the Thousand Buddhas. The last characteristic feature in the murals of B?miy?n is the parinirv??a scene combined with the figure of Bodhisattava Maitreya. On the top of a dome or a vault ceiling, the Bodhisattva Maitreya is largely displayed and many other figures of small Buddhas, the so-called Thousand Buddhas, surround the Bodhisattva Maitreya and tessellate the ceiling. As a general composition of the B?miy?n murals, the Bodhisattva Maitreya is arranged on the top of the ceiling, Thousand Buddhas surround its border and the parinirv??a scene is exhibited in the upper part of a side wall. We find out the meaning of these iconographic features and composition with the help of Buddhist texts. We have one particular group of texts describing parinirv??a which explain the disappearance of Buddha's dharma such as Da Beijing (T. no. 380), Lianhuamian jing (T. no. 386), Da jangdeng wuxiang jing(T. no. 387), Mohemoye jing (T. no. 383). In those texts, the decease of the Buddha is not one legend from the Buddha's life stories, but the crisis in keenly discerned as ■the expiry of ??kyamuni■ and the extinction of Buddha's dharma. And they often explain that the dharma of Buddha should be handed down to Maitreya; soMaitreya should be worshipped.■
- 2011-10-01
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