This study considers how printed scriptures were repurposed in medieval Japan through manuscript interventions. My starting point is the so-called Chū Hokekyō (Annotated Lotus Sutra), a copy of the Lotus Sutra probably printed in the Nara area and owned by the monk Nichiren (1222–1282). On this sutric text Nichiren wrote “notes,” filling the negative space between the lines of the scripture, the upper and lower margins of the printed area, and the verso. Such interventions generate a palimpsestic object, overlapping two types of text, the printed and the manuscript, and creating complex dynamics of interaction and multiple use. Is there a relation between what is inserted and the point of the scripture at which it is inserted? What information is supplemented by the “notes,” and to whom is this directed? Nichiren’s Lotus Sutra also urges us to interrogate the status and function of Buddhist printing in medieval Japan. Were sutras printed to be used as learning tools (reading matter and reference material), or does Nichiren’s specimen document a practice of repurposing scriptures originally printed for other reasons? How many scriptures were printed and how many were annotated? What was the nature of such paratextual accretions? This article explores these questions by reconstructing the life of the Annotated Lotus Sutra as an object that was produced with specific techniques and continued its life after Nichiren’s death. In order to contextualize this object, the article retrieves the printing history of the scripture owned by Nichiren, the Lotus Sutra, and the diverse practices of repurposing that affected this genre of printed scriptures in the medieval period.本論文では、中世日本において、印刷された経典が手書きの注記を通じてどのように転用されたかを考察する。最初に取り上げるのは、いわゆる『注法華経』である。これは奈良時代に印刷されたとされる『法華経』の経典で、日蓮（1222-1282）が所有していた。日蓮はこの経典の行間、天地、紙背などの余白に「注記」を施している。その結果、この経典は印刷物と写本の2種類のテキストの多層構造を持つようになり、相互作用と多重利用の複雑なダイナミズムが生まれた。注記文と、それが挿入された場所との間に関係はあるのだろうか？「注記」はどんな情報を補足しており、それは誰に宛てられたものなのだろうか？日蓮の『法華経』は、中世日本の経典印刷の持つ位置づけと用途についても、私達に問いかけている。そもそも経典は、教材（読み物、メモ帳など）として使用するために印刷されたのだろうか、それとも日蓮の『注法華経』は、当初は別の理由で印刷された経典を転用するという当時の習慣の一つの例なのだろうか？経典は何部ほど印刷され、そのうちいくつに注記が施されたのだろうか？さらに主要な文に添えられた注記というものはどんな性質を持っていたのか？こうした疑問への答えを見つけるため、本論文では「注法華経」を、特定の手法を用いて制作され、日蓮の死後も存在し続けた一個の物体とみなし、その「生涯」の再構成を試みた。当時の状況に基づいて判断を下せるように、ここでは日蓮が所有していた経典である『法華経』の印刷の歴史、そして中世においてこの種の印刷経典に影響したさまざまな転用の慣習を取り上げている。
This study considers how printed scriptures were repurposed in medieval Japan through manuscript interventions。y starting point is the so-called Chū Hokekyō （Annotated Lotus Sutra），a copy of the Lotus Sutra probably printed in the Nara area and owned by the monk Nichiren（1222-1282）。On this sutric text Nichiren wrote“notes，”filling the negative space between the lines of the scripture，the upper and lower margins of the printed area，and the verso。Such interventions generate a palimpsestic object，overlapping two types of text，the printed and the manuscript，and creating complex dynamics of interaction and multiple use。Is there a relation between what is inserted and the point of the scripture at which it is inserted？What information is supplemented by the“notes，”and to whom is this directed？Nichiren’s Lotus Sutra also urges us to interrogate the status and function of Buddhist printing in medieval Japan。“Were sutras printed to be used as learning tools（reading matter and reference material），or does Nichiren’s specimen document a practice of repurposing scriptures originally printed for other reasons？”？How many scriptures were printed and how many were annotated？什么是such paratextual accretions？This article explores these questions by reconstructing the life of the Annotated Lotus Sutra as an object that was produced with specific techniques and continued its life after Nichiren’s death。Inorder to contextualize this object，the article retrieves the printing history of the scripture owned by Nichiren，the Lotus Sutra，and the diverse practices of repurposing that affected this genre of printed scriptures in the medieval period.本文考察了在中世纪日本，印刷的经典是如何通过手写注解转用的。首先提到的是所谓的《注法华经》。这是奈良时代印刷的《法华经》的经典，由日莲（1222-1282）所有。日莲对这部经典的字里行间、天地、纸背等空白处进行了“注释”。结果，该经典具有印刷品和抄本两种文本的多层结构，产生了相互作用和多重利用的复杂动力。注释文和那个被插入的地方之间有关系吗？“注释”补充了什么样的信息，那是写给谁的呢？日莲的《法华经》，就中世纪日本经典印刷所具有的定位和用途，也向我们提出质疑。原本经典是为了作为教材（读物、记事本等）使用而印刷的，还是日莲的《注法华经》，当初是因为别的理由转用印刷的经典，是当时习惯的一个例子呢？经典印刷了多少部，其中有多少注释呢？另外，添加在主要句子中的注释具有什么性质呢？为了找出这些疑问的答案，本论文将《注法华经》视为运用特定手法制作的、在日莲死后仍存在的一个物体，尝试重构其“一生”。为了根据当时的情况做出判断，这里列举了日莲所有的经典《法华经》的印刷历史，以及中世纪影响这种印刷经典的各种转用习俗。
{"title":"A Sutra as a Notebook? Printing and Repurposing Scriptures in Medieval Japan","authors":"L. Dolce","doi":"10.3998/ars.3987","DOIUrl":"https://doi.org/10.3998/ars.3987","url":null,"abstract":"This study considers how printed scriptures were repurposed in medieval Japan through manuscript interventions. My starting point is the so-called Chū Hokekyō (Annotated Lotus Sutra), a copy of the Lotus Sutra probably printed in the Nara area and owned by the monk Nichiren (1222–1282). On this sutric text Nichiren wrote “notes,” filling the negative space between the lines of the scripture, the upper and lower margins of the printed area, and the verso. Such interventions generate a palimpsestic object, overlapping two types of text, the printed and the manuscript, and creating complex dynamics of interaction and multiple use. Is there a relation between what is inserted and the point of the scripture at which it is inserted? What information is supplemented by the “notes,” and to whom is this directed? Nichiren’s Lotus Sutra also urges us to interrogate the status and function of Buddhist printing in medieval Japan. Were sutras printed to be used as learning tools (reading matter and reference material), or does Nichiren’s specimen document a practice of repurposing scriptures originally printed for other reasons? How many scriptures were printed and how many were annotated? What was the nature of such paratextual accretions? This article explores these questions by reconstructing the life of the Annotated Lotus Sutra as an object that was produced with specific techniques and continued its life after Nichiren’s death. In order to contextualize this object, the article retrieves the printing history of the scripture owned by Nichiren, the Lotus Sutra, and the diverse practices of repurposing that affected this genre of printed scriptures in the medieval period.本論文では、中世日本において、印刷された経典が手書きの注記を通じてどのように転用されたかを考察する。最初に取り上げるのは、いわゆる『注法華経』である。これは奈良時代に印刷されたとされる『法華経』の経典で、日蓮（1222-1282）が所有していた。日蓮はこの経典の行間、天地、紙背などの余白に「注記」を施している。その結果、この経典は印刷物と写本の2種類のテキストの多層構造を持つようになり、相互作用と多重利用の複雑なダイナミズムが生まれた。注記文と、それが挿入された場所との間に関係はあるのだろうか？「注記」はどんな情報を補足しており、それは誰に宛てられたものなのだろうか？日蓮の『法華経』は、中世日本の経典印刷の持つ位置づけと用途についても、私達に問いかけている。そもそも経典は、教材（読み物、メモ帳など）として使用するために印刷されたのだろうか、それとも日蓮の『注法華経』は、当初は別の理由で印刷された経典を転用するという当時の習慣の一つの例なのだろうか？経典は何部ほど印刷され、そのうちいくつに注記が施されたのだろうか？さらに主要な文に添えられた注記というものはどんな性質を持っていたのか？こうした疑問への答えを見つけるため、本論文では「注法華経」を、特定の手法を用いて制作され、日蓮の死後も存在し続けた一個の物体とみなし、その「生涯」の再構成を試みた。当時の状況に基づいて判断を下せるように、ここでは日蓮が所有していた経典である『法華経』の印刷の歴史、そして中世においてこの種の印刷経典に影響したさまざまな転用の慣習を取り上げている。","PeriodicalId":54021,"journal":{"name":"ARS Orientalis","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-05-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49619194","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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。
{"title":"Making Memories: The Conceptual Reuse of the Kakuanji Kokūzō Bosatsu Sculpture","authors":"H. Pedersen","doi":"10.3998/ars.3990","DOIUrl":"https://doi.org/10.3998/ars.3990","url":null,"abstract":"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。","PeriodicalId":54021,"journal":{"name":"ARS Orientalis","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-05-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44231973","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Archeogaming for Education in the Classroom and Beyond","authors":"Shannon Martino","doi":"10.3998/ars.3997","DOIUrl":"https://doi.org/10.3998/ars.3997","url":null,"abstract":"","PeriodicalId":54021,"journal":{"name":"ARS Orientalis","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-05-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49532052","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Introduction: Reuse, Recycle, and Repurpose: The Afterlives of Japanese Material Culture","authors":"H. O’Neal","doi":"10.3998/ars.3985","DOIUrl":"https://doi.org/10.3998/ars.3985","url":null,"abstract":"","PeriodicalId":54021,"journal":{"name":"ARS Orientalis","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-05-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45140223","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Despite its inherently ephemeral character, paper played significant roles in Buddhist rituals and private practices in premodern Japan. Through a focused examination of a thirteenth-century letter by the monk Jōgyō (1186–1231) that was stamped with Amida Buddha figures after his death and sealed within an Amida statue, this project draws out the sacral importance of paper and handwriting alongside reuse and recycling in Japanese Buddhist material culture. Examining the crux of these transformational moments tells us how mourners navigated loss, reveals the productive tension between preservation and destruction, and exposes the paradoxical importance of intentional invisibility in artistic culture. By reframing and layering Jōgyō’s letter with the repeating rows of stamped Buddhas, this memorial practice creates a palimpsest. Paper, in its materiality, was therefore a key site of memory and commemoration. The tangibility and tactility of paper mattered. And by fragmenting, rearranging, and reusing letters left behind, brushwork became embodied writing, marked and filtered through the simple recurring figures. In these ways, purposefully visual palimpsests offer an intimate view of the mourning process and of prayers for salvation.紙は本質的にはかない素材である。しかし近世以前の日本では、それは仏教儀式や私的な信仰の場で重要な役割を担ってきた。13世紀の僧貞暁（1186-1231）がしたためた書簡はその死後に印仏が押され、阿弥陀如来像の胎内に納められた。この例に注目することにより、紙と手書き文が日本仏教の物質文化におけるリユース・リサイクルの慣習と並んで宗教的に重要な意味を持っていたことを示す。これらの変換の最も重要な瞬間に注目することによって、死者を悼む人々がどのように喪失感と折り合いをつけたか、また保存と破壊の間に存在した創造的な緊張感といったものが明らかになる。そしてさらに芸術文化における意図的な不可視性の持つ逆説的な重要性もまた明らかにされる。貞暁の書簡に反復する印仏の列を重ねることによって再構成したこの葬送儀礼は、ある種のパリンプセスト（重記写本）を作り出した。実体を持つ素材である紙は、そのため記憶や供養に欠かすことのできない対象だった。手に取り、触れることができるという紙の特性が重要だったのである。そして遺された書簡を寸断し、並べ替えて再利用することにより、仏僧の筆跡は、反復する単純な形状の奥に透けて見える具象化された書となった。このようにして、意図的に視覚性を強めたパリンプセストからは、葬送儀礼や救済の祈りを間近に見ることができるのである。
Despite its inherently ephemeral character，paper played significant roles in Buddhist rituals and private practices in premodern Japan。Through a focused examination of a thirteenth-century letter by the monk Jōgyō （1186-1231）that was stamped with Amida Buddha figures after his death and sealed within an Amida statue，this project draws out the sacral importance of paper and handwriting alongside reuse and recycling in in Japanese Buddhist material culture。Examining the crux of these transformational moments tells us how mourners navigated loss，reveals the productive tension between preservation and destruction，and exposes the paradoxical importance of intentional invisibility in artistic culture。By reframing and layering Jōgyō’sletter with the repeating rows of stamped Buddhas，this memorial practice creates a palimpsest。Paper，in its materiality，was therefore a key site of memory and commemoration。The tangibility and tactility of paper mattered。Andby fragmenting，rearranging，and reusing letters left behind，brushwork became embodied writing，marked and filtered through the simple recurring figures。In these ways，purposefully visual palimpsests offer an intimate view of the mourning process and of prayers for salvation.纸本质上是一种虚幻的素材。但是在近世以前的日本，它在佛教仪式和私人信仰的场所中担负着重要的作用。13世纪僧人贞晓（1186-1231）所写的书信在其死后被压上印佛，被收纳在阿弥陀如来像的胎内。通过关注这个例子，表示纸和手写文与日本佛教的物质文化中的再利用·再利用的习惯并列，在宗教上具有重要的意义。通过关注这些变换最重要的瞬间，可以看出悼念死者的人们是如何与丧失感达成妥协的，以及在保存和破坏之间存在的创造性紧张感。并且进一步揭示了艺术文化中有意的不可视性所具有的逆向重要性。通过在贞晓的书信中重复印佛的行列而重新构成的葬礼，创造出了某种帕林普塞斯特（重记抄本）。作为实体材料的纸，因此是记忆和供养不可缺少的对象。能拿在手上触摸的纸的特性很重要。然后将遗留下来的书信切碎，重新排列再利用，佛僧的笔迹成为了可以透过反复的单纯形状的深处看到的具象化的书。这样，从有意增强视觉性的帕林普塞斯特，可以近距离看到送葬仪式和救济的祈祷。
{"title":"Marking Death: Stamped Buddhas and Reused Letters in 13th-Century Japan","authors":"H. O’Neal","doi":"10.3998/ars.3986","DOIUrl":"https://doi.org/10.3998/ars.3986","url":null,"abstract":"Despite its inherently ephemeral character, paper played significant roles in Buddhist rituals and private practices in premodern Japan. Through a focused examination of a thirteenth-century letter by the monk Jōgyō (1186–1231) that was stamped with Amida Buddha figures after his death and sealed within an Amida statue, this project draws out the sacral importance of paper and handwriting alongside reuse and recycling in Japanese Buddhist material culture. Examining the crux of these transformational moments tells us how mourners navigated loss, reveals the productive tension between preservation and destruction, and exposes the paradoxical importance of intentional invisibility in artistic culture. By reframing and layering Jōgyō’s letter with the repeating rows of stamped Buddhas, this memorial practice creates a palimpsest. Paper, in its materiality, was therefore a key site of memory and commemoration. The tangibility and tactility of paper mattered. And by fragmenting, rearranging, and reusing letters left behind, brushwork became embodied writing, marked and filtered through the simple recurring figures. In these ways, purposefully visual palimpsests offer an intimate view of the mourning process and of prayers for salvation.紙は本質的にはかない素材である。しかし近世以前の日本では、それは仏教儀式や私的な信仰の場で重要な役割を担ってきた。13世紀の僧貞暁（1186-1231）がしたためた書簡はその死後に印仏が押され、阿弥陀如来像の胎内に納められた。この例に注目することにより、紙と手書き文が日本仏教の物質文化におけるリユース・リサイクルの慣習と並んで宗教的に重要な意味を持っていたことを示す。これらの変換の最も重要な瞬間に注目することによって、死者を悼む人々がどのように喪失感と折り合いをつけたか、また保存と破壊の間に存在した創造的な緊張感といったものが明らかになる。そしてさらに芸術文化における意図的な不可視性の持つ逆説的な重要性もまた明らかにされる。貞暁の書簡に反復する印仏の列を重ねることによって再構成したこの葬送儀礼は、ある種のパリンプセスト（重記写本）を作り出した。実体を持つ素材である紙は、そのため記憶や供養に欠かすことのできない対象だった。手に取り、触れることができるという紙の特性が重要だったのである。そして遺された書簡を寸断し、並べ替えて再利用することにより、仏僧の筆跡は、反復する単純な形状の奥に透けて見える具象化された書となった。このようにして、意図的に視覚性を強めたパリンプセストからは、葬送儀礼や救済の祈りを間近に見ることができるのである。","PeriodicalId":54021,"journal":{"name":"ARS Orientalis","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-05-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43984621","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Can dolls die? This paper examines memorial services for dolls (ningyō kuyō) in Japan as conduits to disposal. Dolls, once bought, are widely understood to be terminal commodities: they can only be passed down to a narrow group of relatives and often end up stuck in time and place. The ritual reanimates the “stuck” dolls by providing a symbolic death, after which disposal becomes possible. The ritual also enables—on a small scale—processes of repurposing and recycling of dolls or the material of which they were made. Based on six months of ethnographic fieldwork, I argue that the terminality of dolls is undone by the rite and that they can become available for other, strictly circumscribed material processes. In transubstantiation, the disposed doll is recognized as a museum-worthy object and is saved from disposal; in transposition, the dolls enjoy a second lease on life in dioramas of everyday scenes; and in transmutation, the material of the doll itself is reused to give newly made, playful dolls the luster and respectability of tradition.人形は、はたして死ねるのだろうか？本論文では、人形を処分する道筋として日本で行われる人形供養を取り上げる。一度購入された人形は最終消費財である、と一般には理解されている。こうした人形はその後、限られた親類縁者に譲られるよりほかに行き場はなく、やがて時間と空間の狭間に閉じ込められてしまう。しかし人形供養で象徴的な死を与えられると、「閉じ込められた」人形は解放され、その後処分することも可能になる。また人形供養を経ることにより、小さな規模で人形またはその素材を転用し、リサイクルもできるようになる。6か月間の民俗学的フィールドワークに基づいて執筆されたこのエッセイでは、人形の持つ最終消費財的な性格は人形供養により解消され、その結果、限定的ではあるがその材料の加工も可能になることを示す。供養を経た人形は実体変化（transubstantiation）により、博物館で展示されるにふさわしい作品と認められ、廃棄を免れる。転位（transposition）により、象徴的な死を迎えた人形は、日々の生活を模したジオラマの中で第二の生を送る。あるいは変質（transmutation）を通じて、人形に使われていた材料が再利用され、その結果新たに作られた遊び心のある人形に、伝統の輝きと威厳が与えられるのである。
{"title":"The Afterlives of Dolls: On the Productive Death of Terminal Commodities","authors":"F. Gygi","doi":"10.3998/ars.3993","DOIUrl":"https://doi.org/10.3998/ars.3993","url":null,"abstract":"Can dolls die? This paper examines memorial services for dolls (ningyō kuyō) in Japan as conduits to disposal. Dolls, once bought, are widely understood to be terminal commodities: they can only be passed down to a narrow group of relatives and often end up stuck in time and place. The ritual reanimates the “stuck” dolls by providing a symbolic death, after which disposal becomes possible. The ritual also enables—on a small scale—processes of repurposing and recycling of dolls or the material of which they were made. Based on six months of ethnographic fieldwork, I argue that the terminality of dolls is undone by the rite and that they can become available for other, strictly circumscribed material processes. In transubstantiation, the disposed doll is recognized as a museum-worthy object and is saved from disposal; in transposition, the dolls enjoy a second lease on life in dioramas of everyday scenes; and in transmutation, the material of the doll itself is reused to give newly made, playful dolls the luster and respectability of tradition.人形は、はたして死ねるのだろうか？本論文では、人形を処分する道筋として日本で行われる人形供養を取り上げる。一度購入された人形は最終消費財である、と一般には理解されている。こうした人形はその後、限られた親類縁者に譲られるよりほかに行き場はなく、やがて時間と空間の狭間に閉じ込められてしまう。しかし人形供養で象徴的な死を与えられると、「閉じ込められた」人形は解放され、その後処分することも可能になる。また人形供養を経ることにより、小さな規模で人形またはその素材を転用し、リサイクルもできるようになる。6か月間の民俗学的フィールドワークに基づいて執筆されたこのエッセイでは、人形の持つ最終消費財的な性格は人形供養により解消され、その結果、限定的ではあるがその材料の加工も可能になることを示す。供養を経た人形は実体変化（transubstantiation）により、博物館で展示されるにふさわしい作品と認められ、廃棄を免れる。転位（transposition）により、象徴的な死を迎えた人形は、日々の生活を模したジオラマの中で第二の生を送る。あるいは変質（transmutation）を通じて、人形に使われていた材料が再利用され、その結果新たに作られた遊び心のある人形に、伝統の輝きと威厳が与えられるのである。","PeriodicalId":54021,"journal":{"name":"ARS Orientalis","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-05-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41958142","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Sculptors during the Kamakura period at times looked to unconventional sources for the material for their images and other projects. In 1183 Unkei used fragments of wood from the destroyed Great Buddha Hall at Tōdaiji for the rollers of two sets of the Lotus Sutra, and in 1206 an anonymous sculptor used a piece of charred wood, presumably from the same structure, for the right shoulder of the memorial portrait of Shunjōbō Chōgen, the monk who rebuilt the temple after it burned in 1180. Unkei’s father, Kōkei, employed wood from a sacred pillar beneath one of the halls at Ise Shrine for a now-lost image of Dainichi that was originally installed at Hosshōji in Kyoto in the late twelfth century. In 1256 the Nara sculptor Kaijō carved statues of Aizen Myōō and Jizō commissioned by the monk Jakuchō. The inscriptions indicate that they were fashioned from wood from the pillars of the Great Buddha Hall, most likely ones that remained after the conflagration. When preparing to carve the statues, Jakuchō and Kaijō consecrated the wood, and the sculptor and his two assistants maintained the Eight Pure Precepts while sculpting the image. Through the use of repurposed wood from structures with potent connections to Japan’s religious history, the installations of dedicatory objects, and their own personal devotions, Kaijō and other sculptors of the period embedded their works into multiple networks of meaning that reinforced the spiritual authority of their statues in ways that went far beyond their immediate visual impact.鎌倉時代の仏師たちは、彫像や他の作品に通常考慮外の木材使用に目を向けることがあった。1183年に運慶は、火災した東大寺大仏殿の焼け残りの木片を「法華経」二部の軸棒に使用した。また1206年には、無名の仏師が、おそらくこれも大仏殿の焼けた木片を俊乗房重源の遺像の右肩に使った。重源は、1180年に東大寺の焼尽後、再建のために奔走した僧だ。運慶の父の康慶は、今は存在しないのだが、12世紀後半に京都の法勝寺に安置されていた大日如来像に、伊勢神宮の正殿の床下の中央に立てられた心御柱を利用した。1256年には、奈良の仏師であった快成が、仏僧の寂澄からの依頼を受け、愛染明王坐像と地蔵菩薩像を制作している。銘文を読むと、これらの像が大仏殿の柱に使用されていた木材を転用されたということが分かる。おそらく、火災で焼け残ったものを利用したのだろう。彫像制作の過程においては、寂澄と快成は使用木材を清め、彫像を彫るあいだは、仏師及び二人の弟子共々、八斎戒を守り続けた。このようにして日本宗教史との強い繋がりのある建築物に使用されていた木材を転用し、納入品を入れ、個々の献身をすることにより、快成やこの時代の他の仏師たちは、視覚的迫力を超えた精神面での権威を強化し、その多面な意図を彫像に組み込んだのであった。
Sculptors during the Kamakura period at times looked to unconventional sources for the material for their images and other projects。在1183 Unkei used fragments of wood from the destroyed Great Buddha Hall at Tō第二节过街天桥，第二节过街天桥，第二节过街天桥，第二节过街天桥，第二节过街天桥，第二节过街天桥ōbō Chōgen，the monk who rebuilt the temple after it burned in 1180。Unkei’s father，Kōkei，employed wood from a sacred pillar beneath one of the halls at Ise Shrine for a now-lost image of Dainichi that was originally installed at Hosshōji in Kyoto in the late twelfth century。In1256 the Nara sculptor Kaijō carved statues of Aizen Myōō and Jizō commissioned by the monk Jakuchō. The inscriptions indicate that they were fashioned from wood from the pillars of the Great Buddha Hall，most likely ones that remained after the conflagration。When preparing to carve the statues，Jakuchō and Kaijō consecrated the wood，and the sculptor and his two assistants maintained the Eight Pure Precepts while sculpting the image。Through the use of repurposed wood from structures with potent connections to Japan’s religious history，the installations of dedicatory objects，and their own personal devotions，Kaijō and other sculptors of the period embedded their works into multiple networks of meaning that reinforced the spiritual authority of their statues in ways that went far beyond their immediate visual impact.镰仓时代的佛师们有时会把目光转向雕像和其他作品通常考虑之外的木材使用。1183年运庆将发生火灾的东大寺大佛殿的烧剩木片用作《法华经》二部的轴棒。另外，1206年，无名的佛师，恐怕这也是将大佛殿烧毁的木片用在俊乘房重源遗像的右肩上。重源是1180年东大寺烧毁后，为了重建而奔走的僧人。运庆的父亲康庆虽然现在不存在，但在12世纪后半期被安置在京都法胜寺的大日如来像上，利用了立在伊势神宫正殿地板下中央的心御柱。1256年，奈良的佛师快成接受了佛僧寂澄的委托，制作了爱染明王坐像和地藏菩萨像。读了铭文，可以看出这些雕像是被大佛殿柱子上使用的木材转用的。恐怕是利用了被火灾烧毁的东西吧。在雕像制作过程中，寂澄和快成清洁了使用木材，在雕刻雕像期间，佛师和两个弟子都继续遵守八斋戒。像这样转用与日本宗教史有很强联系的建筑物中使用的木材，放入交付品，进行各自的献身，成就和这个时代的其他佛师们，强化了超越视觉震撼力的精神方面的权威，将其多面的意图编入了雕像中。
{"title":"Kaijō, Jakuchō, and Repurposing Wood for Sacred Images in Kamakura-Period Sculpture","authors":"S. Morse","doi":"10.3998/ars.3989","DOIUrl":"https://doi.org/10.3998/ars.3989","url":null,"abstract":"Sculptors during the Kamakura period at times looked to unconventional sources for the material for their images and other projects. In 1183 Unkei used fragments of wood from the destroyed Great Buddha Hall at Tōdaiji for the rollers of two sets of the Lotus Sutra, and in 1206 an anonymous sculptor used a piece of charred wood, presumably from the same structure, for the right shoulder of the memorial portrait of Shunjōbō Chōgen, the monk who rebuilt the temple after it burned in 1180. Unkei’s father, Kōkei, employed wood from a sacred pillar beneath one of the halls at Ise Shrine for a now-lost image of Dainichi that was originally installed at Hosshōji in Kyoto in the late twelfth century. In 1256 the Nara sculptor Kaijō carved statues of Aizen Myōō and Jizō commissioned by the monk Jakuchō. The inscriptions indicate that they were fashioned from wood from the pillars of the Great Buddha Hall, most likely ones that remained after the conflagration. When preparing to carve the statues, Jakuchō and Kaijō consecrated the wood, and the sculptor and his two assistants maintained the Eight Pure Precepts while sculpting the image. Through the use of repurposed wood from structures with potent connections to Japan’s religious history, the installations of dedicatory objects, and their own personal devotions, Kaijō and other sculptors of the period embedded their works into multiple networks of meaning that reinforced the spiritual authority of their statues in ways that went far beyond their immediate visual impact.鎌倉時代の仏師たちは、彫像や他の作品に通常考慮外の木材使用に目を向けることがあった。1183年に運慶は、火災した東大寺大仏殿の焼け残りの木片を「法華経」二部の軸棒に使用した。また1206年には、無名の仏師が、おそらくこれも大仏殿の焼けた木片を俊乗房重源の遺像の右肩に使った。重源は、1180年に東大寺の焼尽後、再建のために奔走した僧だ。運慶の父の康慶は、今は存在しないのだが、12世紀後半に京都の法勝寺に安置されていた大日如来像に、伊勢神宮の正殿の床下の中央に立てられた心御柱を利用した。1256年には、奈良の仏師であった快成が、仏僧の寂澄からの依頼を受け、愛染明王坐像と地蔵菩薩像を制作している。銘文を読むと、これらの像が大仏殿の柱に使用されていた木材を転用されたということが分かる。おそらく、火災で焼け残ったものを利用したのだろう。彫像制作の過程においては、寂澄と快成は使用木材を清め、彫像を彫るあいだは、仏師及び二人の弟子共々、八斎戒を守り続けた。このようにして日本宗教史との強い繋がりのある建築物に使用されていた木材を転用し、納入品を入れ、個々の献身をすることにより、快成やこの時代の他の仏師たちは、視覚的迫力を超えた精神面での権威を強化し、その多面な意図を彫像に組み込んだのであった。","PeriodicalId":54021,"journal":{"name":"ARS Orientalis","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-05-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44784680","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Reuse and Recycling: Implications in Japanese Painting Conservation","authors":"Tanya T. Uyeda","doi":"10.3998/ars.3994","DOIUrl":"https://doi.org/10.3998/ars.3994","url":null,"abstract":"","PeriodicalId":54021,"journal":{"name":"ARS Orientalis","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-05-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46343917","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article explores how different religious institutions in the Heian and Kamakura periods handled refurbishments and repurposing of their sacred icons, and tackles the issues surrounding the lack of records for “sending away” ceremonies in premodern sources. By focusing on the repeated performance of eye-opening rites, and on the deliberations surrounding the burning of the icon of Kamatari at Tōnomine, this article probes the extent to which paradigms of conservation and repurposing outweigh that of material production.本論文では、平安・鎌倉期のさまざまな宗教機関が、聖なる像の修復や転用にどう取り組んだかを論じ、前近代の文献に撥遣式・魂抜きの記録が残されていないという問題に取り組む。開眼供養が繰り返し行われたことや、多武峰の藤原鎌足像の焼損を巡る議論に注目することによって、本論文では、保存と転用の範例が実際の制作のそれよりどこまで重視されたかを論じる。
This article explores how different religious institutions in the Heian and Kamakura periods handled refurbishments and repurposing of their sacred icons，and tackles the issues surrounding the lack of records for“sending away”ceremonies in premodern sources。By focusing on the repeated performance of eye-opening rites，and on the deliberations surrounding the burning of the icon of Kamatari at Tōnomine，this article probes the extent to which paradigms of conservation and repurposing outweigh that of material production.本论文论述了平安、镰仓时期的各种宗教机构如何致力于神圣像的修复和转用，致力于前近代文献中没有留下拒遣式、去掉灵魂的记录的问题。通过反复进行开眼供养和关注多武峰藤原镰足像烧损的讨论，本论文论述了保存和转用的范例比实际制作的更受重视。
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