A Research on the Autonomy of the icono-plastic Arts in Jainism

耆那教圣像造型艺术的自主性研究

• 批准号: 09610028
• 负责人: YAJIMA Michihiko
• 金额: $ 1.09万
• 依托单位: Tsurumi Universtiy
• 依托单位国家: 日本
• 项目类别: Grant-in-Aid for Scientific Research (C)
• 财政年份: 1997
• 资助国家: 日本
• 起止时间: 1997 至 1998
• 项目状态: 已结题
• 来源: https://kaken.nii.ac.jp/grant/KAKENHI-PROJECT-09610028/
• 关键词: jaina Iconography; Jina; Autonomy of the Jaina Icono-plastic Art; Samavasarana; Sarvajna; Speech-act; Mandala; Rituals; ジャイナ教; 造像美術; 自立性; ayagapata; caturmukha; samavasarana; ジナ像; 自立性(autonomy); 聖なる集い(samavasarana); 一切知者(sarvajna)

The form of a samavasarana is either square or circular. It usually consists of three successive and concentric squares or circles, each with its own rampart and each pierced by four gateways in the cardinal directions. Thus, as P.Pal bas pointed out, in essence it is no different from the elementary design of a Buddhist mandala or a Hindu yantra. But, it seems the diagram of samavasarana whether it is square or circular, has developed gradually in the history of Jaina iconagraphy. Its structural coincidence with the old ayagapata from Mathura shows the former is a continuation of the latter as far as the circular type is concerned.Restricted representation of the human form is characteristic of Jainism. Though a tiny and trifling variation can be recognized in his sitting posture (pedmasana in the north, ardhapadmasana in the south), the Jina is always represented in meditative form(dhyana-mudra). It is interesting, or rather surprising, however, the Jina in meditation can also delive … More r sermon at the same time. It actually occurs, for example, when a dharmacakra is appended to the image, and also when such rituals like the installation of the Jina image are performed. In the latter, panca mahakalyanaka-s with which the Jina's life is decorated (i.e.conception, birth, renunciation, omniscience and death) are traced in order and presented dramatically by using his small replica. Instead of their restricted bodily representation of the Jina, Jaina has in contrast depicted his life story fully and elaborately both in texts and in rituals. I can agree with M.J.Banks's opinion about Jaina iconography of the body who considers it as "a spectrum of forms, ranging from the absent or effaced body, to the all too fleshly present body. " The steady and unvaring image of the Jina denotes nothing but the ideal state to be finally attained by all Jiva-s, or the symbol of the religous goal or destination toward which all the Jainas should go.It is noteworthy the concept of the ancient muni, being protected by invisible yaksa-s, has been well preserved even in the most developed form of samavasarana, where the ideal muni, i.e. the Jina, occupies the highest status in the, Jaina hierarchy, yet he clear]y refuses to be a savior and shows the devotee only a one way relation, by keeping the same and unvaring meditative posture as it was. Unless he is questioned(prstah) by someone he never speaks by himself. There has never been anything resembling a 'great vihicle(mahayana) tradition in Jainism. Less

沙门的形式是方形或圆形。它通常由三个连续的同心正方形或圆形组成，每个正方形或圆形都有自己的城墙，每个正方形或圆形都有四个主要方向的大门。因此，正如P. P. P. Zebas所指出的，本质上，它与佛教曼荼罗或印度教yantra的基本设计没有什么不同。但是，似乎无论是方形还是圆形的萨摩萨拉纳的图解，都是在耆那教圣像学的历史上逐渐发展起来的。其结构与来自马图拉的旧ayagapata的一致性表明，就圆形类型而言，前者是后者的延续。虽然一个微小的和微不足道的变化，可以在他的坐姿（pedmasana在北方，ardhapadmasana在南方），吉纳总是代表在冥想的形式（dhyana-mudra）。有趣的是，或者说令人惊讶的是，冥想中的吉娜也可以传递 ...更多信息 马云与此同时它实际上发生，例如，当法华被附加到图像，也当这样的仪式，如安装的吉娜图像进行。在后者中，装饰着吉纳生活的panca mahakalyanaka-s（即怀孕，出生，出离心，全知和死亡）被按顺序追踪，并通过使用他的小复制品戏剧性地呈现。与他们对吉纳人的限制性身体表现相反，吉纳在文本和仪式中完整而细致地描绘了他的生活故事。我同意M. J. Banks关于耆那教身体图像学的观点，他认为身体是“一系列形式，从缺席或被抹去的身体到所有过于肉体的身体。“吉纳的稳定和不变的形象只表示所有吉瓦最终要达到的理想状态，或者是所有吉纳应该走向的宗教目标或目的地的象征。值得注意的是，古老的穆尼的概念，被无形的夜叉保护着，甚至在最发达的samavasarana形式中也得到了很好的保存，在那里理想的穆尼，即吉纳，他在耆那教的等级制度中占据着最高的地位，但他显然拒绝成为救世主，只向信徒展示了一种单向的关系，保持不变的冥想姿势。除非有人问他（prstah），否则他不会自己说话。在耆那教中从来没有任何类似于“伟大的大乘佛教”的传统。少