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Images of the Ten Kings of Hell (Juo) : Their Introduction and Influence in Medieval Japan

十地狱王的形象（十地狱）：他们在中世纪日本的介绍和影响

基本信息

批准号：
19720032
负责人：
YAMAMOTO Satomi
金额：
$ 2.56万
依托单位：
Kinjo Gakuin University (2008-2009)Oita Prefectual College of Arts and Culture (2007)
依托单位国家：
日本
项目类别：
Grant-in-Aid for Young Scientists (B)
财政年份：
2007
资助国家：
日本
起止时间：
2007 至 2009
项目状态：
已结题

来源：
https://kaken.nii.ac.jp/grant/KAKENHI-PROJECT-19720032/
关键词：
美術史日本中世絵画史十王図六道絵

项目摘要

This research project concerns images of the Ten Kings of Hell (Juo), analyzing the process by which this foreign belief became nativized in medieval Japan. To illuminate this issue, I conducted a survey of various paintings as well as related historical documents. During this research period, I examined a total of nine works and collected materials such as photographs for other examples.During the course of investigation, the prevalence of honjibutsu in Japanese paintings of the Ten Kings came to my attention, and I began analyzing the results of my survey from this particular angle.I discovered that the earlier the work, the more variation there was in the honjibutsu combination. There also was the tendency for Dainichi Nyorai to appear as the honjibutsu in many early cases.Moreover, for the period between the middle of the 13th and the 14th centuries, when the nativization of the surviving examples accelerated dramatically, I examined temple documents, diaries, and other records to analyze the usage of the Ten Kings images through concrete ritual occasions in which they were employed.As a result of my investigation, it became clear that the combinations of the honjibutsu within Japanese paintings of the Ten Kings came to be established through Buddhist memorial services sponsored by the imperial court and the bakufu.Portions of this research have been made public in publications such as "The Paintings of the Six Realms at Shojuraigoji Temple" (Chuo Koron bijutsu shuppan, 2007).

本研究项目关注十王地狱（Juo）的图像，分析这种外国信仰在中世纪日本本土化的过程。为了阐明这个问题，我对各种绘画以及相关的历史文献进行了调查。在此期间，我共对9件作品进行了调查，并收集了照片等资料作为其他例子。在调查过程中，我注意到了日本十王画中的本义画的普遍性，并从这个角度对调查结果进行了分析。我发现，越早的作品，本义画的组合越多。此外，在13世纪中期至14世纪期间，当幸存的例子的本土化急剧加速时，我检查了寺庙文件，日记，并结合文献记载，从具体的祭祀场合中分析十王像的使用情况。很明显，日本十王画中的本命佛组合是通过朝廷和幕府赞助的佛教追悼会建立起来的。这一研究的部分内容已在出版物中公开，如“Shojuraigoji寺的六道绘画”（Chuo Koron bijutsu shuppan，2007）。