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反復という称名 : 柳宗悦の仏教美学における反復と伝統の問題
https://doi.org/10.15083/0002003233
https://doi.org/10.15083/0002003233982c1fad-9d64-4690-9118-e6302035d901
| 名前 / ファイル | ライセンス | アクション |
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phantastopia_01_02.pdf (803.9 KB)
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| Item type | 紀要論文 / Departmental Bulletin Paper(1) | |||||||||
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| 公開日 | 2022-02-18 | |||||||||
| タイトル | ||||||||||
| タイトル | 反復という称名 : 柳宗悦の仏教美学における反復と伝統の問題 | |||||||||
| 言語 | ja | |||||||||
| タイトル | ||||||||||
| タイトル | Nenbutsu as Repetition : On the Ideas of Repetition and Tradition in the Buddhist Aesthetics of Sōetsu Yanagi | |||||||||
| 言語 | en | |||||||||
| 言語 | ||||||||||
| 言語 | jpn | |||||||||
| 資源タイプ | ||||||||||
| 資源 | http://purl.org/coar/resource_type/c_6501 | |||||||||
| タイプ | departmental bulletin paper | |||||||||
| ID登録 | ||||||||||
| ID登録 | 10.15083/0002003233 | |||||||||
| ID登録タイプ | JaLC | |||||||||
| 著者 |
上田, 有輝
× 上田, 有輝
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| 抄録 | ||||||||||
| 内容記述タイプ | Abstract | |||||||||
| 内容記述 | In his later years, Sōetsu Yanagi (1889-1961) focused his efforts on constructing what he called “Buddhist aesthetics” that would provide the basis for understanding the beauty of Mingei (folk crafts). This involved not only explaining Mingei through the vocabulary of Pure Land Buddhism, but also redesigning the vocabulary of Pure Land Buddhism in a way that would respond to the reality of craft-making traditions. This paper explores this process of redesigning by examining how Yanagi modified the Buddhist concept of shōmyō nenbutsu, the chanting of Amitābha’s name, to theorize the way in which traditions helped ordinary artisans create exceptionally beautiful crafts. Section 1 begins with an analysis of Yanagi’s Namuamidabutsu (1955), where he compared the repetitions of actions in craft making to the act of nenbutsu. The paper points out that behind this comparison lies Yanagi’s deep sympathy with Ippen (1239-1289). Ippen’s philosophy, which takes nenbutsu as a spontaneous activity permeating nature without requiring religious consciousness, resonated with Yanagi’s vision, in which religious salvation was transformed into an aesthetic one, extending its scope to include inanimate objects. To investigate the philosophical implications of Yanagi’s idea of “nenbutsu as repetition,” section 2 compares this idea with the interpretation of nenbutsu developed by the prominent Buddhist scholar whom Yanagi admired, D. T. Suzuki (1870-1966). Through his reading of Shinran, Suzuki emphasized the one-time, decisive moment of entrusting faith (shinjin), of which nenbutsu is but an expression. In contrast, Yanagi suggested that it was the nenbutsu-like cumulative repetitions in the craft making of ordinary people (bonpu) that formed various traditions, whose potential to evoke “other-power” (tariki) would, in turn, bring aesthetic salvation to the practice of craft making. Simple repetition alone, however, would not keep traditions alive; Yanagi equally stressed the importance of creative change over time. By analyzing his call for reforms in the traditional tea ceremony, section 3 critically examines the question of the inheritance of traditions in Yanagi’s texts. Particular attention is paid to his emphasis on another Buddhist term, “obstacle-free mind” (mugeshin). The paper concludes with a consideration of the potential conflict between Yanagi’s ideas of cumulative repetition as nenbutsu and creative repetition through mugeshin. |
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| 言語 | en | |||||||||
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| 内容記述タイプ | Other | |||||||||
| 内容記述 | 論文 | |||||||||
| 言語 | ja | |||||||||
| 書誌情報 |
en : Phantastopia 巻 1, p. 23-44, 発行日 2022 |
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| ISSN | ||||||||||
| 収録物識別子タイプ | ISSN | |||||||||
| 収録物識別子 | 2436-6692 | |||||||||
| 出版者 | ||||||||||
| 出版者 | Phantastopia編集委員会 | |||||||||
| 言語 | ja | |||||||||
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| 関連タイプ | isReferencedBy | |||||||||
| 識別子タイプ | URI | |||||||||
| 関連識別子 | https://phantastopia.com/ | |||||||||
