頁籤選單縮合
| 題 名 | The Utilization of Vinaya Master Portrait Paintings and Their Ritual Spaces: The Role of Sennyūji in the Kamakura-period Precept Revival Movement=律宗祖師肖像畫及其儀式空間之運用--泉涌寺在鎌倉時代戒律復興運動中的角色 |
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| 作 者 | 西谷功; | 書刊名 | 中華佛學學報 |
| 卷 期 | 38 2025.12[民114.12] |
| 頁 次 | 頁59-124 |
| 分類號 | 228 |
| 關鍵詞 | 俊芿; 夏安居; 肖像畫; 禮讚文; 宋代佛教儀禮; Shunjō; Summer retreat; Portraits contents of verses of praise; Song-style Buddhist rituals; |
| 語 文 | 英文(English) |
| 中文摘要 | 佛教史的通行觀點認為，興福寺的貞慶（1155–1213）復興了佛教義 學，唐招提寺的覺盛（1194–1249）和西大寺的叡尊（1201–1290）則復興 鎌倉時代的佛教實踐，過去關於戒律復興的研究，也多聚焦於奈良地區的 寺院所發展的運動。雖然由貞慶、叡尊和其他奈良寺院僧人所推動的戒律 運動，可以被解讀為企圖對戒律學研究的振興，以及對鑒真所傳來的正確 儀軌的闡發。然而，當我們將焦點轉向「實踐」的面向時，若說這些運動 僅是唐代（或奈良時代）戒律的復興，便會忽略這些運動在歷史事實中一 些重要的細微差別。位於平安京（京都）附近泉湧寺的開創者──我 坊 俊芿（1166–1227），便曾感嘆當時日本戒律持守的衰微。在建立泉湧寺 之前，俊芿曾遊歷中國宋朝，在律宗寺院如景福寺等，向那些仍然恪守正 確實踐戒律的僧人學習，並成功地繼承了被視為「如法」的戒律之「學」 與「行」的傳承。換言之，與其將俊芿的貢獻視為對過去實踐的復興，不 如將其理解為致力於透過引入當時宋代戒律傳統中最新的研究與實踐，來 恢復日本的戒律。事實上，關於泉湧寺的研究仍相當有限，而現有的研究 多著重於探討泉湧寺的戒律詮釋與奈良佛教各宗派的戒律研究之間的教理 差異。雖然聚焦於「學」這一面向的戒律學研究有其價值，倘若我們將目 光轉向那些尚未被探究之「行」的共同面向時，將可揭露中世紀日本戒律 復興運動的不同面貌。為了闡明中世紀日本佛教中「行」的共同面向，本 文將聚焦於泉涌寺所發展出來的運用祖師肖像畫的戒律儀軌之實踐。透過 釐清運用祖師肖像的寺院中佛教實踐與儀式空間的情況，並聚焦於肖像被 大量複製來廣泛流通背後的宗教意涵，本文將呈現一種過去較少受到關注 的跨宗派的佛教理解，來認識橫跨不同佛教傳承的共同實踐。藉由釐清泉 涌寺流在中世紀日本戒律運動發展中所扮演的關鍵角色，本文主張鎌倉時 代所謂的戒律「復興」，應被更適當地理解為一種透過引入宋代戒律傳統 之實踐進而實現的「更新」。 |
| 英文摘要 | The conventional view of Buddhist history holds that Jōkei (1155–1213) of Kōfukuji revived Buddhist learning and Kakujō (1194–1249) of Tōshōdaiji and Eison (1201–1290) of Saidaiji were responsible for reviving practice in the Kamakura-period and previous studies on the revival of precepts have focused on movements as they developed at temples located in Nara. Although the precept movements by figures like Jōkei, Eison, and other monks of Nara temples could be interpreted as an attempt to revitalize the phil osophical study of precepts and develop expositions on correct ritual conduct transmitted by Ganjin. However, when we bring our focus to the element of “practice,” to say that this was a revival of Tang-period (or Nara-period) precepts loses some important nuances of the historical realities of these movements. One of the monks who lamented the decline in the observance of precepts in Japan at that time was Gazenbō Shunjō (1166–1227), who was the founder of Sennyūji temple located near in the Heian capital (current-day Kyoto). Prior to the establishment of Sennyūji, Shunjō traveled to Song China where he could learn from monastics who had maintained the correct practice of precepts at vinaya temples such as Jingfusi and was successful in receiving the transm ission of both “learning” and “practice” of precepts that were deemed “in accordance with the dharma” (Ch. rufa, Jp. nyohō). In other words, rather than seeing it as a revival of past practices, Shunjō’s contribution should be understood as an attempt to restore precepts through the transmission of the latest studies and practice of the precept tradition as it was developing in Song China. In fact, there has been limited attention given to the study of Sennyūji and available studies tend to place emphasis on the study of the doctrinal differences in the expositions of precepts at Sennyūji as distinguished from studies of precepts at the Buddhist schools of Nara. Although the study of precepts that focuses on the aspect of “learning” is valuable, a different picture of the precept revival movement in medieval Japan is revealed when we bring our attention to the shared aspects of “practice” that has yet to be explored. In order to illustrate the shared aspects of “practice” in medieval Japan, this paper will focus on precept ritual practices that utilize patriarch portraits as they developed at Sennyūji. By clarifying the state of Buddhist practice and ritual space in the t emples that utilized these portraits and by focusing on the religious significance behind the production of multiple copies of these portraits for their wider distribution, this paper will present a previously understudied trans-sectarian understanding of Buddhism that recognizes the shared practices that cut across multiple Buddhist lineages. In clarifying the crucial role that the Sennyūji lineage played in the development of the precept movement in medieval Japan, I argue that the so - called “revival” of precepts in the Kamakura-period is better understood as a “renewal” that occured through the transmission of the practices of Song - Dynasty precept tradition. |
本系統中英文摘要資訊取自各篇刊載內容。