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Shōtoku Taishi

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Shōtoku Taishi --- 聖徳太子

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Shōtoku Taishi --- 聖徳太子

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In this comprehensive study of the Tenjukoku Shūchō Mandara, Chari Pradel provides a new interpretation of this assemblage of embroidered textile fragments associated with Prince Shotoku (574-622). By analyzing the scant visual evidence in the context of East Asian visual art of the period, the author recreates the subject represented on the seventh century artifact and demonstrates that it was not Buddhist (as previously believed), but associated with the funerary iconography of China that arrived in Japan with immigrants from the Korean peninsula. In addition, by closely investigating the context for the compilation of each of the documents associated with the artifact, Pradel illuminates the history of the embroidery and its changing significance and perception over the centuries.

Embroidery --- Textile fabrics --- Textile design --- Art, Japanese --- History --- Chinese influences --- Shōtoku Taishi, --- Chūgūji (Ikaruga-chō, Nara-ken, Japan) --- Tenjukoku shūchō mandara.

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Featuring the renowned seventh-century gilt-bronze kyamuni (Shaka) triad at the H ry ji, Constructing the Dharma King reveals how the impression of a Buddhist image evolved in Yamato, Japan, from the indistinct sense of divine otherness at the early stage of the transmission to more concrete ideals and values concerning families, authority, and kingship. According to the accompanying inscription, the Kashiwade, a low-ranking bureaucratic clan, commissioned the triad to commemorate the deaths of its family members. Considering the triad as an endpoint of a dynamic political re-envisioning spearheaded by Soga no Umako (d. 626) and the members of the Yamato sovereignty, Akiko Walley argues that the Kashiwade constructed the Shaka triad not simply as a private act of devotion, but a pivotal political act that demonstrated their allegiance and loyalty. This publication contends that the appearance of the Shaka triad was chosen to echo the new vision of a Dharma King that was manifested in Prince Umayato as the political persona orchestrated by Umako, and in the preceding Shaka triad statue at Asukadera produced by Umako and his closest allies. In the course of discussion, this book also reexamines the key points of debate surrounding this statue, including the reliability of the accompanying inscription, identity of its makers, and the statue s ties to the sculptural trends on the Asian continent.

J1800.10 --- J1830 --- J1883 --- J1810.46 --- J1895 --- J6400 --- Japan: Religion -- Buddhism -- history -- Kodai, prehistoric and ancient, premodern --- Japan: Religion -- Buddhism -- deities --- Japan: Religion -- Buddhism -- other schools and sects --- Japan: Religion -- Buddhism -- temples and monastries, pilgrimage -- Nara prefecture (Yamato) --- Japan: Religion -- Buddhism -- art --- Japan: Art and antiquities -- sculpture --- Japan --- Buddhist sculpture --- Buddhism and politics --- Buddhist art and symbolism --- Shōtoku Taishi, --- Hōryūji (Ikaruga-chō, Nara-ken, Japan) --- Japan: Religion -- Buddhism -- temples and monasteries, pilgrimage -- Nara prefecture (Yamato) --- Shōtoku Taishi, - 574?-622?