「出山釈迦」と「草座釈迦」―釈迦図像をめぐる二三の問題―

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タイトル別名
  • The Iconography of Shakyamuni Emarging from the Mountains and Sitting on the Grasses
  • 「 シュツサン シャカ 」 ト 「 ソウザシャカ 」 : シャカズゾウ オ メグル ニサン ノ モンダイ

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After the Northern Song (北宋) Dynasty and in the circles of Chan (禅Zen in Japanese) Buddhism, “Shakyamuni emerging from the mountains” (出山釈迦) became a popular theme in painting. Judging from extant works, this theme was established as a paradigm in Southern Song (南宋) Chan paintings (禅宗画). This paper re-confirms this Shakyamuni theme, before re-defining it in terms of its relationship with the court. According to the Tales of the Life of the Buddha (仏伝), after six years of asceticism, Shakyamuni came to realize that self-mortification with physical pains was not conductive to Enlightenment and he left the wild mountains. On the other hand, Indian Buddhist scriptures and the Tales of the Life of the Buddha contain many descriptions that asceticism is considered to be futile. Yet in contrast, in the earliest Chinese translations of the Tales of the Life of the Buddha, it is deemed that asceticism is a direct path towards Enlightenment, and this view of asceticism influenced ideas within the historical writings of Chan Buddhism. Among extant paintings, the Sennyū-ji (泉涌寺) version of the Sixteen Arhats (十六羅漢図) produced during the Southern Song Dynasty and the Yuan (元) Dynasty, and Shakyamuni and Sixteen Arhats (釈迦十六羅漢図) in the possession of the Museum of Fine Arts, Boston, are depicted to represent the scene of the Buddha preaching after he left the mountains. Moreover, it is assumed that the Buddha depicted in the two paintings of “Shakyalnuni emerging from the mountains”, one in the possession of Seirai-ji (西来寺) in Mie prefecture and the other in Daikaku-ji (大覚寺) in Hyogo prefecture, represent Shakyamuni right after his attainment of Enlightenment, as recorded in the Cāryanidāna. It may be concluded that the iconography of “Shakyamuni emerging from the mountains” portrays not only One leaving the mountains, but also Enlightened One, the Buddha. It is well-known that the Chan Buddhism had the characteristic of state religion in Southern Song China. The similar phenomenon can be found about the image of “Shakyamuni sitting on the grasses” (草座釈迦). The production of works on the above-mentioned themes has been linked to the performance of the Enlightenment ritual (成道会) in Jiangnan (江南) area temple society.

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