THE CONCEPT OF DANZŌ: ‘Sandalwood Images’ in Japanese Buddhist Sculpture of the 8th to 14th Centuries | Intro, Contents, Japanese Intro

THE CONCEPT OF DANZŌ: ‘Sandalwood Images’ in Japanese Buddhist Sculpture of the 8th to 14th CenturiesTHE CONCEPT OF DANZŌ: ‘Sandalwood Images’ in Japanese Buddhist Sculpture of the 8th to 14th Centuries, by Christian Boehm, is a new title in Saffron Asian Art and Society Series. Buy this book. Download press release

This lavishly illustrated volume is the first study in a Western language to examine Buddhist sculptures known as danzō (sandalwood images) and dangan (portable sandalwood shrines) in Japan from the 8th to 14th centuries, including Chinese examples from the 6th to 13th centuries, which were imported into Japan and played a major role in the establishment of an indigenous danzō tradition. Read review [p35 of SOAS newsletter CJR News].

The author defines danzō as religious icons in terms of their material, form (iconography and style) and religious functions. This includes a careful examination of major issues in the study of danzō such as the transmission of danzō from India via China to Japan, the choice of substitute materials for sandalwood, carving technique, and danjiki (colour of sandalwood). Most importantly, this study proposes a new definition of the form of danzō based on the distinction between the type-style and period-style. Furthermore, it demonstrates how the aesthetic-religious concept of shōgon (sublime adornment), which is important to Buddhist art in general, is expressed in danzō, making them into objects of shōgon par excellence.

A wealth of textual evidence is presented to suggest that the two most common religious functions of danzō were as icons in ceremonies and for personal devotion for high-ranking monks, aristocrats, and members of the imperial family, which reflects the special sanctity and efficacy ascribed to these images. This book aims at a more inclusive understanding of danzō as religious icons with distinctive material, formal and functional characteristics that define them as a unique group of sacred images within Japanese Buddhist sculpture.

ISBN-13 9781872843186, 264pp, hard cover, 287mm x 210mm, 165 colour and black and white illustrations. Saffron Asian Art & Society Series. Buy with free delivery | Read review [p35 of SOAS newsletter CJR News].

About the Author
Christian Boehm received his BA, MA and PhD in Art and Archaeology from the School of Oriental and African Studies (SOAS), University of London. He is an independent art historian and dealer specialising in East Asian Buddhist sculpture as well as Chinese and Korean ceramics.

Contents
Acknowledgements 11
Introduction 13-16
Figures 17-79
Chapter One Materials of Danzō  81-106
1.  Sandalwood and Danzō Carving in India and China 81  2. The Transmission of Danzō to Japan 85  3.  Substitute Materials 89 4. Danjiki 97
Chapter Two Form and Functions of Danzō 107-130
1.  The Meaning of the Term Shōgon 107 2.  The Expression of Shōgon in Danzō 111  3.  The Function of Danzō in Ceremonies and as Icons for Personal Devotion 116  4.  The Function of Danzō as Honzon in Temple Halls and as Tainai Butsu 125
Chapter Three Dangan (Portable Sandalwood Shrines): Miniature Representations of Buddhist Worlds 131-170
1. Stūpa-shaped Dangan  138 2.  Box-shaped Dangan 148  3.  Temple Hall-shaped Dangan 162   4.  Incense Container-shaped Boxes 164
Chapter Four Representations of Nyorai 171-186
1. Yakushi Nyorai 173  2. Miroku Nyorai 179  3. Shaka Nyorai  181  4. Dainichi Nyorai 182
Chapter Five Representations of Kannon  187-222
1.  Jūichimen Kannon 190  2. Senju Kannon 207  3.  Nyoirin Kannon 210  4.  Shō Kannon 212  5.  Fukūkensaku Kannon 217
Chapter Six Representations of Bosatsu and Tutelary Deities 223-240
1. Miroku Bosatsu 225  2.  Monju Bosatsu 227  3.  Jizō Bosatsu 229  4. Bonten and Taishakuten 231  5.  Aizen Myōō 233  6.  Bishamonten 236
Conclusion  241-242
Bibliography  243-252
Glossary Index  253-264

檀像の概念:8世紀から14世紀の日本の仏像における白檀像
クリスチャン ボーム
本 書は図版を豊富に用い、日本の8世紀から14世紀において檀像 (白檀像) と檀龕(白檀製携帯用小厨子) として知られる仏像の、西洋言語における初めての研究である。このカテゴリーは、日本独自の檀像系譜の成立の上で、重要な役割を果たした6世紀から13世 紀の中国からの請来像も含むものである。
著者は檀像を、その素材、形式 (イコノグラフィーと様式)、および宗教的機能により、特殊な宗教的偶像として定義する。このことは、檀像のインドから中国を経ての日本への請来、白檀材 に代わる代用材の選択、彫刻における特別なテクニック、そして「檀色」(白檀の色) の 問題など、檀像を考察する上で重大な問題点を慎重かつ綿密に考察するものである。また最も重要なこととして、この研究は檀像の類型的様式と時代的様式の違 いを明確にすることによって、新たな檀像形式の定義を提唱する。さらに、「荘厳」という仏教美術全般においても重要な宗教的かつ審美的概念が、いかに檀像 において表現され、それによって檀像が荘厳を表現する媒体として特に優れたものとなっていることを論証する。
豊富な文献資料に基づき、檀 像 の最も一般的な宗教機能のひとつが儀式で使われる偶像としてであり、もうひとつは高位の僧、貴族、または皇族といった人達の個人的な念持仏としてであった ということを提唱する。このことは、檀像が特殊な神聖さと利益を兼ね備えた尊像として見なされていたこと反映するものある。本書は檀像が、その特有の素材 的、形式的、また機能的な特色により、日本の仏像の中でもユニークで一括した尊像のカテゴリーを形成するものであると定義し、檀像のより総括的な理解を意 図するものである。

著者紹介
クリスチャン ボーム
ロンドン大学東洋アフリカ研究学院 (SOAS) 美術・考古学部博士課程終了。
美術史家並びに東アジア仏教美術と中国・韓国陶磁器専門の古美術商。
目 次
謝辞  11;  序章  13-16;  図版  17-79
第一章:檀像の素材 81-106  |  1.  白檀材とインドと中国における檀像彫刻  81  2.  檀像の日本への請来  85  3.  代用材 89  4. 「檀色」 97
第二章:檀像の形式と機能 107-130  |  1.  「荘厳」という用語の意味 107  2.  檀像における荘厳の表現 111  3.  檀像の宗教儀式における機能と念持仏としての役割 116  4.  寺院の本尊または胎内仏としての檀像の機能  125
第三章:檀龕(白檀製携帯用小厨子)仏教世界の細密なる表現  131-170  |  1.  円筒形型檀龕  138  2.  箱仏型檀龕  148  3.  宮殿型檀龕  162   4.  香合仏型檀龕  164
第四章:如来形式の彫像  171-186  |  1.  薬師如来  173  2.  弥勒如来 179  3.  釈迦如来  181 4.  大日如来 182
第五章:観音形式の彫像 187-222  | 1. 十一面観音 190  2.  千手観音 207  3.  如意輪観音  210 4.  聖観音 212  5.  不空羂索観音 217
第六章:菩薩形式と眷属形式の彫像  223-240 |  1.  弥勒菩薩 225  2.  文殊菩薩  227  3.  地蔵菩薩 229  4.  梵天と帝釈天  231  5.  愛染明王 233  6.  毘沙門天 236
結論  241-242;  参考文献  243-252;  索引  253-264
Buy this book with free delivery at Saffron Books and Art, SaffronBooksandArt.net | Read review [p35 of SOAS newsletter CJR News].

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