translation
translation |
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{
"en": "As Masako HOJO, the lawful wife of Yoritomo, noticed her pregnancy, Daishin no Tsubone was kept at a distance by Yoritomo who feared Masako's anger, and she bore a baby boy at the residence of Kageto NAGATO, one of his retainers.",
"ja": "しかし頼朝の正室・北条政子がこれに気づいたため、その怒りを畏れた頼朝によって遠ざけられ、家臣の長門景遠の宅にて男児を出産する。"
}
|
{
"en": "The child's birth ceremony was not performed for fear of arousing Masako's envy, and Kageto retired to the vicinity of Fukazawa after running away with his children, because he had been cut off by Masako after she discovered that he had harbored Daishin no Tsubone.",
"ja": "政子の嫉妬を恐れて出産の儀式は省略され、景遠は母子を匿った事を知った政子の勘気を蒙り、子を連れて逃げ深沢の辺りに隠居した。"
}
|
{
"en": "He was in such a pitiful condition as no one would agree to become his wet nurse for fear of Masako, therefore his mother raised him away from the public eye.",
"ja": "その後も政子を恐れて乳母のなり手がないなど、人目を憚るようにして育てられる。"
}
|
{
"en": "He went to Kyoto to become a priest at the age of seven on July 7, 1192.",
"ja": "建久3年（1192年）5月19日、7歳の時に出家のため上洛する。"
}
|
{
"en": "Yoritomo secretly visited his son on the evening he was due to depart in order to pass him a sword.",
"ja": "頼朝は出発の夜、密かに息子の元を訪れ、刀を渡している。"
}
|
{
"en": "He changed his Homyo (a name given to a person who enters the Buddhist priesthood) from 'Nokan,' which he used soon after he became a priest at Ninna-ji Temple, to Jogyo (also referred as Teigyo) after practicing asceticism further, keeping himself away from the world of everyday affairs by climbing Mt. Koya to confine himself for religious training.",
"ja": "仁和寺に入って法名を「能寛」と名乗り、更に修行を重ねた後、法名を貞暁と改め、高野山に登ってより一層俗界から遠ざかった。"
}
|
{
"en": "While the members of the Minamoto clan were killed one after another amid a struggle for supremacy, he devoted himself to religious practice completely isolated from the general world, and as a result he earned respect from many people.",
"ja": "これ以降、源氏一族が権力闘争の中で次々に命を落とす中で、世間と隔絶した中で一人修行に励み、人々の尊崇を集めた。"
}
|
{
"en": "Later, Masako finally became one of Jogyo's believers, and asked him to pray to Buddha for the happiness of the dead in the Minamoto clan, providing him with aid and money.",
"ja": "その晩年には遂に政子も貞暁に帰依し、彼に源氏一族の菩提を弔わせるべく援助・出資を行なった。"
}
|
{
"en": "Accordingly, establishing an Amida-do Hall (temple hall having an enshrined image of Amitabha) called Joroku-do in Kyochi-bo, Mt. Koya, Jogyo put the hair of his departed father Yoritomo into the sitting statue of Amitabha which was enshrined in the hall for the repose of his soul, and furthermore, he held a religious service for the repose of the soul of the third Shogun MINAMOTO no Sanetomo, a half younger brother with the same father, by erecting a gorinto (gravestone composed of five pieces set one upon another).",
"ja": "これを受けて貞暁は、高野山の経智坊に丈六堂という阿弥陀堂を建立、この中に安置した阿弥陀如来座像の胎内に父・頼朝の遺髪を納めて供養したほか、異母弟・三代将軍源実朝に対しても五輪塔を設営して追善を行なっている。"
}
|
{
"en": "According to one story, when Masako approached him about his ambition to become the fourth shogun, suspecting him of having evil intentions regarding the succession after the death of Sanetomo, he proved his innocence by taking out one of his eyeballs and thoroughly rejecting her offer.",
"ja": "一説によると、実朝の死後その野心を政子に疑われ、四代将軍就任を打診されたが、片眼をえぐり出してこれを拒否したと伝えられる。"
}
|
{
"en": "It is said that Masako, who shed tears at the display of honesty, never suspected him again.",
"ja": "政子は貞暁の潔さに落涙し、二度と彼を疑うことがなかったという。"
}
|
{
"en": "He died on Mt. Koya at the age of 46 in 1231, one theory suggesting that he killed himself.",
"ja": "寛喜3年（1231年）、高野山にて46歳で死去（自害したという説もある）。"
}
|
{
"en": "His death resulted in the extinction of the male line of MINAMOTO no Yoritomo (with the death of Take no Gosho three years later, the female line was also extinguished).",
"ja": "これにより、頼朝の男系子孫は断絶した（女系子孫も3年後の竹御所死去により途絶える）。"
}
|
{
"en": "Although Jogyo and Nokan are treated as different people in \"Sonpi Bunmyaku\" (Bloodlines of Noble and Base), this is mistaken.",
"ja": "なお、『』は貞暁と能寛を別人としているが、これは誤りである。"
}
|
{
"en": "Senkei IKENOBO (the dates of his birth and death were unknown) was a Buddhist priest of Kyoto Choho-ji Temple (Rokkakudo) in the middle of the Muromachi period.",
"ja": "池坊専慶（いけのぼうせんけい、生没年不詳）は、室町時代中期の京都頂法寺（六角堂）池坊の僧侶。"
}
|
{
"en": "He became famous during the period from 1469 until 1487 as a superior of Tatebana (standing flowers) and according to 'Hyakuhei Kanojo' (records of flower arrangement by a hundred people) (completed in 1600) compiled by Shocho GEKKEI, a Buddhist monk of Kyoto Tofuku-ji Temple, he is deemed as the founder of Ikenobo School.",
"ja": "文明(日本)年間（1469年-1487年）立花（たてばな）の上手として有名となり、京都東福寺の僧月渓聖澄による「百瓶華序」（1600年に成立）によると池坊の流祖とする。"
}
|
{
"en": "According to 'Hekizan Nichiroku' (a diary of the monk Daikyoku, 15th century) (1459 - 1464, 1465 - 1468) written by Zen priest Daikyoku, Senkei in 1462 arranged tens of flowers in a golden vase responding to the invitation of the Sasaki clan, shugo (constable) of Omi Province, and many of the dilettantes inside the capital competed to see it.",
"ja": "禅僧大極が記した「碧山日録」（1459年-1463年、1465年-1468年）によれば、1462年（寛正3年）近江国守護佐々木氏に招かれて金瓶に草花数十枝を挿し、洛中の好事家が競って見物したという。"
}
|
{
"en": "Juko MURATA (1432 - June 29, 1502) was a chajin (master of the tea ceremony) in the middle of the Muromachi period.",
"ja": "村田珠光（むらたじゅこう、応永30年（1423年）-文亀2年5月15日(旧暦)（1502年6月19日））は、室町時代中期の茶人。"
}
|
{
"en": "He was widely believed to be the founder of 'Wabicha' (the tea of refined simplicity).",
"ja": "一般に「わび茶」の創始者と目されている人物である。"
}
|
{
"en": "As he was a Buddhist monk, he should be called, in principle, without a surname.",
"ja": "なお彼は僧侶であった為、本来ならば苗字は記されない。"
}
|
{
"en": "In practice, however, he has been called 'Juko MURATA.'",
"ja": "しかし、慣習的に「村田珠光」という呼び方が広まっている。"
}
|
{
"en": "Biography",
"ja": "生涯"
}
|
{
"en": "His career is not clear but according to historical records compiled in later years, his father was Mokuichi MURATA Kengyo and his childhood name was Mokichi.",
"ja": "経歴は不詳であるが後世の史料によれば、父は村田杢市検校で、幼名を茂吉と称したという。"
}
|
{
"en": "He became a Buddhist monk at Shomyo-ji Temple (Nara City), the temple of Jodo Sect.",
"ja": "奈良の浄土宗寺院称名寺(奈良市)に入れられ、僧となった。"
}
|
{
"en": "Based on postwar research, it was once believed that he had returned to secular life and become a merchant, but currently it is generally believed that he had been a Buddhist monk throughout his life because of the discovery of \"Yamashinake raiki\" (diary of Hisamori OSAWA, zassho (a person in charge of miscellaneous tasks) of the Yamashina family), which was written in the year when Juko was 64 years old, in which he was referred to as 'Jukobo' (monk Juko).",
"ja": "戦後の研究では還俗して商人になったとされてきたが、珠光64歳の時期に当たる『山科家礼記』に「珠光坊」という記述が発見されたことから、現在では一生僧侶であったと改められている。"
}
|
{
"en": "In addition, it has also been believed that he practiced Zen meditation when he was around 30 years old under the guidance of Sojun IKKYU, a monk of Daitoku-ji School of the Rinzai Sect, but some researchers are skeptical since no firm historical records that support such a view exist.",
"ja": "また30歳の頃臨済宗大徳寺派の一休宗純に参禅したという説がとられて来たが、これも確実な史料があるわけではなく、研究者の中には疑問視する声もある。"
}
|
{
"en": "However, the fact that he had a close relationship with Daitoku-ji Temple is certain, because according to the article on May 15 of second year of Bunki era in the death register of Shinjuan Temple founded by IKKYU, 'Jukoan-shu' offered 1 kan-mon (10,000 yen) for the memorial service on the thirteenth death anniversary of IKKYU (source : \"History of Chanoyu,\" Isao KUMAKURA, Asahi sensho paperback).",
"ja": "しかし一休開基の真珠庵の過去帳文亀二年五月一五日条に「珠光庵主」の名が見え、一休十三回忌に一貫文を出しているから（熊倉功夫「茶の湯の歴史」朝日選書）大徳寺に深い関わりを持っていたことは確かである。"
}
|
{
"en": "Further, even if Juko had practiced Zen meditation under IKKYU, it could be for the purpose of ascetic practices in various sects and teachings and it is impossible to conclude that he converted to Rinzai Sect (it is true, however, that his son Soju was a Buddhist monk of Rinzai Sect).",
"ja": "なお一休に参禅していたとしても、これは諸宗兼学の修行であって、珠光が臨済宗へと宗派を変えたとは言い切れない（但し確かに息子の宗珠は臨済宗の僧侶となっている）。"
}
|
{
"en": "Based on 'Juko Isshi Mokuroku' (Juko's diary about the method of judgment) in \"Yamanoue Soji ki\" (The Record of Soji YAMANOUE) (Nigatsu-bon), it had also been believed that Juko served Yoshimasa ASHIKAGA, 8th shogun of the Muromachi bakufu (Japanese feudal government headed by a shogun), as an instructor of the tea ceremony, but the results of current research on the history of the tea ceremony basically disputes this fact because the descriptions concerning Noami that are included in the same book are not correct in light of the year of his birth and death.",
"ja": "さらに『山上宗二記』（二月本）中の「珠光一紙目録」により、室町幕府8代将軍足利義政に茶道指南として仕えたともされたが、これは同書中の能阿弥に関する記述がその生没年と合わないことから、現在の茶道史研究では基本的に否定されている。"
}
|
{
"en": "Juko's Tea Ceremony",
"ja": "珠光の茶の湯"
}
|
{
"en": "There are few historical records as explained, but his letter written on a scroll titled 'Furuichi harima hoshi Juko' (its byname is 'Kokoro no Shi no Bun' (literally, a writing of master on my mind)), which was given to his disciple Choin FURUICHI, is highly valued as a precious documentary record of that time.",
"ja": "このように史料は乏しいものの、弟子の古市澄胤に与えたという「古市播磨法師 珠光」と題された軸装の文書（通称「心の師の文」）は当時の貴重な文献として評価されている。"
}
|
{
"en": "The expression of 'hiekaruru' (literally, be cold and dry) that appears in the above document is the wording used in Renga (poetic dialogue) and this fact suggests that Juko's tea ceremony was substantially influenced by Renga.",
"ja": "同資料に登場する「ひえかるる」という表現は連歌で使われている用語であり、珠光の茶の湯が連歌の影響を大きく受けていたことを窺わせる。"
}
|
{
"en": "As Juko was acquainted with other artists, his remark saying 'I love the moonlight peeping through the cloud. It is interesting' was introduced in \"Zenpo Zodan\" (Miscellaneous conversations with Zenpo), a book written by Noh player Zenpo KONPARU, as a famous anecdote concerning Juko.",
"ja": "珠光は他の芸能者達との交流もあり、能楽者である金春禅鳳が記した『禅鳳雑談』に有名な珠光の物語とて 「月も雲間のなきは嫌にて候 これ面白く候」 という一節が遺されている。"
}
|
{
"en": "As the above anecdote shows, his attitude of refusing perfectness itself was the starting point of new tea drinking culture that led to 'Wabicha.'",
"ja": "ここに見られる完全性を拒否する姿勢こそが、「わび茶」へと繋がる新しい喫茶文化の端緒を開くものであった。"
}
|
{
"en": "In the shogun family of the Muromachi period, the Tenmoku tea bowl or celadon porcelain tea bowl of Ryusengama were appreciated because of the tea drinking culture that valued Tang-style tea bowls, but Juko praised plain \"Juko bowls\" and established the tea ceremony using such plain tea utensils.",
"ja": "室町時代の将軍家における唐物を賞玩する喫茶文化では、天目茶碗や龍泉窯の青磁茶碗が好まれていたが、珠光は粗末な《珠光茶碗》を賞美し、こうした道具を用いる茶の湯を確立した。"
}
|
{
"en": "Juko's tea ceremony was developed by his disciples, including his son Soju, and he was acclaimed in later years by SEN no Rikyu as the founder of the tea ceremony.",
"ja": "この珠光の茶の湯は、その子宗珠を初めとする弟子達によってひろめられ、このことから後に千利休から茶の湯の開祖として評価されることとなる。"
}
|
{
"en": "Tea Utensils Which Juko Loved",
"ja": "珠光が好んだ茶道具"
}
|
{
"en": "There are many tea utensils which are believed to be those that Juko loved and they are collectively called 'Juko specialties.'",
"ja": "珠光が好んだという伝来を持つ道具は多く、総称して「珠光名物」と呼ばれている。"
}
|
{
"en": "Principal items are as follows.",
"ja": "その主な物は以下の通り。"
}
|
{
"en": "Juko tea bowl",
"ja": "《珠光茶碗》"
}
|
{
"en": "Nagezukin tea caddy",
"ja": "《投頭巾茶入》"
}
|
{
"en": "Juko bunrin tea container",
"ja": "《珠光文琳》"
}
|
{
"en": "Juko censer",
"ja": "《珠光香炉》"
}
|
{
"en": "Kango bokuseki (圜悟墨蹟)",
"ja": "《圜悟墨蹟》"
}
|
{
"en": "\"Painting of egret\" by Joki",
"ja": "徐熙の《鷺の絵》"
}
|
{
"en": "The fact that Juko owned these utensils was the grounds for the assertion that he once returned to secular life (this is the reason why he has been generally known with by the name 'Juko Murata').",
"ja": "これらの道具を所持していたという事実が、珠光が還俗して商人になったという論の大きな根拠であった（このために「村田珠光」の名前で流布したのでもある）。"
}
|
{
"en": "However, according to \"Seigan Meibutsu-ki,\" a record of specialties which was compiled during the Tenmon era and discovered recently, only the Juko tea bowl is listed as a utensil that was owned by Juko.",
"ja": "しかし近年発見された天文(元号)年間の名物記『清玩名物記』では、掲載される珠光旧蔵の道具は《珠光茶碗》のみであった。"
}
|
{
"en": "According to \"Yamanoue Soji ki\" in 1588, many utensils are listed as the ones that were owned by Juko and the necessity to probe possible fabrication of an oral tradition arose.",
"ja": "天正16年の『山上宗二記』に下ると、多くの珠光旧蔵の道具が登場しており、この間に伝来の捏造が行われた可能性を検討する必要が生じた。"
}
|
{
"en": "The above fact enhanced the credibility of the view that Juko had been a Buddhist monk throughout his life, which was based on the above-mentioned \"Yamashina-ke raiki.\"",
"ja": "また上記の『山科家礼記』の発見による、珠光が一生涯僧侶であったという説の信憑性を高める結果ともなっている。"
}
|
{
"en": "Further, the credibility of the view asserting that Juko owned Tang-style specialties languished thanks to the above view, and it has become necessary to rethink the meaning of his description, which appears in 'Kokoro no shi no fumi,' saying 'make the border between Japanese-Chinese admixed.'",
"ja": "またこの説により珠光の唐物名物所持の信憑性が薄れたため、「心の師の文」にある「和漢之さかひをまぎらかす」という記述の読解も再考の必要が生まれている。"
}
|
{
"en": "Incidentally, there also exists the view asserting that Juko made Goro HANEDA produce natsume (tea utensil), but this view is also questionable because according to chakai-ki (the record of the tea ceremony), natsume was first used from 1558 to 1569, after the death of Joo TAKENO, and its first use was later than other wooden tea utensils.",
"ja": "なお珠光が棗(茶器)を羽田五郎に作らせたという説もあるが、これも棗の茶会記への登場が武野紹鴎没後の永禄年間と遅く、しかも他の木製茶器よりも遅いため、やはり疑問視されている。"
}
|
{
"en": "Sotan (1413 - 1481) was an artist-monk in the middle of the Muromachi period.",
"ja": "宗湛（そうたん、応永20年（1413年）-文明(日本)8年（1481年））は、室町時代中期の画僧。"
}
|
{
"en": "His name was also written 宗丹 (Sotan).",
"ja": "宗丹とも書く。"
}
|
{
"en": "His secular surname was Oguri.",
"ja": "俗姓は小栗氏。"
}
|
{
"en": "He studied India-ink painting with Shubun, an artist-monk of Shokoku-ji Temple.",
"ja": "相国寺の画僧周文に水墨画を学んだ。"
}
|
{
"en": "In 1462, he won the recognition of the 8th shogun, Yoshimasa ASHIKAGA, after painting the fusuma-e (images drawn or painted on fusuma) of Shosen-ken in Kyoto Shokoku-ji Temple and in the following year, in 1463, he became the official painter of the shogun family as the successor of Shubun.",
"ja": "1462年（寛正3年）京都相国寺松泉軒の襖絵を描いて室町幕府8代将軍足利義政に認められ、翌1463年（寛正4年）周文の跡をついで将軍家の御用絵師となった。"
}
|
{
"en": "Thereafter, he painted the fusuma-e of Takakura Gosho, Untaku-ken and Ishiyama-dera Temple as an authority on Chinese style painting in the capital.",
"ja": "その後､中央での漢画界の権威として高倉御所・雲沢軒・石山寺などで襖絵を作成している。"
}
|
{
"en": "Although records of the fact that he was engaged in painting around 1473 are existent, no paintings by Sotan have been discovered so far except for the fusuma-e of Yotokuin in Daitoku-ji Temple which Sokei, his son, completed based on what Sotan left unfinished.",
"ja": "1473年（文明5年）頃までの作画の記録は残っているが､宗湛作の遺品は発見されておらず、宗湛の書き残したものを子の宗継が完成させた大徳寺養徳院の襖絵のみである。"
}
|
{
"en": "Shubun (the years of his birth and death was unknown) was a Zen priest and artist-monk in the middle of the Muromachi period.",
"ja": "周文（しゅうぶん生没年不詳）は、室町時代中期の禅僧・画僧。"
}
|
{
"en": "His dogo (a pseudonym as a priest) was Tensho.",
"ja": "道号は天章。"
}
|
{
"en": "His secular surname was Fujikura.",
"ja": "俗姓は藤倉氏。"
}
|
{
"en": "While being responsible for the finance of Shokoku-ji Temple as Tsukan, he also served Ashikaga Shogun family as an official painter.",
"ja": "相国寺の都管（つかん）の職にあり、相国寺の財政を担当するとともに、画家として足利将軍家の御用をつとめた。"
}
|
{
"en": "In 1423, he participated in the delegation dispatched to Korea and drew landscape paintings there.",
"ja": "1423年（応永30年）朝鮮派遣使節に参加し、その地で山水画を描いた。"
}
|
{
"en": "His achievements, such as coloring the Daruma sculpture of Daruma-ji Temple in Kataoka of Yamoto Province in 1430 and traveling to Nara Todai-ji Temple for the purpose of collecting useful information in deigning the Buddhist image of Ungo-ji Temple in 1440, are well-known and he is supposed to have lived until around 1454.",
"ja": "1430年（永享2年）には大和国片岡の達磨寺の達磨像に彩色を施し、1440年（永享12年）には、雲居寺（うんごじ）の仏像の像容の参考とするため奈良東大寺に赴くなど、広い範囲の事績が知られ、1454年（享徳3年）頃まで生存していたようである。"
}
|
{
"en": "However, works of art which Shubun actually painted do not exist and therefore, his painting style is not clear.",
"ja": "周文自身が実際に描いたという作品は現存しておらず、画風の実態については不明である。"
}
|
{
"en": "After Shubun died, the position of official painter of the shogun family was succeeded by Sotan Oguri.",
"ja": "宗湛没後の将軍家御用は小栗宗湛に引き継がれた。"
}
|
{
"en": "Shubun's Works of Art (legend)",
"ja": "伝周文作品"
}
|
{
"en": "Suishoku ranko zu (Hue of the Water, Light on the Peaks) (Nara National Museum) : national treasure",
"ja": "水色巒光図（奈良国立博物館）国宝"
}
|
{
"en": "Chikusai Dokusho-zu (painting of Chikusai reading a book) (Tokyo National Museum) : national treasure",
"ja": "竹斎読書図（東京国立博物館）国宝"
}
|
{
"en": "Sanekisai zu (a sanctum with pine, bamboo and plum trees) (Seikado Bunko Art Museum) : important cultural property",
"ja": "三益斎図（静嘉堂文庫）重要文化財"
}
|
{
"en": "Koten Bosetsu zu (evening landscape and the sky over a river) (Nezu Museum) : important cultural property",
"ja": "江天遠意図（根津美術館）重要文化財"
}
|
{
"en": "To Domyo Chosho zu (To Domyo hearing the wind at the top of a pine tree) (transferred from Yamanashi Prefectural Museum of Art to Yamanashi Prefectural Museum) : important cultural property",
"ja": "陶道明聴松図（山梨県立美術館→山梨県立博物館へ移管）重要文化財"
}
|
{
"en": "Shiki sansui zu byobu (Landscapes of the Four Seasons) (Seikado Bunko Art Museum) : important cultural property",
"ja": "四季山水図屏風（静嘉堂文庫）重要文化財"
}
|
{
"en": "Shiki sansui zu byobu (Maeda Ikutokukai) : important cultural property",
"ja": "四季山水図屏風（前田育徳会）重要文化財"
}
|
{
"en": "Shiki sansui zu byobu (Nagoya betsuin, Otani School of Shin Sect) : important cultural property",
"ja": "四季山水図屏風（真宗大谷派名古屋別院）重要文化財"
}
|
{
"en": "Shiki sansui zu byobu (Tokyo National Museum) : important cultural property",
"ja": "四季山水図屏風（東京国立博物館）重要文化財"
}
|
{
"en": "sausui-zu (a painting of the landscape) (Museum Yamatobunkakan) : important cultural property",
"ja": "山水図（大和文華館）重要文化財"
}
|
{
"en": "Josetsu (the years of his birth and death was unknown) was an artist-monk from the period of the Northern and Southern Courts to the middle of the Muromachi period.",
"ja": "如拙（じょせつ、生没年不詳）は、南北朝時代(日本)から室町時代中期の画僧。"
}
|
{
"en": "His dogo (a pseudonym as a priest) was Taiko.",
"ja": "道号は大巧（たいこう）。"
}
|
{
"en": "It is believed that Chushin ZEKKAI named him after remark of 'Lao-tzu' saying 'Being too skillful is nothing more than being unskillful.'",
"ja": "絶海中津（ぜっかいちゅうしん）が「老子」の「大巧は拙なるが如し」にちなんで名づけたという。"
}
|
{
"en": "Although his biography is not so clear, the fact that he engaged in the construction of Soseki MUSO's monument and drew 'Hyonen-zu' (painting of catching Japanese catfish with bottle gourd) from 1384 to 1429 at the behest of Yoshimochi ASHIKAGA, 4th shogun of the Muromachi bakufu (Japanese feudal government headed by a shogun), is widely known and it is almost certain that he had a close relation with the Ashikaga Shogun family and was a monk of Shokoku-ji Temple.",
"ja": "伝記については不明な点が多いが、夢窓疎石の碑銘建立に参与したこと、応永年間（1384年-1429年）室町幕府4代将軍足利義持の命により「瓢鮎図（ひょうねんず）」を描いたことなどが知られ、足利将軍家と密接な関係を持ち、相国寺にいたことはほぼ確実である。"
}
|
{
"en": "He was revered by Sesshu, an artist-monk of Shokoku-ji Temple, as a founder and was admitted by the Kano School as the founder of Chinese style painting in Japan.",
"ja": "相国寺の画僧雪舟に祖と仰がれ、狩野派などによって日本における漢画の祖としての地位を与えられた。"
}
|
{
"en": "Works of Art",
"ja": "作品"
}
|
{
"en": "Hyonen zu (Taizoin, Kyoto City) : national treasure",
"ja": "瓢鮎図（京都市・退蔵院）国宝"
}
|
{
"en": "O Gishi Shosen zu (O Gishi writing a script on a fan) (Kyoto National Museum) : important cultural property",
"ja": "王羲之書扇図（京都国立博物館）重要文化財"
}
|
{
"en": "Hibutsu are Buddhist images that are normally withheld from public view for religious reasons; they are enshrined in zushi (miniature shrines in temples) with the doors closed.",
"ja": "秘仏（ひぶつ）とは、信仰上の理由により非公開とされ、厨子などの扉が閉じられたまま祀られる仏像を指す。"
}
|
{
"en": "In Buddhist temples, the doors of the Butsudo (Buddhist shrine) are normally open so that the Buddhist image can be seen from outside, but zushi that enshrine hibutsu are usually closed except for a certain period when the hibutsu are unveiled to the public.",
"ja": "仏教寺院では、仏堂の扉を開いた際に仏像が見えるように祀るのが本来であるが、「秘仏」は開帳以外の時は厨子の扉を閉じたまま祀られている。"
}
|
{
"en": "The practice of retaining Buddhist images, which were intended as idols for worship, in zushi with the doors closed is quite unique in Japan even among East Asian countries where Buddhism has prevailed.",
"ja": "元来、礼拝のための偶像である仏像を扉を閉じた厨子等に納め「秘仏」とすることは、東アジアの仏教圏の中でも特に日本に顕著な現象である。"
}
|
{
"en": "In this country, hibutsu are often found with Buddhist images that are the principal icons of well-known temples, as well as the temples that are deep-rooted in folk beliefs, including pilgrim stamp offices of the 33 Temples of Saigoku, fudasho (temples where amulets are collected) and those in reijo (sacred ground).",
"ja": "この国では著名な寺院の本尊で秘仏とされているものが多く、西国三十三箇所の札所寺院をはじめ、札所、霊場などの庶民信仰に支えられた寺院の本尊にも秘仏が多い。"
}
|
{
"en": "In the following, we'll focus on hibutsu in Japan.",
"ja": "したがって、以下では専ら日本における秘仏について記述する。"
}
|
{
"en": "Some hibutsu are so-called 'absolute hibutsu,' which are completely withheld from public view, but most are unveiled to the public on specific days (this practice is called 'gokaicho' or 'kaihi,' both meaning 'opening the gate').",
"ja": "秘仏には、全く公開されない「絶対の秘仏」も一部にあるが、特定の日に限って公開（「御開帳」「開扉」などと称する）を行うことが多い。"
}
|
{
"en": "Like the Amida (Amitabha) triad image at Zenko-ji Temple in Nagano, some Buddhist images have never been unveiled to the public; a statue called 'omaedachi,' a copy of the hibutsu (literally, 'standing in front'), is exhibited on the day of 'gokaicho.'",
"ja": "長野・善光寺の阿弥陀三尊像のように、本尊像は絶対の秘仏で、「御開帳」の際に姿を見せるのが「お前立ち」と称する代わりの像になっている場合もある。"
}
|
{
"en": "So far, no major progress has been made in the research on when and why hibutsu came into existence; the questions remain unanswered.",
"ja": "秘仏の発生時期や要因については本格的な研究が進んでおらず、確かなことはわかっていない。"
}
|
{
"en": "At least, there is no record about hibutsu in or before the Nara period.",
"ja": "少なくとも奈良時代以前には特定の仏像が秘仏であるとする記録は知られていない。"
}
|
{
"en": "According to 'Koryu-ji Temple sizai kotai jitsuroku cho,' an inventory list of Koryo-ji Temple's assets (completed around 890), the principal image of its Kon-do hall, 'Reiken-yakushi-butsu' (the Healing Buddha), was placed in the 'naiden' (inner shrine) that can be locked; this reveals that the Yakushi Buddha image was treated as a hibutsu by the end of the 9th century at the latest.",
"ja": "京都・広隆寺の資財についての記録である「広隆寺資財交替実録帳」（寛平2年・890年頃成立）には、同寺金堂本尊の「霊験薬師仏」が鍵のかかる「内殿」に安置されていたことが明記され、この薬師像が遅くとも9世紀末には秘仏扱いされていたことを伺わせる。"
}
|
{
"en": "Some say that Shinto (indigenous religion of Japan) shrines may have affected the birth of hibutsu.",
"ja": "秘仏の発生には神道の神社からの影響があるものとする説もある。"
}
|
{
"en": "The doors of the main hall of a Shinto shrine are usually closed and occasionally opened for special rituals as well (this practice is also seen in kamidana (household Shinto alters) and soreisha (alters that enshrine the souls of ancestors), which are usually closed and opened only for specific services).",
"ja": "神社の本殿の扉もまた、普段は閉じられており、特定の祭祀の時にのみ扉が開かれる場合があるからである（他に神棚や祖霊舎もまた、普段は扉が閉じられており、特定の祭祀の時にのみ扉が開かれる場合がある）。"
}
|
{
"en": "Primarily, Shinto gods are invisible.",
"ja": "神道の神は元来、姿の見えない神である。"
}
|
{
"en": "Although Shinto god images came into existence by the early Heian period under the influence of Buddhist sculpture, they were secretly placed deep inside the shrines as 'go-shintai' (an object of worship) and were seldom unveiled to the public.",
"ja": "仏像彫刻の影響を受けて、平安時代初期頃から神像、つまり神道の神の彫像も作られるようになるが、これらは「御神体」として社殿の奥深くに秘められ、一般の人の目に触れることはなかった。"
}
|
{
"en": "It is said that the temples of the Shingon and Tendai Sects have relatively more hibutsu than those of Jodo (Pure Land) Sect and the Zen Sect.",
"ja": "秘仏を有する寺院は真言宗系、天台宗系に比較的多く、浄土教系、禅宗には比較的少ないことが指摘されている。"
}
|
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