不空羂索観音の表現とその普遍性

抄録

An unusual Esoteric Buddhist representation of Kannon 観音 (Avalokiteśvara) was worshipped at the Sangatsudō 三月堂 at Tōdaiji 東大寺 from nearly as early as the time of the birth of Kūkai 空海. It was produced by Kuninonaka no muraji Kimimaro 国中連公麻呂 between Tenpyō 18 and 19 (746–747). In terms of its appearance, the icon has one head, three eyes, and eight arms. It is thought to have been a product of the devotion of Kōmyō kōgō 光明皇后. Of course, the grand project of constructing the Great Buddha (Daibutsu 大仏) at Tōdaiji, an embodiment of Vairocana (Jpn. Birushana 毘盧遮那) expounded in the Huayan jing 華厳経, was sponsored by Shōmu tennō 聖武天皇. That icon was 14.7 meters in height and required 401,911 catties of copper to complete. The consecration of the Great Buddha took place in Tenpyō shōhō 4 (752), and the ceremony was attended by Shōmu tennō as well as Kōmyō kōgō. In short, the Great Buddha in the Great Buddha Hall (Daibutsuden 大仏殿) had the character of central worship object for the nation-wide system of provincial temples and was also a symbol of the authority of the ritsuryō 律令 political system, while the other statue, that was Fukūkenjaku kannon 不空羂索観音 (Amoghapāśa), was situated to represent the powerful salvation of this-worldly benefit for the people within the foundation of faith in a compassionate Kannon.

The functions of these two Buddhist icons at Tōdaiji were encompassed in the Great Buddha representing the cosmic worldview expounded in the Huayan jing and the Fanwang jing 梵網経 and Fukūkenjaku kannon that did not simply represent this-worldly benefit but also meritorious virtue (Skt. puṇya, Jpn. fukutoku 福徳) as explicated in the 26th fascicle of the Huayan jing; that is to say, fukutokushin 福徳身, the body of meritorious virtue, obtained through spiritual training within the mind of a bodhisattva, and its role was to spread disseminated merit more widely. One sees here in the move to replace “state and individual” with the “Great Buddha and Kannon” as objects of reverence the intent of the ritsuryō politics of Shōmu tennō. Be that as it may, the establishment of the structure of faith in the salvation of the people by the Fukūkenjaku kannon icon lasted many years as is seen in the principal worship object of the Nan’endō 南円堂 at Kōfukuji 興福寺 from the 12th century.

However, while it was, of course, Kōmyō kōgō, who was responsible for embellishing the principal object of worship at the Sangatsudō, faith in Kannon itself spread gradually, and the iconography of “transformations of a single form” (dōshi henge 同姿変化), e.g., the sanjūsan ōgenshin 三十三応現身 (thirty-three manifested bodies) or the thirty-three forms of Kannon, reconstituted a soteriological system based on new Buddhist icons. This was at the same time linked structurally with pilgrimages and spiritual training. While the Fukūkenjaku kannon of the Sangatsudō inherently encompassed the principles of Zōmitsu 雑密, the early, less systematic form of Esoteric Buddhism, it also further developed its functioning as a “secret Buddhist deity” (hibutsu 秘仏).

Moreover, the basic form was also to become the principal protective icon (mamori honzon 守り本尊) of the Rengebu-in 蓮花部院 of the Taizōkai 胎蔵界, one of the two fundamental esoteric mandalas imported by Kūkai. Additionally, why Fukūkenjaku kannon, one of the Roku Kannon 六観音, became the principle worship object of the Sangatsudō is a deep mystery. The universality of this icon, which stretches back to the Tenpyō era, and its function have not been sufficiently explained. The many forms of Kannon became firmly situated in the foundation of faith in this-worldly benefit; however, I believe the establishment of this long-lasting variety of faith in Fukūkenjaku kannon as savior of the people was due to a different cause.

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