Kakunyo 覺如, the great-grandson of Shinran 親鸞, produced a biography of Shinran called Shinran denne 親鸞傳繪 that consists of the Kotobagaki 詞書 sentences and the Esō 繪相 paintings which describe the content of the Kotobagaki, of which the first edition was lost. Kakunyo revised the book many times, of which 5 revised editions are extant.
Among these 5 revised editions, the Gugan-bon 弘願本 has two characteristics that are not found in the early revised edition, namely the Rinna-bon 琳阿本 and the Takada-bon 高田本, but are found in the complete edition, namely the Kōei-bon 康永本 and the Shōganji-bon 照願寺本. One of these characteristics is that the word Honganji 本願寺 is found in the title of the Gugan-bon. The second characteristic is that the Gugan-bon has 15 scenes. At the same time, that the images of the Gugan-bon are located between the early revised edition and the complete edition allows us to say that the Gugan-bon’s contents come before those of the Kōei-bon. Since there is little evidence, in this paper I wish to point to those clues by which the content of the Gugan-bon is to be placed before that of the Kōei-bon.
The Esō in the scene Senjaku fuzoku 選擇付属 (上巻 第五段): In the Rinna-bon and the Takada-bon, this scene is described by one depiction, but in the Kōei-bon the scene is described by two depictions. The Gugan-bon accords with the Rinna-bon and the Takada-bon, and not with the Kōei-bon.
The Esō in the scene Nyūsai kanzatsu 入西鑑察 (上巻 第八段): While the Rinna-bon has this scene, the Takada-bon does not, leading to the suggestion that in the Rinna-bon this scene was added later. In the Rinna-bon, this scene is described by one depiction, but in the Kōei-bon it is described by two. The Gugan-bon accords with the Rinna-bon, and not with the Kōei-bon.
The Esō in the scene Kumano reikoku 熊野靈告 (下巻 第五段): In the Rinna-bon and the Takada-bon, Kumano gongen 熊野権現 (the God of Kumano Shrine) and Shinran are seated opposite each other, but in the Kōei-bon, Kumano gongen is making obeisance to Shinran. The Gugan-bon accords with the Rinna-bon and the Takada-bon, and not with the Kōei-bon.
The Esō in the scene Byōdō sōryū 廟堂創立 (下巻 第七段): In the Rinna-bon and the Takada-bon, many pilgrims are depicted paying homage to the grave of Shinran, but in the Kōei-bon, only a grave guardian, probably Kakunyo, is depicted. The Esō of the Gugan-bon accords with the Rinna-bon and the Takada-bon, and not with the Kōei-bon.
The wording Ikkō senju 一向專修 in the Kotobagaki : In the Kotobagaki of the scenes Bennen saido 辯圓濟度 (下巻 第三段) and Kumano reikoku 熊野霊告, the Rinna-bon and the Takada-bon use the wording of the Ikkō senju, but the Kōei-bon does not. The Gugan-bon agrees with the Rinna-bon and the Takada-bon. Since Kakunyo criticizes the idea of Ikkō senju in his Gaijashō 改邪鈔, the fact that the wording Ikkō senju was deleted in the Kōei-bon clearly follows his intention.
Based on the above evidence from the Esō and the Kotobagaki, it is clear that the content of the Gugan-bon is to be placed before that of the Kōei-bon.
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