本発表は、中国のチベット社会における大規模な（チョルテン）の建設をとりあげ、それが現代の社会経済的な文脈の中でいかなる意味を持ち、人びとに価値あるものとして受け入れられるのかを明らかにするものである。観光化と一線を画して建設されたが、人びとの生活と密接に関わる多くのモノの投入を媒介にして、寺院や村をめぐるローカルな紐帯を再想起させ存続させる装置として成立している点を論じる。

抄録全体を表示

In Buddhist art there is a genre called “Narrative Images of the Buddha's Life” (Butsu-den-zu in Japanese). This genre has several characteristics: the selection of crucial episodes of his life (the Great Departure, Enlightenment, First Sermon, Death, etc.) from literary sources (chiefly the Vinayas, or the Buddhist disciplinary canons) and the depiction of them in chronological order.
Despite a long and general acceptance of the existence of this genre in Gandharan art, an example remains to be attested. The 13 reliefs, each depicting a scene from the Buddha's life, which encircle the drum of the so-called Sikri Stupa have been cited as an exemplar of Gandharan Butsu-den-zu. However, none of the crucial episodes is included among the 13 scenes, and the in situ sequence the excavator found them is far from being the chronological order. That the stupa —actually an altar rather than a stupa— was found housed in a shrine supplies the basis for my interpretation. According to G. Schopen, the conduct of a Gandharan monastery was an interdependent relationship between lay donors, monks and a monastic order, centering around a relic shrine which had been taken as the Buddha himself to whom a Vinaya had given, in Schopen's words, a juristic personality.
When we consider the 13 scenes as a composite of three arcs of the circular sequence, we realize that each arc has its own theme: the importance of donations to the Buddha and the celebration of donors, the figures of Sakyamuni before he attained the Buddhahood as the prototype of the bodhisattvas or monks to come, and the instructions of the Law and the monastic order as the only place the Law can be found. These are exactly the three elements of the relationship mentioned above.
Just as Sikri is not exceptional among Gandharan monasteries, neither is Gandhara exceptional in ancient India. Therefore, we are not likely to find Butsu-den-zu from around the time of Gandharan art at other early Indian sites either.

抄録全体を表示

This study discusses the transformation of stupas in the Gandhara Buddhist temples focusing plinth forms and masonry techniques. The third article takes up the remains of three archaeological sites, Butkara I, Saidu Sharif I and Nimogram, located in Swat where is the north region of Gandhara in the broad meaning. This article covers the field survey of stupas which was conducted based on the excavations researches carried out at Swat by the Italian Team, IsMEO and the Department of Archaeologiy and Museums, Pakistan.
Consequently, same as Central Gandhara's and Taxila's three types of features were found in Swat i.e. one-story type, two-story type and step-down type. The Swat's characteristic features are as follows: one-story type is majorority, few step-down type, a use of green schist only for decoration parts, engraved stone, reuse or diversion of stone members.

抄録全体を表示

 This study discusses the characteristics and transformation of stupas which were the main constitutive element of ancient Gandhara Buddhist temples. The decoration in Gandhara Buddhist temples had been transformed stone sculpture into stucco; exposed stone masonry of remains, which is the target of conservation, seen at present is groundwork for stucco finishing or decoration that peeled away. However, previous Gandhara studies have been limited to only the layout and the finishing decoration from the art history and archaeological point of view. This study examines the stone masonry component of stupa plinths which have had conservation and repairing and also analyses the characteristics and transformations by examining field surveys in three areas of current Pakistani Central Gandhara, Taxila and Swat, and considering excavation survey reports of seven remains.
 The previous articles I~III have discussed the characteristics and transformation of stupa plinths in each area. In this article, i.e. IV aims to examine processes and dates of transformation of stupa plinths through the interregional comparison. We examined the forms of stupa plinths from five sites out of seven sites under study where the construction era remains were reported. And it is illustrated with chronological figure (Fig. 1).
 There seems to be no established classification of forms of stupa plinths, therefore this study attempted at trial classification and analysis based on only physical forms.
 There are circular and square types of stupa plinths in Gandhara, a square type is a majority. As a preconditions for analysis, we categorised the form of the square type of plinths into single, double and multiple story types, also divided single story type into plinths with pilasters and without pilasters. Double story type divided into two types, one is that the size of upper and lower story are the same, and the other type is that the upper story smaller than the lower story.
 The conclusions are as described below.
 - The majority was single story type followed by multiple story type.
 - The forms of stupa plinths transformed from single type to multiple story type. Single story types were in the early time, i.e. the beginning of establishment of Buddhist temple or just after that which is the first century A.D., and a lot of stupas of both with pilasters and without pilasters had continued constructing. Multiple story type started to be built later in the second century.
 - Single story type was kept constructing from the first century to the early half of third century, and until the fifth century especially at Butkara I site.
 - Significant regional characteristics were not found in the Central Gandhara; a unique double story type was found only at Takht-i-bahi site.
 - In Taxila, it was found that the height of multiple story type becomes higher as time advances, and single and multiple story types started to being built a little earlier than other areas.
 - Multiple story type was a minor in Swat, and unique forms which are presumed to be a double story type were found at all three sites.
 Thus it was found that stupas in Gandhara has common features in it's transformation and also has regionally differences in features.

抄録全体を表示

U Thuzana is a Karen monk from Myanmar who has been constructing many pagodas on both sides of the Thai-Myanmar border. His pagoda construction is made possible by donations from political, economic, and military leaders, on the one hand, and through the labor and devotion by local followers, especially among the Karen, on the other. This paper analyzes the dynamic process of this saintly leadership, followers' devotion, and pagoda construction, which must be understood in the context of the layered religious practices found in this cross-border region since the nineteenth century. In Myanmar, U Thuzana has become involved in ethnic politics even as he claims to maintain political neutrality. In Thailand, he is entering into a terrain where the khruba tradition is still alive with expectant followers.
The paper examines three issues: firstly, it questions foregoing discussion that understands millennialistic religious movements and saintly monks enterprises as resistance to the state, and reexamines categorical understanding such as non-Buddhist versus Buddhist, hill versus valley, or resistance versus accommodation. Rather than explain the movements in relation to states, as in previous studies, this paper will look at these movements from its own logic. Secondly, it examines the dynamics that constitute charismatic power of the saints through pagoda construction by focusing on the relationship between the saintly figures and their followers, of which there are two major types: the donors and the devotees. Thirdly, it situates this process in the construction of sacred space in the modern state territory.

抄録全体を表示