釈尊自身が色界四 (jhana) に順次入定してから解脱した例に見られるように, は, 仏教では悟りへの道において重要な役割を果たしている. 第一への入定の仕方がパーリ経典に明示されるが, それは悟りに必要な信・精進・念・定 (samadhi)・慧の五力の順に沿って説かれている. 修行者は, まず如来の教法を聞き, 如来に対する信を得る. 法を聞き法に随い (随法), 如来に対する信 (saddha) を持つ (随信) ことは, 悟りに向かう者が正しく踏み出す第一歩である. 仏教において入定次第は, その始めから, 体験自体を目的とするものではなく, 悟りに導くプログラムに組み込まれている. 修行者は次に戒律によって身業と語業を守り (精進), 仏教独自の観 (vipassana) 瞑想に基づく念 (sati) という修行法によって意業を守る. 念とは, 眼耳鼻舌身意の六根から入る刹那毎の現象を次々にただ感受したままに確認し, 思考や, それから生じるあらゆる感情・煩悩をはたらかせない行法である. 念が身に付くと, 修行者はに入るために結跏趺坐し上半身を垂直に保ち, 念を正面に据える. 五力の中の定 (samadhi) である. 定 (samadhi) は未だ (jhana) に入ってはいないが, 念を一点に集中する止 (samatha) 瞑想という行法である. 念を一点に定めていると, 智慧 (pañna) が現れるのを妨げている五蓋と呼ばれる煩悩が次々に取り除かれる. この智慧の現れが悟りの第一歩である. 智慧が現れると, 必然的に第一 (jhana) に入定する. パーリ経典では, 止瞑想を仏道修行に取り入れることで, 集中力やとの相乗効果によって悟りがより確実にスムーズに得られるようにプログラムされていた.

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Devatannusati (recollection of deities) is the last item of the six recollections; the others being recollection of the Enlightened One, recollection of the Dhamma, recollection of the Sangha, recollection of virtue, and recollection of generosity. In the practice of devatanussati, a meditator should recollect deities, their special qualities and one's own special qualities which are equal to those deities', making the deities stand as witnesses. The purpose of devatanussati is not to experience a mysterious union with deities but to acquire an adequate concentration for further insight meditation (vipassana) by suppressing existing mental defilements. The Buddha recommended six recollections for his noble disciples, because they are free from misrecognizing the god (a deity) as the Enlightened One (the Buddha). In both the recollection of the Enlightened One and the recollection of deities, meditators are requested to focus on very complicated objects such as the ten special qualities of the enlightened one and others. The reason of this complexity is to prevent meditators from indulging in an absorption and concentration which easily produces mystical union and mythical stories. When an unenlightened meditator experiences these mystical experiences, he/she may easily embark on creating a new religious system that is quite similar to the Buddha's teaching, mistaking one's revered god as the Buddha (or replacing the Buddha with one's respected god). In the recollection of deities, a meditator recollects three types of objects; deities, their special qualities and one's own special qualities. This alternation of objects leads the meditator to deepen his insight into the nature of duality; inside and outside or oneself and others. In this way, a meditator learns the limitation of duality and transcend co-dependent relationship with others including gods and deities. In Visuddhimagga, "a figure of the Enlightened One created by Mara" is mentioned from an old Sinhalese source. An elder monk in the story could use it skillfully so as to develop vipassana. But a meditator who is immature in vipassana may be trapped in this kind of mystical vision and start constructing pseudo buddhistic belief systems, by creating a new Buddha and Bodhisattas. It seems to me that the Buddha placed recollection of the Enlightened One and recollection of deities on the first and last of six recollections that are meant only for noble disciples, knowing the subtlety of this kind of religious contemplation.

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A New Interpretation of Religion (which Suzuki also called The True Meaning of Religion in his introductory remarks), was published in 1896 by Baiyōshoin when Suzuki Daisetsu was 26 years old; it was Suzuki’s earliest published work. In terms of the work’s development, certain aspects are newly clarified from Suzuki’s letters to Yamamoto Ryōkichi, contained in Suzuki Daisetsu’s Unpublished Letters (Zen Bunka Kenkyūjo, 1989). Newly understood information includes the following: Suzuki initially co-authored the work with Shaku Sōen, its first title was Shūkyō Chakuhōgen (The Eye That Discerns True Religion), and the work’s publication funded Suzuki’s trip to the United States in 1897.

Content-wise, we must pay keen attention to Suzuki’s statement, “The true marrow of religion is boundless compassion. However, the attainment of virtue lies in fulfilling duties” (Zenshū, vol. 23, p. 113); Shaku Sōen’s emphatic marks are added to this sentence. Also, Suzuki quotes from Carrying Out the Power of the Vow in the Treatise on the Inexhaustible Lamp of the [Zen] School, written by Hakuin’s dharma heir, Tōrei Enji (1721–1792):

As for the four bodhisattva vows, these are, first, to save all sentient beings, then to clarify self-nature and eradicate the roots of afflictions, to learn all methods and means, and to awaken bodhisattva conduct and fully perfect compassion and wisdom: we call this the Buddha Way. You should know this: that the basis of realizing buddhahood is truly great compassion. (Zenshū, vol. 23, p. 80)

Shaku Sōen was said to have given lectures on the Treatise on the Inexhaustible Lamp of the [Zen] School, but the Matsugaoka Bunko does not possess these records. Thus, the relationship between the Treatise on the Inexhaustible Lamp of the [Zen] School and the Shinshūkyōron is one issue to consider.

Leaving that aside, I will trace the circumstances under which the Shinshūkyōron emerged―which the “Commentary” of Outlines of Māhāyana Buddhism (Iwanami Bunko, 2016) addresses―and will question how great an influence Shaku Sōen exerted on the development of Suzuki’s Shinshūkyōron. At the same time, I will suggest that the basis of Suzuki’s religiosity was stable from that point onward.

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This article shows the essential role of early folded paper manuscripts which contain illustrations for chanting in order to eventually understand Contemporary Thai Buddhist funeral culture in which some of the texts in those manuscripts are utilized. Buddhist manuscripts kept in Thai temples include not only those made of palm-leaf, but also those made of folded paper (Samut Khoi). Among the latter, the large illustrated ones are especially eye-catching. They were chiefly made between the 18th to the early 20th century to be used in ritual chanting at funeral-related ceremonies, as the illustrations show. Due to their visual appeal, those illustrated manuscripts have been mainly researched in the field of Art History. Subsequent research as to the location of the manuscripts has identified which texts were inscribed in each of the manuscripts. The research has revealed the fact that the texts are basically compiled from part of the Pāli Tipiṭaka and from part of the extra-canonical texts used for chanting, e.g., the Pārājika chapter of the Vinaya, Brahmajālasutta, the texts on Mātikā and Sahassaneyya from the Abhidhamma and Mahābuddhaguṇa which is classed as an extra-canonical text. However, the exact function of each of the texts in a manuscript and the reason that they are arranged in a particular order has been yet to be examined. To better understand this phenomenon, my research focuses on one of the folded paper manuscripts which we identified it as produced in 1743. The conclusion which can be drawn from this analysis is that the chanting texts were mainly compiled in order to encourage the laity to perform wholesome deeds thereby producing positive karmic results as the Buddha emphasizes the idea of non-self (anatta).

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　本稿では、筆者が研究を続けているVajravidāraṇa-dhāraṇīのBuddhaguhya注とイェーシェードルジェー注に出てくる「六種本尊（lha drug）」と「音声に住する

［の念誦］（sgra la gnas paʼi bsan gtan［gyi sngags bzlos pa］）」を中心に考察を進めた。「六種本尊」とは、所作タントラにおける親近行のうち我生起にあたるものである。念誦の正行（正念誦）に先立って行われるもので、ツォンカパやケートゥップジェは「五相成身観」の代替であるとし、重要視している。六種本尊との関連で登場する語としては「音声に住する」がある。また「音声に住する」には二種類の念誦法があり、それについても考察を試みた。「音声に住する」とその二種類の念誦法についての解釈から、イェーシェードルジェーと後代のツォンカパらでは捉え方に違いがあったとみられる。時代だけではなく流派による伝承に違いがあったとも考えられ、引き続き考察していきたい。

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