Go to  Advanced Search

Please note that cIRcle is currently being upgraded to DSpace v5.1. The upgrade means that the cIRcle service will not be accepting new submissions from 5:00 PM on September 1/15 until 5:00 PM on September 4/15. All cIRcle material will still be accessible during this period. Apologies for any inconvenience.

The Japanese hasso Nirvana tradition of paintings : an iconological study

Show full item record

Files in this item

Files Size Format Description   View
UBC_1986_A8 H86.pdf 36.14Mb Adobe Portable Document Format   View/Open
Title: The Japanese hasso Nirvana tradition of paintings : an iconological study
Author: Hunter, Harriet Jean
Degree: Master of Arts - MA
Program: Fine Arts
Copyright Date: 1986
Issue Date: 2010-07-16
Publisher University of British Columbia
Series/Report no. UBC Retrospective Theses Digitization Project [http://www.library.ubc.ca/archives/retro_theses/]
Abstract: The purposes of this thesis are to draw attention to and document the radical change that occurred in the Japanese iconographic representation of the Buddha's Parinirvana during the first half of the 13th century; and to relate this iconographic shift to parallel changes in the iconologic accounts of the Nara sects. Specifically. I will assign responsibility for certain of these changes to the early Kamakura monk My6e Shonin (1173-1232). Japanese art historians (Nakano, 1978; Yanagisawa, 1979) have speculated about similar lines of influence. To date, however, a clearly substantiated argument linking the writings of Myoe Shonin to the iconographic changes which emerged in the same historic context has not been made. The research problem is to attempt to establish such linkages by drawing parallels between Myde's revival of the Shaka cult and the associated changes in the subsequent Nirvana painting tradition. Three iconographically distinct images of the Buddha's Nirvana scene will be examined. First, an older iconographic type, exemplified by the painting in the ECong6bu-ji collection (referred to as Type I), will be discussed in order to set the historical context of interpretation. Second, attention will be drawn to the dramatic changes away from this earlier Type I tradition and focused upon a qualitatively different iconographic style present in the icons in the Ryugan-ji and Manju-ji temple collections (referred to as Type II images). Efforts will be made to establish that these changes reflect the writings, teachings, and practices of Myoe Shonin.
Affiliation: Arts, Faculty of
URI: http://hdl.handle.net/2429/26542
Scholarly Level: Graduate

This item appears in the following Collection(s)

Show full item record

UBC Library
1961 East Mall
Vancouver, B.C.
Canada V6T 1Z1
Tel: 604-822-6375
Fax: 604-822-3893