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Sakuma, ‘Lokeśvara in Indian Tantric Buddhism’ (2011)

佐久間 留理子 『インド密教の観自在研究』 山喜房佛書林 10.5.2011 A5 17,000円

Sakuma, Ruriko. Indo Mikkyō no Kanjizai Kenkyū [*Studies on Avalokiteśvara in Indian Tantric Buddhism]. Tokyo: Sankibo Busshorin, 2011. 620 pp. ISBN 978-4-7963-0015-5.

Contents (目次)
第１部

研究目的、及び、研究対象の成立背景
　１）研究目的と先行研究
　２）成就法の成立背景
　３）観自在の展開

第１章　文献学的研究
　１）研究目的と先行研究
　２）『サーダナ．マーラー』のサンスクリット写本
　３）バッタチャルヤ校訂本とサンスクリット写本と関係

第２章　図像学的研究
　１）観自在の種類
　２）聖観自在のタイプ
　３）密教的聖観自在のタイプ

第３章　宗教実践方法の研究
　１）成就法の構造
　２）成就法における二種の映像
　３）身体技法としての成就法
結論

第２部

翻訳研究
略号
1 ローカナータ（世門主）成就法
2 カサルパナ（空行）世自在成就法
3 ヴァジュラダルマ（金剛法）成就法
4 シャダクシャリー（六字）世自在成就法
5 シンハナーダ（獅子吼）世自在成就法
6 ニーラカンタ（青頸）聖観自在成就法
7 ハーラーハラ世自在成就法
8 パドマナルッテーシュヴァラ（蓮華舞自在）成就法
9 ハリハリハリヴァーハナ生起成就法
10 トラーイロークヤヴァシャンカラ（三界制御)世自在成就法、及び、トラーイロークヤヴァシャンカラ（三界制御)の教えのブグマ世自在成就法
11 ラクタ（赤）世自在成就法
12 ローケーシュヴァラ（世自在）敬愛儀軌
13 マーヤージャーラクラマ（幻化網次第）観自在
14 供養を伴うマーシャムカの陀羅尼
15 スガティサンダルシャナ（善趣示現）世自在
16 プレータサンタルピタ世自在成就法
17 スカーヴァティー(極楽）世自在成就法

作例表
（Ａ）聖観自在のタイプ
(A.1) ローカナータ（世門主)
(A.2) カサルパナ(空行)世自在
(A.3) ヴァジュラダルマ（金剛法）

（Ｂ）密教的観自在のタイプ
(B.1) シャダクシャリー（六字）世自在
(B.2) シンハナーダ（獅子吼）世自在
(B.3) ニーラカンタ（青頸）聖観自在
(B.4) ハーラーハラ世自在
(B.5) パドマナルッテーシュヴァラ（蓮華舞自在）
(B.6) ハリハリハリヴァーハナ世自在
(B.7) トラーイロークヤヴァシャンカラ　(三界制御)世自在
(B.8) ラクタ（赤）世自在
(B.9) マーヤージャーラクラマ（幻化網）観自在
(B.10) スガティサンダルシャナ（善趣示現）世自在
(B.11) プレータサンタルピタ世自在
(B.12) スカーヴァティー（極楽）世自在

参考文献
あとがき
索引

Nīlakaṇṭha (Sakuma 2011:150‒151)
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Newell, ‘Picturing the Goddess’ (2011)

Zo Margaret Newell. ‘Picturing the Goddess: Images and the Imagination of Modern Hindu Religious Identity’. PhD diss., Vanderbilt University, May 2011. 293 pp. [official site / PDF]

From the Abstract

This project inquires into the role of visual print technology in the construction of a pan-Indian sense of religious identity at the end of the colonial era. I take as my starting point the statement by Sri Ramakrishna of Calcutta that “a real Hindu” is someone who has, and worships, pictures of deities — specifically, pictures of the mother goddess — and proceed to the phenomenological and historical consideration of a selected set of images.

Gandhi at war
Zonewell (2010:258 Fig.42). A good man goes to war.
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Robert Beer

‘Visionary Realms: An Interview with Robert Beer’. 2011. [PDF at Wisdom books or online (more pictures).]

Nice to see these informed musings on twentieth- and twenty-first-century Newar art by Robert Beer, its most accomplished Western exponent, ranging from the influence of Botticelli’s Nascita di Venere upon it to thoughts on some of its current leading lights.

There is also a plug for Robert Beer’s joint venture with Wisdom books, the commercial site tibetanart.com, offering stuff at the higher-quality end of the market.

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Bühnemann, ‘The Buddha’s Journey to Lumbinī’ (2011/06/11)

Gudrun Bühnemann. ‘The Buddha’s (Return) Journey to Lumbinī (lumbinīyātrā).’ Wiener Zeitschrift für die Kunde Südasiens vol. 54 (in press; to appear in November 2011).

Prof. Bühnemann’s upcoming presentation of selected findings in Nepal was announced today on sanskritbuddhism:

Date: June 11, 2011
Time: 3 pm
Venue: Kholcha Pokhary, Manimarga, Chakupat 22 (NIEM Library Building), Lalitpur

According to Newar Buddhists, Śākyamuni Buddha visited his birthplace Lumbinī after his enlightenment. Depictions of this journey became popular in nineteenth- and twentieth-century Nepal. They show the Buddha riding standing up on a snake while being attended by Hindu deities in service to him. The scene, known as the lumbinīyātrā, is represented in numerous paintings and in wood and metal work, and is also described in texts. This strand of the Buddha legend is specific to Newar Buddhism and not attested in Indian biographic or hagiographic accounts of the Buddha’s life. In this paper I will trace the history of the lumbinīyātrā theme by examining descriptions in texts and artistic representations. I will then discuss elements of the yātrā which are also found independently in other contexts. In conclusion, I will offer some thoughts on the significance of the lumbinīyātrā theme.

Nrityamandalavihara-Lumbiniyatrapaubha
Gautamavajra Vajrācārya, Lumbinīyātrā paubhā (Nṛtyamaṇḍala-Mahāvihāra, Portland), NS 1125
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Hunt, ‘Considerations for Devanagari Typography’ (2008)

Paul D. Hunt. ‘Language and region specific considerations for Devanagari typography. Case studies in Sanskrit, Hindi, Marathi, & Nepali’. M.A. Thesis, University of Reading, September 2008. [PDF]

Reading, England, produces more than just atheist comedians; the University of Reading also awards respected higher degrees in Typeface Design. Hunt’s M.A. thesis, set in elegant Grandia, explores a few of the varied functions that Nāgarī type may be called on perform. It’s potentially useful reading for those working on Sanskrit texts who have dreamed of a better Unicode typeface, and who seek the typographical vocabulary to articulate exactly what they are looking for.

Characteristics of Devanagari script (Hunt 2008, Fig.10 p.14)

The current situation is far from perfect, of course. Of the Unicode Nāgarī faces out there at the moment, I could only recommend two or three, at most, for serious philological typesetting. It is frustrating that adequate faces are not even available to buy, for the most part.
Continue reading “Hunt, ‘Considerations for Devanagari Typography’ (2008)”

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Mori, ‘The Rituals of Tantric Buddhism in India’ (2011)

The Rituals of Tantric Buddhism in IndiaMori, Masahide. Indo mikkyō no girei sekai (The Rituals of Tantric Buddhism in India). Sekai Shisōsha, 2011, 340pp. ISBN 978-4-7907-1498-9. [official site / amazon.co.jp]

森　雅秀〮著 『インド密教の儀礼世界』 世界思想社 7140円

“The iconology of tantric Buddhist ritual.
[This book] makes the full picture of tantric Buddhist ritual emerge through elucidation of the structure and semiology of ritual in Indian tantric Buddhism. Its illumination of [a previously] unknown ritual world, Buddhist studies and Indology, as well as religious studies, anthropology, history, archaeology and art history and so on will have a wide impact on several areas.” [translated blurb]

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Weiler, ‘Neoclassical Newar Residences’ (2009)

Katharina Maria Lucia Weiler. ‘The Neoclassical Residences of the Newars in Nepal: Transcultural Flows in the Early 20th century Architecture of the Kathmandu Valley’. PhD diss., Ruprecht-Karls-Universität Heidelberg, 2009. [abstract / PDF (40 MB)]

Almost as good as being there, this lavishly illustrated dissertation treats an important architectural subculture of the Kathmandu Valley. Weiler looks closely at the stylistic origins of buildings built by people who wanted to emulate Europe, while remaining tantric Hindus and Buddhists at heart. This lucid description of a relatively recent strand in the rich tapestry of Newar urban life is commended to aficionados of Nepalese taste.

Nike of Samothrace and Śrī yantra at Ananda Niketan

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Slusser, ‘Antiquity of Nepalese Wood Carving’ (2010)

Antiquity of Nepalese Wood Carving
Slusser (2010)

Mary Slusser. The Antiquity of Nepalese Wood Carving: A Reassessment. Freer/Sackler Gallery of the Smithsonian Institution: August 2010. ISBN 9780295990293. 325 pp., 201 illus. [official site]

According to the blurb, the author has carbon-dated certain items to a period as early as the Licchavi era, notably the struts of Uku Bāhā, one of the oldest continuously maintained Buddhist institutions in South Asia. Objects still in situ appear to be of much greater antiquity than previously thought.

A preview of Slusser’s findings was published on asianart.com. Given the author’s impressive contribution, we can perhaps overlook the misplaced horror at the recent painting of those wooden struts, which, incidentally, I witnessed during the Bāhā’s preparatory cleaning for its hosting of the Matayā festival. I am sure Dr. Slusser appreciates that sacred places in the Valley are living entities, subject to periodic renovation, which do not stay frozen in time for the amusement of Westerners with antiquarian fetishes.

It should also be said that “the first to publish an Ukubāhāḥ strut—or for that matter any Nepalese wooden sculpture” was not “Pratapaditya Pal in his 1974 Art of Nepal“. Previously there was Stella Kramrisch, and of course Giuseppe Tucci published many photographs of such items in the course of his career, culminating in his ’69 coffee-table book of erotic Newar temple sculpture, Rati-Līlā — a lyrical and mature statement of Tucci’s thinking, juxtaposed in a slightly tawdry way with photographed wood carvings of human (and other) maithuna scenes of questionable artistic merit.

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Fürer-Haimendorf Collection, SOAS

Saptavidhānottarapūjā performed by Badrīratna Vajrācārya, 1957 CE
A slew of photographs taken by the late anthropologist Christoph von Fürer-Haimendorf (1909–1995) have been placed in an online digital archive hosted by SOAS. Hundreds of these photographs are purposive records of Newar life, taken just after the opening of Nepal to foreign visitors in the late 1950s. Shown here is a worship of Āryatārā performed in Kathmandu by Badrīratna Vajrācārya who, although a well-known figure in Kathmandu, is not identified by name in the archive.

Dozens of other Himalayan and South Asian ethnic groups are represented in the collection, which is a real mine of information for researchers in the field, well worth the cost of digitization. The copyrights — yes, they still matter — are reserved by SOAS and Nicholas Haimendorf.

Link: Fürer-Haimendorf collection, SOAS (at digital.info.soas.ac.uk/).