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Buddhism played an important role in the development of Japanese art between the 6th and the 16th centuries. Buddhist art and Buddhist religious thought came to Japan from China through Korea and Buddhist art was encouraged by Crown Prince Shōtoku in the Suiko period in the sixth century and by Emperor Shomu in the Nara period in the eighth century. In the early Heian period Buddhist art and architecture greatly influenced the traditional Shinto arts, and Buddhist painting became fashionable among wealthy Japanese. The Kamakura period saw a flowering of Japanese Buddhist sculpture, whose origins are in the works of Heian period sculptor Jōchō. The Amida sect of Buddhism provided the basis for many popular artworks. Buddhist art became popular among the masses via scroll paintings, paintings used in worship and paintings of Buddhas, saint's lives, hells and other religious themes. Under the Zen sect of Buddhism, portraiture of priests such as Bodhidharma became popular as well as scroll calligraphy and sumi-e brush painting. ==Asuka and Nara periods== Buddhist art was introduced to Japan along with the Buddhist religion in the mid-sixth century, when according to tradition, Seong of Baekje sent a statue of the Buddha along with some sutras to the Emperor Kimmei. The Asuka period (552–645) saw the gradual growth of Chinese and Korean artistic and religious influences on Japanese culture. Chinese influence grew in the Nara Period (645–784) as the Japanese court began to model itself in a Chinese form, and Buddhism continued to spread throughout Japan, while integrating within it the Japanese religion of Shinto. The sculpture of this period shows, as do most all subsequent sculpture, the influence of continental art. Tori Busshi a descendant of a Chinese immigrant followed the style of Northern Wei sculpture and established what has come to be known as the Tori school of sculpture. Notable examples of Tori works are the Sakyamuni Triad (or Shaka triad) which are the main icons of the Golden Hall of Hōryū-ji temple and the kannon Boddhisatva of Yumedono Hall of the same temple, also known as Guze Kannon. First built in the early 7th century as the private temple of Crown Prince Shōtoku, Hōryū-ji consists of 41 independent buildings. The most important ones, the main worship hall, or ''Kondō'' (Golden Hall), and ''Gojū-no-tō'' (Five-story Pagoda), stand in the center of an open area surrounded by a roofed cloister. Inside the ''Kondō'', on a large rectangular platform, are some of the most important sculptures of the period including the Sakyamuni triad. In the Sakyamuni Triad, Sakyamuni, the center Buddha, is attended by two other figures, Bhaisajyaguru to its right and Amitābha to its left. The statues are dated to 623. The style of the statue is characterized by the two-dimensionality of the figure and the repetitive pattern-like depictions of the cloth the triad sits upon.〔 The Early Nara period saw a move towards more naturalistic styles emerging from China. The Triad of Yakushi shows the healing Buddha which presides over the Eastern Pure Land attended by two Bodhisattvas Nikko and Gakko. The triad, housed in the Yakushiji temple (7th century in Nara), reveals Chinese and central Asian influences in its anatomical definition, naturalism and realistic drapery. This sculpture also demonstrates the roots of Japanese art in the 1st-3rd century CE Greco-Buddhist art of Gandhara, characterized by flowing dress patterns and realistic rendering,〔"Needless to say, the influence of Greek art on Japanese Buddhist art, via the Buddhist art of Gandhara and India, was already partly known in, for example, the comparison of the wavy drapery of the Buddha images, in what was, originally, a typical Greek style" (Katsumi Tanabe, "Alexander the Great, East-West cultural contacts from Greece to Japan", p19)〕 on which Chinese and Korean artistic traits were superimposed. After the Chinese Northern Wei buddhist art had infiltrated a Korean peninsula, Buddhist icons was brought Japan by Korean immigrants.〔Korean Influence on Early Japanese Buddhist Sculpture (buddhapia.com ) "One must stress the obvious point that since Korean Buddhist art is directly based on developments in China, ultimately a study of Korean influence on Japan must be rooted in an understanding of the Chinese impact on Korea.""Since the territory of the Northern Wei was adjacent to that of Koguryo, it is natural that the Buddhist ideas and art current at the Northern Wei court would flow directly to Koguryo. ""It should also be pointed out that there was considerable influence from Koguryo on the southern kingdoms of Paekche and Silla even though Paekche also received direct influence from south China, as was mentioned above.""I have argued that various groups, including offi cial envoys, monks and students, as well as Korean settlers, were responsible for bringing Korean icons to Japan."〕 Particularly, the semi-seated Maitreya form was adapted into a highly developed Ancient Greek art style which was transmitted to Japan as evidenced by the Kōryū-ji Miroku Bosatsu and the Chūgū-ji Siddhartha statues.〔 "Archaic smile", Britannica Online Encyclopedia, 2009, webpage: ( -->Archaic-smile EB-Smile ). 〕 The Three Kingdoms of Korea, and particularly Baekje, were instrumental as active agents in the introduction and formation of a Buddhist tradition in Japan in 538 or 552.〔()〕 They illustrate the terminal point of the Silk Road transmission of Art during the first few centuries of our era. Other examples can be found in the development of the iconography of the Japanese Fūjin Wind God,〔"The Japanese wind god images do not belong to a separate tradition apart from that of their Western counter-parts but share the same origins. (...) One of the characteristics of these Far Eastern wind god images is the wind bag held by this god with both hands, the origin of which can be traced back to the shawl or mantle worn by Boreas/ Oado." (Katsumi Tanabe, "Alexander the Great, East-West cultural contacts from Greece to Japan", p21)〕 the Niō guardians,〔"The origin of the image of Vajrapani should be explained. This deity is the protector and guide of the Buddha Sakyamuni. His image was modeled after that of Hercules. (...) The Gandharan Vajrapani was transformed in Central Asia and China and afterward transmitted to Japan, where it exerted stylistic influences on the wrestler-like statues of the Guardian Deities (Niō)." (Katsumi Tanabe, "Alexander the Great, East-West cultural contacts from Greece to Japan", p23)〕 and the near-Classical floral patterns in temple decorations.〔The transmission of the floral scroll pattern from West to East is presented in the regular exhibition of Ancient Japanese Art, at the Tokyo National Museum.〕 Temple building in the 8th century was focused around the Tōdai-ji in Nara. Constructed as the headquarters for a network of temples in each of the provinces, the Tōdaiji is the most ambitious religious complex erected in the early centuries of Buddhist worship in Japan. Appropriately, the 16.2-m (53-ft) Buddha (completed 752) enshrined in the main Buddha hall, or ''Daibutsuden'', is a Rushana Buddha, the figure that represents the essence of Buddhahood, just as the Tōdaiji represented the center for Imperially sponsored Buddhism and its dissemination throughout Japan. Only a few fragments of the original statue survive, and the present hall and central Buddha are reconstructions from the Edo period. Under the Ritsuryō system of government in the Nara Period, Buddhism was heavily regulated by the state through the . During this time, Tōdai-ji served as the central administrative temple for the provincial temples for the six Buddhist schools in Japan at the time. File:Asuka_dera_daibutsu.jpg|The Shakyamuni Daibutsu Bronze (4.8 metres) is the oldest known sculpture of Buddha in Japan cast by Tori Busshi in 609. File:GUZE_Kannon_Horyuji.JPG|Kannon(Avalokitesvara) or Guze Kannon, wood plated with gold, crown: bronze openwork gilt. Early CE 7th century, Horyu-ji, Nara. File:AsukaBodhisattva.JPG|Bodhisattva, Asuka period, 7th century. Tokyo National Museum. File:AsukaSeatedBuddha.jpg|Tile with seated Buddha File:NaraTempleTiles.JPG|7th century Nara temple roof tile showing Greco-Buddhist influence. File:Triad_of_Yakushi_Nyorai.JPG|Triad of Yakushi at Yakushi-ji, Nara. Originally built in Fujiwara-kyō in 680, transported to Nara in 718. File:Horyu-ji11s3200.jpg|Golden Hall of Hōryū-ji File:Horyu-ji06s3200.jpg|Five-storied Pagoda of Hōryū-ji File:Toshodaiji Nara Nara pref01s5s4290.jpg|Golden Hall of Tōshōdai-ji in Nara File:Toshodaiji Nara Nara pref05n4320.jpg|Lecture Hall of Tōshōdai-ji in Nara File:Yakushiji_Nara11s5bs4200.jpg|Yakushi-ji's East Pagoda, Nara. File:Daibutsu-den_in_Todaiji_Nara01bs3200.jpg|Great Buddha hall of Tōdai-ji in Nara File:NaraTodaijiDaibutsu0212.jpg|Great Buddha of Tōdai-ji in Nara 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Buddhist art in Japan」の詳細全文を読む スポンサード リンク
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