Instead, drawing on the examples presented in Graham’s study, it introduces significant and representative sites of worship from the 17th century to the present to highlight the ways the faith became transformed in tandem with changes in Japanese society, manifested in the convergence of patronage, image production, and religious devotion at these sites. This brief essay does not summarize Graham’s broad analysis of the thread of change over time and the plurality of later Buddhist practice in Japan manifest in its abundant visual culture. 1600–1868), have proliferated but until the publication of Patricia Graham’s Faith and Power in Japanese Buddhist Art, 1600–2005 (2007), no survey of materials spanning this long time period had been attempted. Since then, Japanese and Western language studies on focused aspects of Buddhist paintings, sculpture, and architecture, with most addressing the early modern period (ca. Although Japanese Buddhism remains a vital living tradition, until the last twenty years, its visual culture created after the 16th century has received little attention by scholars. Following the introduction of Buddhism to Japan in the sixth century, the faith quickly became a defining feature of Japanese civilization, in large part because of the diverse and abundant visual culture it engendered that both reflected and shaped its religious practice.
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