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2
sign of a Buddhist deity came to also have the potential to
act as the sign for a Shinto kami (
神
,
Shinto deity) and, additionally, new world-concepts of a so-called (dogma) for the
“amalgamation” of Shinto and Buddhism. The limitations imposed by the scope of the project
do not allow me to answer all remaining questions (for example, those relating to Sanskrit’s very
select dispersion to the secular). Even still, I hope this thesis presents a clearer picture of
Sanskrit’s trajectory and transformation within Japanese culture (especially visual culture)
through select examples. It also aims to identify through analyses of a few examples over time
how Sanskrit
in Japan, being a visual and ritual language rather than an ordinary system of
language with normal grammatical structures and
everyday use, differed from the Sanskrit
‘language’ in India.
Today, Sanskrit in Japanese Buddhist visual culture is not a novel occurrence; however,
the occurrence of Siddham (Sanskrit characters)
2
on or in non-textual objects was new in the
ninth century, save but for a few examples. Siddham was a mainstay of the Buddhist teachings
introduced to Japan by Kūkai (774-835
,
空海
,alt: Kōbō Daishi,
弘法大師
), known as the Shingon
school of Esoteric Buddhism, or Mikkyō
(
密教)
literally, secret teachings).
3
Although we cannot
know exactly the extent of the historical Buddhist clerics’ knowledge of Sanskrit in their
undertaking of Esoteric rituals, studies to date that outline the process of such an education
demonstrate that Sanskrit study focused on pronunciation and recognition
without a goal of
understanding Sanskrit as a non-religious communicable language.
4
Such an education can, in
part, be seen as both the product and continued producer of an Esoteric Buddhist semiotic theory
2
For ease of reading and partly for aesthetic preference to not have multiple fonts in the text, I do not include the
Sanskrit diacritics in the text. Please see the glossary for diacritics in the Sanskrit words.
3
As art historian Cynthea Bogel explains in her recent book (
With a Single Glance: Buddhist Icon and Early Mikkyō
Vision. Seattle: University of Washington Press, 2009), esoteric Buddhist elements existed in Japan prior to Kūkai’s
introduction of Mikkyō; she uses ‘esoteric’ versus ‘Esoteric’ to distinguish between the elements that were already
dispersed throughout Nara Buddhism and the organized theory and praxis that Kūkai brought back to Japan.
4
For example, the studies done by Robert van Gulik and Fabio Rambelli delve into this topic. I will discuss these
two scholars in further detail later in this thesis.
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3
(to put it in modern English terms) that accompanied an imported form of mandala depicting
Sanskrit and emphasized the polysemy of the sign, which is indeed inherent in any object that is
seen.
5
While the now commonly acknowledged polysemy of the sign was inherent even in early
Sanskrit use in Japan—as exemplified by the efficacious power of Sanskrit mantras as early as
the eighth century—in Mikkyō, polysemy came to have two levels.
The first level is the more
evident polysemic nature that connects the sign (the Sanskrit character) with specific signifieds
(such as a specific deity, a specific mantra, a specific characteristic of Buddhist teachings). The
second level of the polysemic nature of Sanskrit, reached only after extensive Mikkyō Sanskrit
training, is the realization of endless polysemy. The sign has no specific signified, but rather
endless signifieds.
In essence, it is nondual. In syncretic Buddhism (an unfortunate but
commonly used designation for a blend of Buddhist and native [Shinto, Daoist, other] practices),
the polysemic nature of the sign is similar to Mikkyō’s first level of function. Rather than
endless polysemy, the signifieds of a sign are limited to set deities, both Shinto and Buddhist, as
well as to the concept of
honji-suijaku (
本地垂迹
, “original forms of deities and their local
traces”). As noted above, however, at the ritual level mandala and other
works were accepted as
part and parcel of an imported Buddhist visual (and thus, ritual) culture that included, but was
not limited to, Sanskrit as a foreign element. The works selected for this thesis are at once
representative of the overall trajectory of Sanskrit deployment in Japanese visual culture through
the fourteenth century and illustrative of these semiotic turns.
There are many objects that depict Sanskrit
on or within their formal expressions, but a
comprehensive study of these forms would be far too broad for a master’s thesis. This thesis will
5
Polysemy refers to a sign’s capacity for multiple meanings (or signifieds). While such meanings can be cultural or
religious, these meanings (or signifieds) can also be a result of more personal experiences due to humankind’s
tendency to associate objects with ideas or experiences.
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therefore explore Sanskrit in Japanese visual culture by focusing primarily on two very different
types of mandala,
the Sanskrit letter hō mandara (
法曼荼羅
, Skt:
Dharma mandala) and the
topographic landscape of or relating to a shrine complex, the
miya mandara (
宮曼荼羅
, shrine
mandala).
6
I will illustrate the diffusion of Sanskrit from objects in Mikkyō visual culture to
objects in other areas of Buddhism and Japanese culture primarily through an analysis of these
two objects, very different in time and shape; between them lies a huge valley of material to be
explored by future research.
Although the use of Sanskrit on non-textual objects appears to have been introduced to
Japan by Kūkai, the concept of word as power was not new in the early ninth century. By this
point in time, there was already a pre-existing belief in the talismanic power of Sanskrit mantras.
The presence of the
kotodama (言霊, literally “word spirit”)
7
concept is further evidence of a
cultural belief of words as repositories of supernatural power. Despite its lack of use in Shingon
texts (until the Edo period, 1615-1868), the first known
textual appearance of kotodama dates to
the eighth century—directly prior to Kūkai’s importation of Mikkyō.
8
Pre-existing beliefs and
trends no doubt contributed at least in part to the rapid adoption of Kūkai’s new use of Sanskrit.
6
An esoteric Buddhist mandala is the paradigmatic mandala form, but in Japan, the term mandala (in Japanese
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