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Duality and the KAMI 119 Cahiers d’Extrême-Asie 16 (2006-2007) : 119-150 DUALIT

Duality and the KAMI 119 Cahiers d’Extrême-Asie 16 (2006-2007) : 119-150 DUALITY AND THE KAMI THE RITUAL ICONOGRAPHY AND VISUAL CONSTRUCTIONS OF MEDIEVAL SHINTČ Lucia Dolce Le discours médiéval sur les kami a produit de riches représentations iconographiques des divinités. Ces images mettent non seulement au déﬁ l’idée reçue, moderne, selon laquelle le shintď serait une tradition sans images, mais elles témoignent également du fait que de nombreuses manières de visualiser les kami ont été expérimentées au Moyen Âge. De plus, elles mettent au premier plan la variété des performances rituelles relatives aux kami, auxquelles la production de l’imagerie religieuse était liée. Le présent article explore l’iconographie du shintď médiéval en rap- port avec le développement du discours visuel de l’ésotérisme, et sa signification épistémologique et sotériologique. Il introduit une énig- matique triade « shintď », dans laquelle Amaterasu est mise au cen- tre, flanquée par les deux Rois de Science (myďď 明王) Fudď 不動 et Aizen 愛染. Amaterasu est représentée comme une déesse à cheval et elle est identiﬁ ée au Bodhisattva Aśvaghoṣa (Memyď 馬鳴菩薩). Les deux myďď sont représentés comme ses acolytes, mais ils jouent un rôle crucial dans la construction symbolique de la triade. Cette imagerie se retrouve dans nom- bre d’ouvrages appartenant au courant tardif de ce qu’on appelle le Ryďbu Shintď 兩部神道, et dans le contexte des rituels du Miwaryĭ Shintď 三輪流神道. C’est une imagerie comportant plusieurs couches d’interprétation, où sont encastrés des mythes, des doctrines ésotériques et des exégèses du Yĳ ing 易經 : elle est en fait informée par les idées du yin et du yang et par la notion classique de l’interface entre l’externe et l’interne exprimée dans le Yĳ ing, en même temps qu’elle cristallise des segments de pratiques médita- tives de l’ésotérisme. Une analyse détaillée de divers documents traitant de cette triade suggère que cette iconographie shintď était étroitement inﬂ uencée par les tentatives de l’ésotérisme contemporain pour visualiser les diﬀ érents stades et les fruits des pratiques rituelles sous forme anthropomorphique. De plus, cette triade pouvait être le point de départ d’un discours sur une « bouddhéité embryologique », qui s’était développé et répandu dans toutes sortes de lignées au cours du Moyen Âge tardif. Les matériaux du Miwaryĭ montrent que ce discours s’est même prolongé jusqu’à l’époque Edo. A great number of medieval Shintď texts oﬀ er interpretations of the world of the kami by employing dualistic imagery. This peculiarity may be seen as an obvi- ous consequence of the application to the world of kami the basic hermeneutical pattern of esoteric Buddhism, which unfolds through a twofold mandalic reality (Womb/Diamond). Indeed this pattern even gave its name to the most representative medieval discourse on the kami, Ryďbu Shintď 兩部神道. Yet contemporary Buddhist © École ি ançaise d’Extrême-Orient, Paris, 2009 Do not circulate without permission of the editor / Ne pas diﬀ user sans autorisation de l’éditeur 120 Lucia Dolce documents dealing with matters other than the kami suggest that in the esoteric world of the time there was a distinct emphasis on representing duality and the eﬀ ects of its overcoming. Such concern was articulated in a variety of conceptual and visual forms, informed by two paradigms. One privileged the imagery of the unity of opposites that draws ি om the fundamental Tďmitsu idea of the interpenetration of the two mandalic realities. The other expressed the subsuming of duality through a threefold pattern, which had a Taimitsu origin but was broadly used, as in the case of the so-called ‘combinatory practice of the triad’ (sanzon gďgyď-hď 三尊合行法) developed by Tďmitsu lineages. These exegeses disclose an eﬀ ort to reproduce and actualize the notion of non-duality in the physical action of the ritual protocol, by incorporating traditional Buddhist and non-Buddhist motifs. They also created new iconographies. This study considers a handful of Shintď documents within such a hermeneutical context. It explores the way in which the discourse on the kami appropriated binary and triadic patterns and reconﬁ gured them by using elements of the kami myths as well as of classic Chinese correlative thought (yin/yang). The ritual dimension of this interpretative process is a crucial question that deserves more attention than it has hitherto been given. The ‘reading’ of the kami that we ﬁ nd in medieval documents both generated other mythological associations, and itself became a mythopoeic mechanism. By transposing elements of the kami world in the context of esoteric rituals, such readings created new versions of ritual patterns, ritual implements and ritual invocations which, in turn, re-signiﬁ ed and augmented the meaning of related Buddhist concepts. In these ritual narratives not only were the kami incor- porated in the Buddhist universe, they also became one of the concrete forms into which complex Buddhist notions, such as non-duality and the physical realization of enlightenment, could be crystallized and expanded. The ritualization of the kami thus consisted in a change of liturgical modalities, which dynamically redeﬁ ned the epistemological and soteriological signiﬁ cance of the ritual itself. Indispensable elements of this process were icons and mantric syllables. The innumerable images that we ﬁ nd in medieval Shintď texts — drawings of kami, diagrams of sacred space and of ritual objects, and visual representations of concepts — give a sense of the performative dimension in which the discourse on the kami was produced. Indeed, many of these texts do not look much diﬀ erent ি om ritual collections produced by other Buddhist lineages. These images are not accessory elements of the intellectual rethinking of the kami world; rather, they constitute the interpretation itself, a visual episteme that oী en does not have a sustained discursive counterpart because it unfolded in a ritual ি amework that already possessed the general structure of the system. Such use of ‘forms’ was sustained and legitimized (both doctrinally and liturgically) by the esoteric context in which the images were conceived. At the same time, by regarding images and syllables as the actual and real form of the kami, it also bore a striking similarity to non-Buddhist notions, such as those expressed in the hexagrams of the Yĳ ing 易経. © École ি ançaise d’Extrême-Orient, Paris, 2009 Do not circulate without permission of the editor / Ne pas diﬀ user sans autorisation de l’éditeur Duality and the KAMI 121 Medieval Shintč iconography This study introduces an enigmatic iconographical triad that is found in the late medieval Shintď corpus: Fudď, Aizen and Tenshď daĳ in 天照大神 (Amaterasu). Before discussing the details of this imagery, two further considerations on the features of what we may call ‘medieval Shintď iconography’ are in order. The ﬁ rst characteristic that may be identiﬁ ed in the medieval production of Shintď images is the focus on the personal and corporeal identity of the kami. The visualization of Amaterasu, for example, was carried out not only by applying the twofold mandalic pattern to the physical space of Ise, namely, by superimposing the Womb and Diamond maṇḍalas on the Inner and Outer shrines. It was also developed in anthropomorphic terms, by creating a double mandalic body for Ama- terasu. Diﬀ erent sources depict Amaterasu as two discrete female deities inscribed in eight-petaled lotuses, sitting cross-legged, and holding a round mirror. One of the two deities makes the meditation mudrā in the guise of Dainichi in the Womb maṇḍala while the other makes the wisdom-ﬁ st mudrā as Dainichi in the Diamond maṇḍala.1 (Fig. 1a-b) Fig. 1a-b: Mandalic Amaterasu. From Nisho Tenshō kōtaĳ in senkō jidaishō, Shinpukuji Archive. This iconographic development may be considered as a type of ‘embodied man- dalization,’ similar to the one that had been carried out by Japanese ritualists in the esotericization of other Buddhist elements such as the two Buddhas of the Lotus sĭtra.2 It stands in sharp contrast to the modern perception of Shintď as an aniconic ۺ Nisho tenshď kďtaĳ in senkď jidaishď 二所天照皇太神遷幸時代抄, pp.125-27 and 154-55 (verso). Similar images are also included in the “Shintaizu 神體圖” section of the Reikiki 麗氣記, pp 112-ۼ ۻ This iconography is discussed in Dolce, “Reconsidering the Taxonomy of the Esoteric: Hermeneutical and Ritual Practices of the Lotus Sūtra, ” in The Culture of Secrecy in Japanese Religion, Mark Teeuwen and Bernhard Scheid, eds., London & New York, Routledge, 2006, © École ি ançaise d’Extrême-Orient, Paris, 2009 Do not circulate without permission of the editor / Ne pas diﬀ user sans autorisation de l’éditeur 122 Lucia Dolce tradition but it should be seen as a signiﬁ cant contribution to the representation of the kami that was being experimented with in the medieval period.3 Secondly, Shintď images were not molded exclusively out of the normative model of the two maṇḍalas. Indeed, unusual and enigmatic icons, of which the origin and function still need to be fully grasped, constitute a substantial part of the medieval sources on the kami.4 Yet if this peculiarity is seen in the wider religious landscape of the time, it parallels a trend in contemporaneous Buddhist discourse, where non-canonical iconographies developed and spread throughout the networks of uploads/Philosophie/ duality-and-the-kami-reconfiguring-budd.pdf