| Acknowledgements |
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ix | |
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xi | |
| Introduction |
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1 | (11) |
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1 Toward a More Integrated Picture |
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2 | (4) |
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2 Theoretical Framework, Methodology, and Primary Sources |
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6 | (3) |
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3 Structure of the Monograph |
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9 | (3) |
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1 Conceptions of Hell in Asia: Related Texts and Imagery |
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12 | (29) |
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1 The Six Realms and Early Representations of Hell |
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12 | (10) |
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1.1 Hell Narratives in Early Pali Literature |
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13 | (2) |
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1.2 The Proliferation of Hells |
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15 | (1) |
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1.3 Early Pictorial Representations of Hell in India and Central Asia |
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16 | (6) |
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2 Chinese Adaptations and Visions of Hell |
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22 | (13) |
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23 | (2) |
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2.2 Visual Renditions of the Scripture on the Ten Kings |
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25 | (1) |
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2.2.1 The Second Court by the River Nai |
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25 | (5) |
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2.2.2 Tree Draped with Clothes by the River Nai |
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30 | (1) |
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2.3 The Ten Kings of Hell in the Yuli baochao |
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31 | (4) |
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3 Female Deities Related to Death: Indian Goddesses, Meng Po, and Datsueba |
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35 | (4) |
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3.1 Indian Goddesses: Facilitating Death and Rebirth |
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35 | (3) |
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3.2 The Daoist Goddess Meng Po |
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38 | (1) |
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39 | (2) |
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2 Datsueba in Religious and Popular Texts |
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41 | (10) |
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1 Prototypes for Datsueba |
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42 | (2) |
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2 Datsueba in Accounts of the Ten Kings of Hell |
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44 | (3) |
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3 Datsueba-like Figures in Popular Stories |
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47 | (3) |
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50 | (1) |
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3 Visual Representations of Datsueba: From Hell Scenes to the Popular Sphere |
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51 | (46) |
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1 Pictorial Representations of Hell Prior to Datsueba |
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51 | (11) |
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52 | (1) |
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1.2 Heian-Period Hell Scrolls |
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53 | (6) |
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1.3 The Influence of the Ojoyoshu |
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59 | (2) |
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1.4 Imported Chinese Ten Kings Scrolls |
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61 | (1) |
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2 The Emergence of Datsueba in the Landscape of Hell |
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62 | (8) |
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2.1 Representations Taking after the Jizo juo kyo |
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62 | (2) |
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2.2 Datsueba as a Marker of the Gate to Hell |
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64 | (3) |
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2.3 Datsueba as a Marker of the Border between Different Realms |
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67 | (1) |
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2.4 Datsueba at the Crossroads of Life, Hell, and Salvation |
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68 | (2) |
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3 Standardization and Modification of Datsueba Iconography |
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70 | (25) |
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3.1 Standardization of Iconography |
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71 | (5) |
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3.2 Conflicting Representations of Datsueba at Shidoji |
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76 | (1) |
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3.2.1 Shidoji, Its Legends, and Datsueba |
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76 | (5) |
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3.2.2 Possible Sources for the Noblewoman Image |
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81 | (2) |
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3.3 Fabricating a New Persona: The Shojuin Datsueba in Ukiyo-e |
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83 | (1) |
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3.3.1 Kuniyoshi and the Fad for the Shojuin Datsueba |
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83 | (7) |
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3.3.2 Datsueba and the Quest for Novelty in Ukiyo-e |
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90 | (5) |
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95 | (2) |
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4 Datsueba in Pilgrimage Mandalas |
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97 | (57) |
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1 Overview of Pilgrimage Mandalas |
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97 | (3) |
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2 Datsueba in Ise sankei mandara: Marking the Border between Sacred and Impure |
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100 | (17) |
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2.1 General Composition of Ise sankei mandara |
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102 | (3) |
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2.2 The Uba Hall and Hozoin |
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105 | (4) |
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2.3 Datsueba as a Border Marker |
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109 | (5) |
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2.4 Datsueba as a Signal of Transition to the Otherworld |
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114 | (1) |
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2.5 Datsueba as a Representative of the Underworld |
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115 | (2) |
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3 Datsueba in the Zenkqji sankei mandara: Bridging the Underworld and Pure Land |
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117 | (19) |
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3.1 General Composition of the Zenkqji sankei mandara |
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119 | (2) |
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3.2 Women and Hell in the Zenkqji sankei mandara |
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121 | (3) |
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3.3 The Women by the Three Gates |
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124 | (3) |
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3.4 Datsueba as the Guardian of Entry to the Pure Land |
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127 | (1) |
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3.5 The Symbolism of White Cloth |
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128 | (4) |
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3.6 The Significance of Pairing |
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132 | (4) |
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4 Datsueba in Tateyama mandara: Manifestation of the Mountain Goddess Ubason and Symbol of the Entrance to Hell |
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136 | (16) |
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4.1 Overview o/Tateyama mandara |
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138 | (2) |
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4.2 Hell and Pure Land in the Tateyama Mountains |
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140 | (4) |
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4.3 Datsueba, Ubason, and the Cloth Bridge Consecration Ritual |
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144 | (4) |
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4.4 The Many Meanings of Datsueba |
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148 | (4) |
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152 | (2) |
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5 Venerating Datsueba: Beliefs and Worship Practices |
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154 | (63) |
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1 Sculptural Images of Datsueba: A Brief Overview |
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155 | (6) |
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2 Datsueba as a Marker of the Otherworld |
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161 | (15) |
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2.1 The Uba Hall at Risshakuji |
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161 | (4) |
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165 | (1) |
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166 | (2) |
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168 | (1) |
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169 | (2) |
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2.2.1 The Uba Hall, Atsuta Shrine, and the River |
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171 | (3) |
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2.2.2 The Uba Hall and the Bridge |
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174 | (2) |
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3 The Symbolism of Cloth in Worship Practices Devoted to Datsueba |
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176 | (30) |
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3.1 Cloth and the Dressing of Nude Buddhist Images |
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176 | (3) |
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3.2 The Cloth Bridge Consecration Ritual atAshikuraji |
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179 | (8) |
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3.3 Clothes Change Ritual atAshikuraji |
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187 | (4) |
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3.4 Attiring Datsueba Statues in Agano |
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191 | (1) |
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191 | (3) |
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3.4.2 Ubason/Datsueba Images at Kehqji and Kotokuji |
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194 | (3) |
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3.4.3 Clothes Change Rituals in Agano |
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197 | (1) |
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3.4.4 Symbolism of Monastic Garments and Silk Floss |
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197 | (1) |
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3.5 Memorial Service for Broken Needles at Shojuin |
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198 | (1) |
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3.5.1 Mortuary Rites for Inanimate Objects |
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198 | (1) |
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3.5.2 The Harikuyo at Shojuin |
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199 | (7) |
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4 Datsueba, Other Old Female Figures, and Buddhist Attitudes toward Women |
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206 | (8) |
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206 | (2) |
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4.2 Datsueba and Onbasama |
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208 | (3) |
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4.3 Ubason and the Blood Pond Sutra |
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211 | (3) |
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214 | (3) |
| Conclusion |
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217 | (4) |
| Chinese and Japanese Character Glossary |
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221 | (15) |
| Bibliography |
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236 | (22) |
| Index |
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258 | |
