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The Three Treasures: A Revised and Illustrated Study and Translation of Minamoto no Tamenori's Sanboe
Edward Kamens and Ethan Bushelle
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When the young Princess Sonshi became a Buddhist nun in the year 984, a scholar-official of the royal court was commissioned to create a guide to the Buddhist religion that would be accessible for her. He did so in the form of the illustrated works of fiction (monogatari) that appealed to women readers of her time and class. The text has survived in later manuscripts; the illustrations, if they ever existed, have not. This revised translation recreates Sonshi's experience of receiving this multimedia presentation, with illustrations selected to help contemporary readers visualize its content and essays that provide context on the religious and cultural experience of the author. The Three Treasures is a unique document that opens a window onto the world of Buddhist religious experience—especially for women—in high classical Japan, the time of Sei Shōnagon's Pillow Book and Murasaki Shikibu's Tale of Genji.
Cover
Title Page
Copyright Page
Contents
Abbreviations
Preface
Part 1: Study
One. A Short History of Sanbōe
Two. A Reading of Sanbōe
Three. Sanbōe and the Oratorical Arts of Devotional Liturgy
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Figure 1. First page of the second scroll Preface in the Tōdaijigire manuscript, showing the title Sanbōe at right. By permission of Nagoya City Museum.
Figure 2. First page of the Tōkyo Kokuritsu Hakubutsukan manuscript (a.k.a. Tōji Kanchi’in bon). By permission of Tokyo National Museum, courtesy of Artize, Ltd.
Figure 4. Comparison of orthography of the passages in the General Preface translated as “Its title is [Illustrations of] the Three Jewels, because it intends to convey the message that you should form a karmic bond with the Three Refuges. Its sections are three because these correspond to the Three Periods.” Sample (1) reproduces the orthography of the Tōji Kanchi’in manuscript, sample (2), the Maeda manuscript, and sample (3), Yamada Yoshio’s Sanbōe ryakuchū. (Sono na wo Sanbō to ihu koto ha tsutaheiwamu mono ni sanki no en wo musubashimemu to nari. Sono kazu wo mimaki ni wakateru ha sanji no hima ni atetaru nari.) Yamada’s version includes the furigana glosses as indicated; his notes point out that 三局 (glossed mimaki) is a miscopying for 三歸.
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