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"A Escultura Budista Japonesa: a Arte Da Iluminação

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UNIVERSIDADE DE SÃO PAULO CULTURA JAPONESA FERNANDO CARLOS CHAMAS ESCULTURA BUDISTA JAPONESA A ARTE DA ILUMINAÇÃO TOMO I SÃO PAULO – SP 2006 1 UNIVERSIDADE DE SÃO PAULO FACULDADE DE FILOSOFIA, LETRAS E CIÊNCIAS HUMANAS DEPARTAMENTO DE LETRAS ORIENTAIS PROGRAMA DE LÍNGUA, LITERATURA E CULTURA JAPONESA A ESCULTURA BUDISTA JAPONESA ATÉ O PERÍODO FUJIWARA (552~1185) A ARTE DA ILUMINAÇÃO TOMO I FERNANDO CARLOS CHAMAS Dissertação apresentada ao Programa de Língua, Literatura e Cultura Japonesa para a obtenção do título de Mestrado. Orientadora: Profa. Dra. Madalena N. Hashimoto Cordaro SÃO PAULO – SP 2006 2 A minha mãe Maria Aparecida de Aquino Chamas A minha orientadora Madalena Natsuko Hashimoto Cordaro A meu amigo Airton Yoshitaka Okumura 3 Agradecimentos As minhas professoras do Centro de Estudo Japoneses da USP Junko Ota Koichi Mori Leiko Matsubara Morales Lídia Masumi Fukasawa Luiza Nana Yoshida Shirley Lica Ichisato Hashimoto Tae Suzuki Wataru Kikuchi Aos funcionários e colegas da Biblioteca Teiiti Suzuki do Centro de Estudos Japoneses da Universidade de São Paulo, especialmente, Hiroko Yanagi Patrícia Tamiko Izumi Rubens Masayuki Nagatomo À Universidade de São Paulo À Faculdade de Língua, Letras e Ciências Humanas Ao Programa COE da Universidade de Kanagawa Ao Departamento de Letras Orientais À Província de Toyama À Fundação Japão À CAPES À PAE A todas as pessoas que direta ou indiretamente tornaram possível a elaboração deste trabalho. 4 Epígrafe “O budismo pode ser examinado tanto como um ideal quanto como uma cultura legítima. Os dois não são domínios distintos da cultura, visto que um influencia o outro, mas são campos arbitrariamente estabelecidos a partir dos quais o budismo pode ser examinado. O anterior trata de princípios ideais do budismo, enquanto o posterior tenta examinar criticamente os princípios ideais em referência a realidades históricas.” Minoru Kiyota 5 ÍNDICE Tomo I Resumo Nota Preliminar Parte I - Introdução 1. O surgimento das imagens budistas......................................................................................11 2. O budismo mahayana e as seis escolas.................................................................................18 3. A arte budista esotérica.........................................................................................................22 Mandalas; Saichô e a Escola Tendai; Kûkai e a Escola Shingon..................................33 Parte II - Iconografia 1. Imagens Nyorai.....................................................................................................................42 Shaka, Amida, Yakushi., Tríades, Dainichi e Birushana..............................................48 2. Imagens Bosatsu..........…………………………………………………………………….69 Kannon (Jûichimen Kannon; Senju Kannon, Nyoirin Kannon, Batô Kannon, Fukûkenjaku Kannon e Juntei Kannon, Shô Kannon), Miroku, Jizô, Monju e outros 3. Imagens de Deuses e Legiões...............................................................................................91 Jûniten, Jûnishinshô, Shitennô, Imagens Niô, Hachibushû , Nijûhachibushû 4. Imagens Myôô......……………………………………………………………………….105 Fudô, Gôzanze, Gundari, Daiitoku, Kongôyasha, Kujaku e Batô e Aizen 5. Atributos budistas: gestos das mãos, halos, pedestais e tronos, objetos pessoais, posturas, dossel, medidas, templos e bussho, materiais e técnicas........................................................110 Parte III – A escultura budista no Japão Estudo centrado nos períodos Asuka, Hakuhô, Tenpyô e Heian................................157 CONCLUSÃO.......................................................................................................................204 Tomo II 1. Índice de ilustrações. 2. Lista de termos japoneses. 3. Tabelas históricas do Japão, da China e da Coréia. 4. Bibliografia 6 RESUMO O budismo, como o xintoísmo, é um dos alicerces religiosos da sociedade japonesa. Sua grande propagação no Japão dependeu muito da importação e enorme produção de imagens budistas que não se restringem apenas a representações do buda histórico. Por aproximadamente treze séculos, o estilo das estátuas búdicas passou por transformações que buscavam um estilo próprio japonês, atingindo o seu auge no período Heian (794~1185). Este trabalho é uma apresentação dessas transformações estilísticas e segue uma metodologia que visa a cercar o objeto “escultura budista japonesa” em todos os seus ângulos, a saber, abrangendo templos, técnicas e materiais, sua relação com a história do Japão, as doutrinas budista e xintoísta e a categoria das imagens. Palavras-chave: Japão, budismo, escultura, período Heian (794~1185), análise iconográfica. ABSTRACT Buddhism is one of the religious pillars of Japanese society together with Shintoism. The large Buddhist propagation on Japan depended very much on the importation and the big production of Buddhist statues which were not only representations of the historic Buddha. For about thirteen centuries, the statues style suffered changes that searched for a proper Japanese style and attained its peak on Heian period. This work is a presentation of those stylistics changes and follows a methodology that intends to approach the object “Japanese Buddhist sculpture” from all angles, which is to say, it comprehends temples, techniques and raw materials, its relation with Japanese history, Buddhist and Shintoist preachings and image categories. Keywords: Japan, Buddhism, sculpture, Heian period (794~1185), iconographic analysis. 7 Nota Preliminar Os nomes japoneses estão escritos sob o sistema rômaji de Hepburn (transcrição de sons da língua japonesa em letras latinas), sistema normalmente encontrado nos dicionários de japonês/português para transliteração. Por sua vez, as palavras em rômaji estarão em itálico ou negrito, exceto os nomes próprios. O excesso de termos budistas é amenizado o quanto possível para facilitar a leitura, porém muitos termos são exclusivos do budismo, e não há como substituí-los. Para facilitar a digitação, o sinal gráfico ¯, que é usado sobre as vogais para representar o “som longo” em japonês (chôon), é substituído pelo sinal ^. Em rômaji, pode aparecer o uso da apóstrofe ou do hífen para separar palavras. Embora o hífen não seja obrigatório, pode ser esclarecedor em alguns casos. Também se usa o katakana, o sistema de transliteração japonesa para palavras estrangeiras quando não há ideograma correspondente, por exemplo, a palavra sânscrita Sidharta Gautama pode virar Gôtama Shiddâta. No caso específico desse nome, não haveria essa necessidade no texto, mas está registrado no vocabulário anexo. Dentre as inúmeras possibilidades temáticas que essa dissertação proporciona, a influência dos termos budistas sobre a Língua, Literatura e Cultura Japonesa é um aspecto que apenas aponto, como muitos outros que não podem ser ignorados, mas também é meu objetivo ressaltá-los, daí a necessidade do vocabulário anexo. Assim, os ideogramas japoneses (os kanji) estarão apenas no vocabulário anexo rômaji-kanji para esclarecer ambigüidades e compartilhar a busca do sentido desses ideogramas no imenso vocabulário budista. Esse vocabulário é apenas uma amostra muito pequena e visa a esclarecer apenas a maioria dos termos japoneses usados no texto. Os dicionários budistas completos costumam ter mais de cinco mil páginas. Contudo, apresentando os ideogramas, também coloco ao iniciado no idioma japonês a disponibilidade da correção da leitura, visto que sua diversidade, em alguns casos, como em nomes de templos e termos específicos, gera alguma confusão devido a leituras antigas, ou seja, por serem ideogramas em desuso ou de sons arcaicos, em alguns casos foram substituídos. Em muitos casos, mais de uma leitura é possível para um mesmo ideograma. Ou sofreram algum desvio fonético ou foram grafadas diferentemente. Os nomes próprios japoneses são apresentados na ordem sobrenome-nome, como é corrente no Japão, às vezes acrescentando o –no ao sobrenome. As imagens budistas possuem um nome original em sânscrito (linguagem sagrada) ou pali (linguagem do povo). O sânscrito, uma língua com mais de quinze mil anos, comprova a 8 origem remotíssima das divindades. Esses nomes foram transliterados e traduzidos em chinês, e desse para o japonês. Os nomes sânscritos das imagens principais estão no vocabulário, entre parênteses, com seus sinais gráficos característicos. Em muitos casos a transliteração do sânscrito para o japonês é apenas fonética e sem a intenção de manter o significado. Devido à dificuldade dos sinais gráficos sânscritos, algumas palavras carecem de sinal gráfico adequado. Os nomes das obras (esculturas) estarão sempre sublinhados e não em itálico, visando a destacá-los da menção dos personagens em que se baseiam, seus nomes próprios. Seguem alguns exemplos de leitura: ha-hi-he-ho como em rato/rio/relógio/roupa. Ex: henge ra-ri-ru-re-ro como em para/mexirica/amarula/coreto/couro. Ex: rahotsu sha-shi-shu-sho como em chá/xícara/chute/cachorro. Ex: Shaka se lê chaka j como /dj/. Ex: jaki ch como /tch/. Ex: Chôsonji ge-gi como /gue-gui/. Ex: Gigeiten 9 Parte I - Introdução O imenso corpus da filosofia budista, por si, tem a capacidade de expressar uma tensão extrema entre a apreciação simultânea e o reconhecimento das limitações do real e do ideal. Muito dessa tensão foi expressa pela escultura budista japonesa e só pode ser compreendida através dessa arte. Quanto ao Japão, além das calamidades naturais e das guerras, pode-se dizer que uma “avalanche sobrenatural” de deuses convertidos e milhares de budas e universos
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