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谷岡, 謙

Japanese

SSP-2022における階層意識項目の基礎分析

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Tamura, Kanji

一
三
　One of the unresolved issues in Nichiren Shonin’s teaching and research is the truth 
behind the Great Mandala Honzon.　In this paper, I have reread Nichiren Shonin’s 
writings （mainly the remaining documents） and extracted his direct/indirect, conscious/
unconscious explanations about the Great Mandala Honzon.　These have been put 
together as seemed appropriate and an attempt at deciphering the Great Mandala made.
　This article has a particular focus on the bolded parts of the Great Mandala.　The 
elements that form the bolded characters of the Great Mandala are the daimoku or title 
of Nam-myoho-renge-kyo, the Four Heavenly Kings, Fudo Myo-o （Sanskrit）, Aizen 
Myo-o （Sanskrit）, Nichiren, and the kao or signature.
　Regarding Fudo and Aizen Myo-o, Nichiren Shonin mentions in his “Ueno-dono-haha-
ama-gozen-go-henji” the phrase “The truth has not been revealed for more than 40 years” 
from the opening sutra of the Lotus Sutra, the “Muryo-gi-kyo.”　This is a definitive 
sentence that collectively denies the various scriptures and sects.　He states that this 
sentence is Fudo Myo-o’s sword and kensaku snare, and Aizen Myo-o’s bow and arrow.
　Here, rather than the personalities of Fudo and Aizen themselves, it seems to have a 
stronger implication of weapons such as swords, snares, and bows and arrows that 
destroy the various sects and protect the subjects of the Lotus Sutra and the various 
deities in the mandala from both sides.　In the Great Mandala Honzon of Nichiren 
Shonin’s later years, there are many examples in which Fudo and Aizen are shown as 
extremely large compared to the other deities of the Lotus Sutra.　This would seem to 
be able to be explained if we assume the reason for this is the gigantic size of the 
weapons （that is, the growing power of religious warfare）.
　Another Sanskrit letter, which is thought to be Nichiren Shonin’s kao, is assumed to be 
the character “vam” or “bhrum”, a myo, or a treasure ball.　However, especially when 
A Tentative Assumption of Nichiren Shonin’s 
Great Mandala Honzon
Kanji Tamura
Summary
一
四
Fudo （sword stick）, Aizen （bow and arrow） and the kao are considered as one set, it is 
reasonable to regard the significance of the kao as “armor” （domaru/haramaki）.
　In the early Great Mandala, Nichiren Shonin’s autograph and kao do not overlap, and 
Nichiren Shonin does not appear wearing armor.　The sword-staff and the bow and 
arrows are also small, and it seems that the three weapons are not necessarily linked.
　However, it can be seen that the daimoku, the three weapons, and Nichiren are all 
shown at the same time consistently from the early mandala.　It can be observed that 
these elements gradually grow and work together as a single tool.　Alternatively, it can 
be said that Fudo, Aizen, and the kao did not have the meaning of armor in the early 
Great Mandala, and this armor meaning was added as the three became drawn larger.
　The reason why Nichiren Shonin places the Four Heavenly Kings at the four corners 
of the Great Mandala for protection is thought to be that he emphasized protection at the 
national level.　As Nichiren grew older, these Four Heavenly Kings （along with the 
shudai title, Fudo, Aizen, and the kao） become more prominent.　It is presumed that 
this was because protection at the national level became a more important theme when 
the Mongol invasions took place.
　 “Nichiren,” signed in bold is basically considered to be the guardian of the world of the 
Lotus Sutra.　Nichiren Shonin is located below the Great Mandala, holds the daimoku 
title, wears armor, and carries a sword-staff （snare） and a bow and arrows, showing that 
he upholds correct doctrine, enlightens those who believe in false teachings, and 
eliminates those who disobey the doctrine.
　Other than the heading, the bold parts of the Great Mandala seem to be different from 
the various deities that are written in fine print.　In other words, the title “Namu-
myoho-renge-kyo” and the various deities represented in fine print are the core of the 
Great Mandala （above all, Shakyamuni, Taho, and Honge Shibosatsu form the center of 
the Great Mandala）.　On the other hand, Nichiren Shonin, a bold-faced armor that 
protects the surroundings, is seen as a peripheral that mainly controls the spread of 
communication by upholding correct doctrine, enlightening those who believe in false 
teachings, and keeping the precepts.　Therefore, Nichiren Shonin is aware of the 
bodhisattva Jogyo, and in the Great Mandala, Jogyo is enshrined in the upper section of 
一
五
the Kokue assembly, and Nichiren himself is written in large letters along with the kao 
at the bottom as both a guardian of the real world and a person well-versed in the real 
world.
　In addition, looking at the bold parts of the Great Mandala as a whole, it seems as if a 
barrier has been erected （especially with the Koan period honzon）.
　In the main image of the Great Mandala, Nichiren Shonin uses Sanskrit characters 
（elements of the mantra） as weapons, and the Four Honge Bodhisattvas, including 
himself, represent shoju and shakubuku, pushing himself forward and appearing to be 
ready for battle. （Shakubuku: To face doctrinal battles with weapons.　Shoju: To uphold 
the five characters of the Daimoku Myoho, which is the correct law.）
　In this way, if it is understood that the principal image of the Great Mandala is 
surrounded by martial arts （Four Heavenly Kings） and weapons, and the theme includes 
the breaking of the various sects, the protection of the law, the reversal of shakubuku, 
and eliminating those who disobey the doctrine.　The mandala is the honzon that 
unfolds this doctrinal battle, and could be said to be the honzon suitable for the mappo, 
the end of the Buddhist law.


English

A tentative assumption of Nichiren Shonin’s Great Mandala Honzon

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出　
口　
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也


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陶山, 成実

大正期における児童遊園の構想に関する考察

石橋, 昌雄

低学年社会科と生活科の比較研究 ―実践上の成果と課題―

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RISSHO UNIVERSITY
RISSHO  MANAGEMENT  REVIEW
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Overseas Development of “Omotenashi”
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Hiroko URANO ……………………………………………  1
Tourism development in the small and medium-sized post-industrial 
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Taotao Bi-Matsui ……………………………………………  25
The dissolution of Nakajima Aircraft Company and the establishment 
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Yukiteru MAKI ……………………………………………  53
A field to support amoeba management during business succession
-The role of the executive committee at Kanetetsu Delica Foods-
Daisuke KONDO(, Risa ASAISHI, Makoto KUROKI) ……  79
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							 近藤 大輔（、浅石 梨沙、黒木 淳） 		 79


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近藤, 大輔

浅石, 梨沙

黒木, 淳

A field to support amoeba management during business succession : The role of the executive committee at Kanetetsu Delica Foods

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執筆者紹介　（掲載順）
浦 野 　 広 明	 （法制研究所特別研究員）
金 子 　 　 勝	 （法学部名誉教授）
鍋 澤 　 幸 雄	 （法学部名誉教授）
編
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SSP-2022における階層意識項目の基礎分析

目次

A tentative assumption of Nichiren Shonin’s Great Mandala Honzon

前号表紙(58-1)

大正期における児童遊園の構想に関する考察

低学年社会科と生活科の比較研究 ―実践上の成果と課題―

表紙

A field to support amoeba management during business succession : The role of the executive committee at Kanetetsu Delica Foods

構成員・執筆者紹介

Declarative/Interrogative Sentences and Sentence-Final Intonation in the Japanese Northern Fukushima Dialect

9,165

10,797