Representations of Religious Discourse in Japanese Painting during the Medieval Period (1185–1603 AD)

Abstract

Abstract

  This research examines the representations of religious discourse in Japanese painting during the Middle Ages (1185–1603) and is structured into four chapters. The first chapter addresses the research problem, its significance, necessity, objectives, and the definition of key terms. The current research problem emerged through an exploration of religious discourse in Japanese painting during the Middle Ages, leading the researcher to formulate the main question: What are the representations of religious discourse in Japanese painting during the Middle Ages? The second chapter presents the theoretical framework, consisting of two sections, previous studies, and the extraction of theoretical indicators to be used in analyzing the samples. The first section addresses philosophical approaches to discourse analysis and the features of religious discourse in ancient and medieval Japanese thought and art. The second section discusses the features of religious discourse in the schools of ancient and medieval Japanese art. The third chapter (Procedures) covers the research population, the sample of four works, the research tool, methodology, and the analysis of the samples. The fourth chapter presents the research findings, conclusions, recommendations, and suggestions. Key findings include:

1.    Religious discourse was embodied through the concept of emptiness (Śūnyatā) in Zen Buddhism, expressing the idea that phenomena are illusory, with various artistic strategies used to convey this notion.

2.    Emphasis on meditation (Zazen) as a means to enlightenment, reflected in painting themes.

3.    Use of Kōan (paradoxical questions or statements) in paintings to provoke insight and challenge conventional thinking.