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\"\"<\/a>
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\n\"\"<\/a>
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English version\u2b07<\/p>\n

Shotoku Taishi: Understanding Ten People’s Stories at the Same Time? The Gallery of Horyuji Treasures-4
\nI was tempted to say, “Really?” (laugh), but the expression on the cute boy’s face was so deeply favorable that it permeated the history of the people. …<\/p>\n

Now, let’s take a look at the contents of the Shotoku Taishi Pictorial Biography.
\nThis scene in the photo is the famous story of Prince Shotoku’s genius, which is said to have been manifested in his ability to hear and understand 10 people’s conversations at the same time, which is beyond ordinary people. The conversation was between children, and the content itself was probably a trivial everyday topic, so it is clear that he had a general grasp of the content, but 10 people is still astonishing. In modern times, some people use the “power of listening” as a catchphrase (laugh).
\nThe placement of these stories on the first ship in the entire mural painting is probably meant to convey the impact of the whole of Prince Shotoku’s life. As a person of later generations, it is interesting to know that this kind of announcement to the people of the Heian period, nearly 400 years after the death of Prince Shotoku, was spread throughout the entire history of the people and had a certain degree of credibility.<\/p>\n

The photo above shows the first of the five vessels (5 seki-10puku, each section of which is arranged on three walls as a wall painting). The photo above shows the first of the five vessels and ten panels (5 seki 10 puku, each section of which is arranged on three walls as a wall painting). In this painting, the arrow indicates that Prince Shotoku was 11 years old when he was sitting in a circle with his children and chatting with them.
\nThe role played by the pictorial tradition in Japanese society can be clearly seen as a primitive form of “media. The pictorial tradition was utilized by Shitennoji Temple and others by this time. As Buddhism became deeply rooted in Japanese society, it is thought that such a communication tool was developed and evolved in its own way.
\nIt is said that Chinese Buddhist painting styles were first introduced into Japanese society, but eventually a uniquely Japanese “Yamato-e” style was established, leading to this form of painting. In this way, the overall “labyrinthine news layout” can be seen as a reference to the “article layout” of modern newspapers and other media.
\nIn the Heian period, when it was clear that the literacy rate was not as high as in the Edo period, it is highly probable that this kind of media style was adopted. The other day, I wrote about the opinion of an American expert who described the unique labyrinth-like format of the pictorial traditions, but even today’s newspaper media heavily balance their pages to manipulate the impression of each piece of information.
\nIf you take a closer look at it, you will realize that it is a media of information. I think it is fair to say that the development of this type of information transmission contributed greatly to the process by which the idea of the state as a guardian nation was carried through in Japan and Buddhism successfully took root among the Japanese people.
\nOf course, the exhibition was not at the stage of being printed and disseminated, but rather it was a corner exhibition within a building of Horyuji Temple, and although it was probably intended for the ruling class rather than the general public, the boyish expressions on the Taishi’s face were deeply appreciated by people, and the information was disseminated over time as an experiential medium.<\/p>\n","protected":false},"excerpt":{"rendered":"

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