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カテゴリー: 仏像

十一面観世音菩薩立像

十一面観世音菩薩立像

十一面観世音菩薩立像

十一面観世音菩薩立像

・年代：平安時代（10世紀）
・法量：像高52.2ｃｍ
・指定：重要美術品

Standing Statue of the Eleven-Faced Kannon Bodhisattva
Era: Heian period (10th century)
Dimensions: Height of the statue 52.2 cm
Designation: Important Art Object

十一面観音は十の頭上面を持つ観音で、この姿はあらゆる方角を見渡して救済を行う、観音の救済力の表現とされています。

本像は頭部から台座蓮肉の一部までをサクラと思われる広葉樹の一材から彫出した一木造の立像で、頭上面と右肩以下の右腕、左の肘から先は別に造って取り付けています。像を蓮肉まで含めて一材でつくり、内刳（内部を刳り抜くこと）を行わない技法、装身具を彫出する手法は平安時代前期に見られる特徴であり、太い鼻梁とつり上った瞳が生む強い表情、奥行のある頭部、両胸の下をＣ字型に刳る表現、下半身に着用した裙（巻きスカート）に見られる翻波式衣文（大きい襞の間に小さな襞をあらわす表現）も古様です。一方で本像は全体として穏やかな作風を示しており、九世紀の仏像に見られる厳しい表現が、温和な和様へと向かいつつある時期、十世紀初めの仏像と考えられます。

The Eleven-Faced Kannon is a Kannon with ten faces on its head, representing the Kannon's ability to look in all directions and offer salvation.

This statue is a standing figure carved from a single piece of broadleaf wood, likely cherry, from the head to part of the lotus pedestal. The faces on the head, the right arm below the right shoulder, and the left arm from the elbow down are separately made and attached. The technique of creating the statue, including the lotus pedestal, from a single piece of wood without hollowing out the interior, and the method of carving the ornaments, are characteristics seen in the early Heian period. The strong expression created by the thick nose bridge and upward-slanting eyes, the deep head, the C-shaped carving under the chest, and the honpa-shiki drapery (a style of depicting large folds with smaller folds in between) seen in the skirt worn on the lower body are also ancient features. On the other hand, the statue as a whole shows a gentle style, suggesting it is a Buddha statue from the early 10th century, a period when the severe expressions seen in 9th-century Buddha statues were transitioning to a more gentle Japanese style.

動画による作品解説

二天像

・年代：平安時代　11～12世紀
・法量：阿形135.3cm／吽形136.2cm
＊新収蔵

Statue of the Two Heavenly Kings
Era: Heian period, 11th–12th century
Dimensions: Agyo 135.3 cm / Ungyo 136.2 cm
*Newly acquired

甲冑に身を固め、邪鬼を踏んで立つ二体一対の天部像。二天像は四天王の内の二尊を選び、造像するもので、寺院の中門や本尊の左右に立ち、仏や寺院、仏教徒を魔や災厄から守る守護神です。二天像は左右対称の姿が基本で、本像も腕や足の上下、腰の捻り、一方を開口、他方を固く口を結ぶ阿吽の姿としてこの例に従っていますが、甲冑細部は変えて変化を持たせています。太くがっしりとした体躯はたくましく、細身で颯爽とした鎌倉の天部像とは対照的な「強さ」の表現を見ることができます。

Clad in armor and standing on demons, these two paired celestial guardian statues are part of the Four Heavenly Kings, chosen to be sculpted and placed at the middle gate of temples or beside the main deity. They serve as guardians protecting the Buddha, the temple, and Buddhists from evil and calamities. The statues are typically symmetrical, and this pair follows that tradition with their arms and legs positioned up and down, torsos twisted, and one mouth open while the other is tightly closed in the Agyo and Ungyo forms. However, the details of their armor vary to add diversity. The robust and sturdy bodies express a form of "strength" that contrasts with the slender and elegant celestial guardian statues of the Kamakura period.

薬師如来像

薬師如来像

・年代：平安時代　12世紀
・法量：52.8cm

Statue of Yakushi Nyorai
Era: Heian period, 12th century
Dimensions: 52.8 cm

手に薬壺を持ち、人々を病から救う薬師如来の坐像。構造は、頭体を桧の一材でつくり、前後に割って内部を刳り抜く一木割矧造で、組んだ脚部と両手首先を別につくって寄せていますが、両手首先は江戸時代に補ったものです。

体は華奢、衣文は浅く流麗で、おだやかな顔とあわせ、繊細優美な姿ですが、この姿は平安中期の大仏師・定朝の影響を強く受けたもの。定朝が生んだ和様の仏像は平安貴族から「仏の本様」と讃えられ、多くの仏師に写されて一世を風靡しましたが、本像もその一例です。

A seated statue of Yakushi Nyorai, holding a medicine jar in his hand, saving people from illness. The structure is made from a single piece of cypress wood, split front and back, and hollowed out inside, known as the ichiboku-zukuri technique. The legs and the tips of both hands are made separately and attached, but the tips of both hands were supplemented in the Edo period.

The body is slender, the drapery is shallow and flowing, and combined with the calm face, it presents a delicate and graceful appearance. This style is strongly influenced by the great Buddhist sculptor Jocho of the mid-Heian period. The Buddhist statues created in the Japanese style by Jocho were praised by the Heian aristocracy as "the true form of Buddha" and were widely copied by many sculptors, making a significant impact. This statue is one such example.

観世音菩薩像(興福寺千体観音)

観世音菩薩像(興福寺千体観音)

・年代：平安時代　12世紀
・法量：36.1cm

Statue of Kannon Bodhisattva
Era: Heian period, 12th century
Dimensions: 36.1 cm

興福寺千体観音の一体と伝えられる像。その名の通り千体からなる群像でしたが、800年以上の時が流れるなかで朽ちて破損、加えて明治時代の廃仏毀釈の際に風呂の薪として燃やされるなど、多くが失われました。本像も両腕や膝前に二重にかかる天衣、台座は古いものが失われて修理で補っており、当初は右手に持つ蓮の蕾に左手を添え、その花弁を開く姿だったようです。おだやかな顔、薄く華奢な体、衣文が略される点などに平安後期の特徴がみられ、素朴な表情が愛らしい観音像です。

This statue is said to be one of the thousand Kannon statues of Kofuku-ji. As the name suggests, it was part of a group of a thousand statues, but over the course of more than 800 years, many have decayed and been damaged. Additionally, during the anti-Buddhist movement of the Meiji period, some were burned as firewood for baths and many of them were lost. This statue has also lost its original arms, the celestial robe that drapes over the knees, and the pedestal, all of which have been repaired. Originally, it seems to have depicted a figure holding a lotus bud in the right hand with the left hand supporting it, opening the petals. The calm face, slender body, and simplified drapery are characteristic of the late Heian period, and the statue's simple expression is endearing.

大日如来坐像

大日如来坐像

大日如来坐像

・作者：行順
・年代：鎌倉時代（文永七年・1270年）
・法量：像高 30.9cm

Seated Statue of Dainichi Nyorai
Artist: Gyōjun
Era: Kamakura period (Bunei 7, 1270)
Dimensions: Height of the statue 30.9 cm

法界定印（坐禅の印）を結ぶ胎蔵界大日如来の坐像。大日如来には胎蔵界大日如来と、忍者のような智拳印を結ぶ金剛界大日如来の二種がありますが、うち胎蔵界像は比較的遺例が少なく、貴重な作例です。

本像の構造は、頭体幹部（頭と体の主要部分）をヒノキの一材で彫出し、耳の後ろを通る線で前後に割り、内部を刳り抜く一木割矧造で、瞳には水晶製の玉眼を嵌入しています。本像は像内墨書から、文永七年（1270）、静快を大願主として、佛師行順が制作した仏像であることが分かります。鎌倉時代に遡る仏像で、制作年代と作者、制作事情が判明する仏像は稀で、このような仏像は墨書を持たない多くの仏像の年代を考える上での参考となるため、基準作と呼ばれます。本像は小像ですが、13世紀後半の仏像を研究する際の基準作として、学術的に貴重な仏像です。

A seated statue of Dainichi Nyorai in the Taizokai (Womb Realm) mudra (meditation mudra). There are two types of Dainichi Nyorai: the Taizokai Dainichi Nyorai and the Kongokai Dainichi Nyorai, who forms the Chiken-in mudra like a ninja. The Taizokai statue is relatively rare and a valuable example.

The structure of this statue involves carving the head and main body from a single piece of cypress wood, splitting it front and back along a line passing behind the ears, and hollowing out the interior, known as the ichiboku-zukuri technique. The eyes are inlaid with crystal. From the inscription inside the statue, it is known that this Buddha statue was made in 1270 by the Buddhist sculptor Gyōjun, with Jōkai as the main patron. It is rare to find a Buddha statue from the Kamakura period with known production date, artist, and circumstances. Such statues are called standard works because they help determine the age of many other statues without inscriptions. Although small, this statue is academically valuable as a reference work for studying Buddha statues from the late 13th century.

菩薩立像

菩薩立像

・年代：中国・宋時代（13世紀か）
・法量：総高103.1ｃｍ

Standing Statue of Bodhisattva
Era: China, Song dynasty (possibly 13th century)
Dimensions: Total height 103.1 cm

頭頂の髻から台座までを一材で造り、部分的に塑土を盛り上げて成型、彩色を施した菩薩立像。腰を大きく右に捻った弓形の体や、持った供物を支える盆を右方に差し出す姿から、もとは中尊の左右に配した脇侍菩薩像の一体で、本尊に対して供物を捧げる姿であったと思われます。

大づかみな造形は中国の石窟寺院に見られる石像に近く、台座を含む像全体を一木で彫出し、塑土を用いて細部を仕上げる手法、面貌や動きのある体勢は中国で宋時代に制作された仏像の特徴を示しています。体に比して頭部や手が過大な姿や、写実を離れて形式化した造形から、南宋（1127～1279）の時代に制作された像の可能性が高いでしょう。

A standing bodhisattva statue carved from a single piece of wood from the topknot to the pedestal, with parts molded and colored using clay. The body is significantly twisted to the right in a bow shape, and the figure extends a tray holding an offering to the right, suggesting it was originally one of the attendant bodhisattvas placed on either side of the central deity, offering to the main deity.

The rough carving resembles stone statues found in Chinese cave temples. The technique of carving the entire statue, including the pedestal, from a single piece of wood and finishing the details with clay, as well as the facial features and dynamic posture, are characteristic of Buddha statues made in China during the Song dynasty. The disproportionately large head and hands compared to the body and the stylized form departing from realism suggest that this statue was likely made during the Southern Song period (1127–1279).

阿弥陀如来立像

阿弥陀如来立像

・年代：鎌倉時代（13世紀）
・法量：像高99.8ｃｍ

Standing Statue of Amida Nyorai
Era: Kamakura period (13th century)
Dimensions: Height of the statue 99.8 cm

西方の極楽浄土に住み、信仰する者を死後、浄土に迎えとるとされた阿弥陀如来の立像。頭体幹部（頭部と体の主要部分）を一材でつくった上、前後に割って内刳を行う一木割矧造の像で、瞳には水晶製の玉眼をはめ込んでいます。螺髪を後頭部でＶ字形に配し、像底を上げ底式に刳り残す点などは慶派仏師の特徴で、着衣の形式や流麗な衣文線、秀麗な面貌などから、快慶に学んだ仏師の作品と考えられます。なお、通常立像は、両足裏に足枘を作り、台座上面の穴に差し込むのが普通ですが、本像は蓮台上に２本の棒を立て、これを踵の後方に開けた２つの穴に差し込んで立てており、足裏に漆下地を見ることができます。こうした特殊な特徴から本像は、足裏に千幅輪相（如来の足裏にある車輪型の文様）をあらわす像であった可能性があります。鎌倉時代、仏像の姿をなるだけ経典に忠実に再現することで、生身の仏を再現しようとする動きがありますが、本像はこのような生身仏のうち早い時期の作例の可能性が高く、学術的に貴重な仏像です。

A standing statue of Amida Nyorai, who resides in the Western Pure Land and is believed to welcome believers to the Pure Land after death. The head and main body are carved from a single piece of cypress wood, split front and back, and hollowed out inside, known as the ichiboku-zukuri technique. The eyes are inlaid with crystal. The spiral hair is arranged in a V-shape at the back of the head, and the bottom of the statue is hollowed out in a raised-bottom style, which are characteristics of the Kei school sculptors. The clothing style, flowing drapery lines, and elegant facial features suggest it is the work of a sculptor who studied under Kaikei.

Typically, standing statues have tenons on the soles of the feet that fit into holes on the top of the pedestal. However, this statue has two rods on the lotus pedestal that fit into two holes behind the heels, allowing the soles to show the lacquer base. These unique features suggest that the statue may have depicted the thousand-spoked wheel pattern on the soles of the Buddha's feet. During the Kamakura period, there was a movement to faithfully reproduce the appearance of Buddha statues according to scriptures, aiming to recreate the living Buddha. This statue is likely an early example of such living Buddha statues and is academically valuable.

上原美術館