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・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.

・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).

・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.