著者

三宅 久雄

出版者

奈良大学文学部文化財学科

雑誌

文化財学報 (ISSN:09191518)

巻号頁・発行日

vol.27, pp.9-19, 2009-03

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建仁三年(一二〇三)造立の東大寺南大門仁王像は、昭和六十三年から平成五年にかけて解体修理が行われ、その際、発見された銘記や納入経の奥書から注目すべきいくつかの事柄が判明した。そのうちのひとつに、大仏師として従来知られていた運慶、快慶のほかに、推測はされていたが、湛慶と定覚が起用されたことが確かめられたことがある。加えて大方の予想を裏切り、阿形像は運慶と快慶、畔形像は定覚と湛慶が分担したことも明らかになり、新たな問題をなげかけた。当時、運慶の長男湛慶は三十歳、この慶派の後継ぎと組んで畔形像の造像に当たったのが定覚である。周知のとおり、定覚という仏師は大仏殿両脇侍像、四天王像復興において康慶、運慶、快慶とともに活躍した慶派の四人の大仏師のうちの一人である。慶派の中では重要な位置を占めているように思えるが、彼の現存作例は南大門仁王像のみであり、しかもこの仁王像からは定覚個人の作風を知ることは、まずできない。出自もはっきりとせず、知名度の高いわりには謎に包まれた仏師である。ここで南大門仁王像の銘文を契機として、この定覚についてあらためて考えてみたい。

著者

三宅 久雄

出版者

毎日新聞社

雑誌

仏教芸術 (ISSN:00042889)

巻号頁・発行日

no.138, pp.p63-82, 1981-09

著者

三宅 久雄

雑誌

美術研究 = The bijutsu kenkiu : the journal of art studies

巻号頁・発行日

no.336, pp.1-18, 1986-08-30

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Gyōkai is a noted disciple of a great Buddhist sculptor Kaikei in the early Kamakura Period. Some of his works have been newly discovered recently. In the present article the author studies the artistic activities of Gyōkai, who has hitherto been taken into consideration only in relation to Kaikei. and his signdficance in the history of Japanese sculpture. The first known activity of Gyōkai is that under Kaikei in the production of the statue of Kṣitigarbha, which is now in the Fujita Art Museum, Osaka. This statue bears an inscription, “eye-opening by Gyōkai,” which not only indicates Gyōkai's involvement in the making of the eyes but also his significance as a sculptor, for this manner of inscription was unique to Kaikei's studio. In 1216 Gyōkai received the title of Hokkyō through Kaikei's recommendation. Later in 1219 Kaikei and his disciples worked on the statue of the Eleven-headed Avalokitesvara in the Hasedera in Yamato. Gyōkai then provided significant assistance to Kaikei by making the plans and estimates and was entrusted with the carving of the halo. Around 1221 Kaikei and his group produced the statues of Śākyamuni and the Ten Disciples at the Daihōonji in Kyoto. At this time Gyōkai held the title of Hōgen, as did Kaikei, and even worked onthe principal image of Śākyamuni, while his master Kaikei made two of the accompanying Ten Disciples images. Gyōkai's last work that is known was one of the thousand statues of the Thousand-armed Avalokitesvara at the Rengeōin, most of which were re-produced between 1251 and 1266. Though undated, works from his Hōgen period have been found recently which are the standing image of Amitābha in the Amidaji, Shiga, and another in the Kitajūman, Osaka. Both of them succeeded the style of Kaikei. Gyōkai's works on the whole display greater strength than Kaikei's, and his treatment of drapery folds shows realism. Gyōkai was trying to add his own expression to the style of his master and he seems to have been inspired by another great sculptor Unkei who equalled Kaikei. Gyōkai was active when the two styles of Unkei and Kaikei were fusing into one. On the contrary, Unkei's son Tankei received some inspiration from Kaikei. While most of Kaikei's disciples faithfully followed their master's style, Gyōkai extended the stylistic boundary, being conscious of the trend of the time. Kaikei made Gyōkai his assistant perhaps because he was aware of the talent of his disciple Gyōkai.