著者

猪川 和子

雑誌

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

巻号頁・発行日

no.272, pp.1-9, 1971-03-20

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According to the Shōsōin Documents, an Avalokiteśvara supposed to be the original main image of the Ishiyamadera was a painted clay image measuring three times the human size made in the period from November of the fifth year of Tempyō-hōji Era (761) to August of the sixth year of the same era (762) in the Nara Period. The names of two sculptors who made it and a person who painted it are known. From the middle Heian Period on, many people have recorded the peoples' strong belief toward this Avalokiteśvara. The main hall of the temple was lost by fire in the second year of Jōryaku Era (1078). And, as for the image of Avalokiteśvara, Fusō-ryakki says that it was destroyed by the fire and Hyakurenshō says, "the holy face was not damaged." After the fire, the temple was reconstructed and, according to Ichidai-yōki, it was dedicated in the first year of Eichō Era (1096). But nothing is mentioned about the image in this record. The literary works concerning the history of the temple, Ishiyama Nendaiki and Ishiyama-yōki, quote some records said to be of the Kamakura Period which mention that the main image was made newly. But both of the literary works were edited by Priest Sonken of the temple in the Edo Period and they are not necessarily reliable materials. Besides, there are some copied versions of the text of the Scroll Painting of the History of the Ishiyamadera which have introductory words adde d in the Edo Period stating that the present wooden main image was made by Priest Eison of the Saidaiji in Kōan Era (1278-1288). And this, too, is by no means reliable as the text of the oldest versions of the scroll painting which are in the Ishiysmadera and Kyoto National Museum do not refer to it. When we observe the present main image itself from stylistic point of view, we find that the present multi-blocked wooden image, the Avalokiteśvala known as Cintāmaṇicakra, shows characteristics of the Late Heian Period sculpture of Jōchō style both in facial expression and the form of the body and that it could not be a style around Kōan Era (1278-1288). The author considers that the main image was newly made just after the fire. She thinks that the document concerning the annual donation of rice which suggests the deep belief of the wife of the chief advisor to the emperor, FUJIWARA no Yorimichi, (990–1072) and the record of Edo Period which tells that the present image was made around the century from 990 A.D. to 1090 A.D. could be te supports for her supposition. This Cintāmaṇicakra with only two arms and half-crossed legs retains iconographical traits already seen in the Nara Period. It is, therefore, an interesting work from iconographical viewpoint as well.

著者

猪川 和子

雑誌

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

巻号頁・発行日

no.303, pp.1-9, 1976-10-25

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The main hall of the Nakayamadera, Takarazuka City, Hyōgo, houses three Eleven-headed Avalokiteśvara images. Of the three, the main image is of the Heian Period and the other two are from the Kamakura Period. The main image has some extraordinary features. According to the Nakayamadera Raiyuki, which describes the history of the temple, a ritual of thirty-three temples with Avalokiteśvara images was held at the Nakayamadera in 988. Therefore one presumes that the main image had been made by that time. On the other hand, a geographical book published in 1701, Setsuyō Gundan records an old legend of a miracle that Jishin, a priest of this temple in the early tenth century, made an Elevenheaded Avalokiteśvara image fly. The main statue of the temple (Pls. VII, VIII) is carved out of one block of kaya wood. This image is characterized by a strange facial expression and extraordinarily shaped hair, arms and legs. The exaggerated arc-shaped eye-brows are connected to each other by a large flat ridge in-between. Eyes are upturned and an iron nail is driven into the pupil of each eye. The hair swirls above the ears. The flexed left arm orients its palm downward with its fingers bent backwards. The big toe of the left leg is also bent upward. Similar characteristics are found in such ninth century works as the Elevenheaded Avalokiteśvara of the Hokkeji and in such tenth century examples as the Eleven-headed Avalokiteśvara of the Hasedera, Fukuoka; the Samantabhadra of the Fugenji, Mie; the Avalokiteśvara of the Seisuiji, Nagano; and the Sūryaprabha and Candraprabha of the Daizenji, Yamanashi. The main image of the Nakayamadera may have evolved from a prototype like the Avaloksteśvara of the Hokkeji, a small unpainted wooden statue traditionally said to reflect a style closely related to that in India. Of the other two, the Eleven-headed Avalokiteśvara in Pl. IXa stylistically resembles some statues supposed to have been made by sculptors related to the Saidaiji. Since the Tada Clan which lived in the area had connections with both this temple and the Saidaiji, it seems probable that this Nakayamadera image as well was made by a sculptor related to the Saidaiji. The last statue (Pl. IXb) is also from about the same time.

著者

猪川 和子

雑誌

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

巻号頁・発行日

no.287, pp.1-18, 1973-10-30

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The Gokokuin (Kimiidera) in Wakayama City owns some sculptural images from the Late Heian Period. Their principal images are an Elevenheaded Avalokiteśvara, which is the main images of the temple, and a Thousand-armed Avalokiteśvara. Besides, there are two Bodhisattvas, purported to be Brahmā and Indra, and another Eleven-headed Avalokiteśvara. In this paper the author makes a comparative study of these with similar sculptures in adjoining regions, such as eight Avalokiteśvara images of the Kanshinji in Kawachi-Nagano City, Osaka, an Avalokiteśvara image owned by the Ueda District Office in the same city, statues of the Kōonji in Kaizuka City, Osaka, and others. The main image, the Eleven-headed Avalokiteśvara of the Gokokuin is a statue carved out of single block of Japanese Judas-tree wood. The head is proportionally large. The way of carving shows a slightly naive, local character and is close to the Eleven-headed Avalokiteśvara of the Kaijūsenji in Kamo Town, Kyoto, and the Elevenheaded Avalokiteśvara of the Taimadera in Taima Town, Nara. The Thousand-armed Avalokiteśvara of the Gokokuin has forty large arms and nine hundred and sixty smaller arms. The facial expression has something in common with the Bhaiṣajyaguru Triad of the Katsuodera in Mino City, Osaka. The two images purported to be Brahmā and Indra are perhaps Bodhisattvas, judging from their costumes. The one called Indra has a round face with a childish expression and is brightly painted. The drapery is carved skillfully and the entire statue is neatly worked. According to a document dated 1082, written by Myōshō, a priest of the Yakushōji once located near the Gokokuin, Myōshō was engaged in the work of colouring the sculptural images of two important temples in Kyoto, the Enshūji and the Hosshōji. This fact implies a close relationship between this region and Kyoto in the field of the production of Buddhist images and it is easily understood that the image called Brahmā reflects the refined taste of the capital. The statue called Indra is stylistically quite similar, except for the fact, in comparison it shows a more localized taste. There are eight standing statues of Avalokiteśvara in the Kanshinji, Osaka, and some of them show stylistic kinship to these two images of the Gokokuin. The type of crown, the countenances and the colouring effects have some features in common with the two images of the Gokokuin and share their modest and elegant characteristics. The statue of Cuṇḍī owned by the Yakushiji in Nara City (970) and the statue of Avalokiteśvara of the Yūnenji in Ikaruga Town, Nara, (1069) are two dated similar works in adjoining regions. These, however, are rather different in style. Among the contemporaneous Buddhist statues in the Osaka area, the Avalokiteśvara owned by the Ueda District Office of Kwachi-Nagano City is presumed by the author to be a work by a sculptor of Kyoto. It is more in the Kyoto style than the statues of the Gokokuin and the Kanshinji. The author thinks that it is in the same stylistic line as the Thousand-armed Avalokiteśvara of the Hosshōji, Kyoto. The statues in the Kōonji, Osaka, and the one in the Yūnenji still retain to some extent features of the Early Heian Period sculptural style, while also exhibiting local characteristics. The author thus defines the stylistic positions of the statues of the Gokokuin.

著者

猪川 和子

雑誌

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

巻号頁・発行日

no.294, pp.1-12, 1974-12-20

著者

猪川 和子

雑誌

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

巻号頁・発行日

no.252, pp.1-12, 1968-03-25