醍醐寺薬師三尊像と平安前期の造寺組織（上）=the Yakushi Triad at Daigoji and the Structures of Temple Foundation during the Early Heian Period (Part 1)

皿井舞 (著)=Sarai, Mai (au.)

Author

皿井舞 (著)=Sarai, Mai (au.)

Source

美術研究=Bijutsu Kenkyu : the Journal of Art Studies=ビジュツケンキュウ

Volume

v.392

Date

2007.09.28

Pages

1 - 21

Publisher

東京文化財研究所=National Research Institute for Cultural Properties, Tokyo

Publisher Url

http://www.tobunken.go.jp/index_j.html

Location

東京, 日本 [Tokyo, Japan]

Content type

期刊論文=Journal Article

Language

日文=Japanese

Keyword

藥師佛; 會理像; 平安時期

Abstract

This paper is the first of a three-part series that will discuss the historical and philosophical background of the creation of the Yakushi Triad in the Yakushidô Hall, KamiDaigo, Daigoji, Kyoto, created at the beginning of the 10th century during Japan's Heian period.
This article first analyzes the formative expression of the Yakushi Nyorai figure that stands as the central figure of the Daigoji Yakushi Triad. As has been indicated by a number of previous studies of the subject, older elements can be discerned in parts of this figure's formative expression. These revivalist elements seen in the formative expression quote elements of the sculptural style prevalent in Japan from the end of the Nara period through the beginning of the Heian period.
This article takes the discussion a step further, comparing the facial expression of the Daigoji Yakushi Nyorai figure with that of the Tôdaiji Amoghapasa figure created around the middle of the 8th century during the Nara period. This comparison clearly reveals the resemblance between the figures in terms of the three-dimensional expression of their eyes, eyebrows, noses and mouths. Sculptural style, namely the characteristics of three-dimensional expression, is individual for each different historical period. Yet, the Daigoji figure reveals the inclusion of past styles into the compositional elements of the facial expression. This quotation of a section of a specifically dated style cannot be seen in figures created before the Daigoji figures and can be considered a special characteristic of this sculpture's formative expression.
This use of revivalist expression in the Daigoji figure can be considered to have been based on the participation of the priest Shôbô (832-909) in the construction of the KamiDaigo structures. This was because Shôbô had been the bettô, or manager in charge, of various temples where the restoration of Buddhist sculptures was being carried out. Thus he was a person deeply connected to Nara, and hence very familiar with formal styles of Nara period sculpture. However, when a temple was created by imperial command, the imperial court established a temporary organizational structure for its work. Hence the degree to which Shôbô would have participated in the determination of the sculptural style must be considered carefully. With the aim of getting a relative view of Shôbô's achievements, the second chapter of this paper aims to clarify the facts surrounding the organizational structure of Daigoji during this period. As an element of that study, the first section analyzes the Shingon sect priest Eri who is thought to have been active in the creation of Buddhist figures along with Shôbô. The section presents a critique of the historical documents available regarding Eri, and through analysis of the reliable documents, it can be shown that it was not Shôbô, but rather Eri who was the Buddhist priest entrusted with the organizational structure by order of the imperial court.

Table of contents

はじめに 1
一、上醍醐薬師堂薬師三尊像の造形的特質 2
第一節上醍醐薬師堂薬師三尊像の研究史 2
第二節様式的特色の檢討 3
第三節形式的特色の檢討 6
第四節復古的造形表現の源 6
二、平安前期の造寺組織 11
第一節会理像の再檢討 12
(1) 会理に関する研究史と基本史料の整理 12
(2) 東大寺講堂復興造営事業 12

ISSN

00219088 (P)

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