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- W4376271541 abstract "Sculptors during the Kamakura period at times looked to unconventional sources for the material for their images and other projects. In 1183 Unkei used fragments of wood from the destroyed Great Buddha Hall at Tōdaiji for the rollers of two sets of the Lotus Sutra, and in 1206 an anonymous sculptor used a piece of charred wood, presumably from the same structure, for the right shoulder of the memorial portrait of Shunjōbō Chōgen, the monk who rebuilt the temple after it burned in 1180. Unkei’s father, Kōkei, employed wood from a sacred pillar beneath one of the halls at Ise Shrine for a now-lost image of Dainichi that was originally installed at Hosshōji in Kyoto in the late twelfth century. In 1256 the Nara sculptor Kaijō carved statues of Aizen Myōō and Jizō commissioned by the monk Jakuchō. The inscriptions indicate that they were fashioned from wood from the pillars of the Great Buddha Hall, most likely ones that remained after the conflagration. When preparing to carve the statues, Jakuchō and Kaijō consecrated the wood, and the sculptor and his two assistants maintained the Eight Pure Precepts while sculpting the image. Through the use of repurposed wood from structures with potent connections to Japan’s religious history, the installations of dedicatory objects, and their own personal devotions, Kaijō and other sculptors of the period embedded their works into multiple networks of meaning that reinforced the spiritual authority of their statues in ways that went far beyond their immediate visual impact.鎌倉時代の仏師たちは、彫像や他の作品に通常考慮外の木材使用に目を向けることがあった。1183年に運慶は、火災した東大寺大仏殿の焼け残りの木片を「法華経」二部の軸棒に使用した。また1206年には、無名の仏師が、おそらくこれも大仏殿の焼けた木片を俊乗房重源の遺像の右肩に使った。重源は、1180年に東大寺の焼尽後、再建のために奔走した僧だ。運慶の父の康慶は、今は存在しないのだが、12世紀後半に京都の法勝寺に安置されていた大日如来像に、伊勢神宮の正殿の床下の中央に立てられた心御柱を利用した。1256年には、奈良の仏師であった快成が、仏僧の寂澄からの依頼を受け、愛染明王坐像と地蔵菩薩像を制作している。銘文を読むと、これらの像が大仏殿の柱に使用されていた木材を転用されたということが分かる。おそらく、火災で焼け残ったものを利用したのだろう。彫像制作の過程においては、寂澄と快成は使用木材を清め、彫像を彫るあいだは、仏師及び二人の弟子共々、八斎戒を守り続けた。このようにして日本宗教史との強い繋がりのある建築物に使用されていた木材を転用し、納入品を入れ、個々の献身をすることにより、快成やこの時代の他の仏師たちは、視覚的迫力を超えた精神面での権威を強化し、その多面な意図を彫像に組み込んだのであった。" @default.
- W4376271541 created "2023-05-13" @default.
- W4376271541 creator A5037720362 @default.
- W4376271541 date "2023-05-12" @default.
- W4376271541 modified "2023-10-17" @default.
- W4376271541 title "Kaijō, Jakuchō, and Repurposing Wood for Sacred Images in Kamakura-Period Sculpture" @default.
- W4376271541 doi "https://doi.org/10.3998/ars.3989" @default.
- W4376271541 hasPublicationYear "2023" @default.
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