総ページ数

P21

ブックの説明

福井・大飯町清雲寺　木造毘沙門天三尊像
ー作風に関する序論的考察
The three wooden images of Bishamon -ten
of the Seiunji Temple in the Ohi-cho,Fukui
-The introduction about a style

洞口　寛
HORAGUCHI Yutaka

From their realistic modeling and finely-detailed expressions, the three
wooden images of Bishamon-ten enshrined in the Seiunji Temple, which
is located in the Urasoko area of the Oshima Peninsula, Ohi-cho, Fukui
Prefecture, are thought to have been created by Buddhist sculptors of the
Kei School round about the middle of the 13th century, in the early Kamakura
Period.
A comparison of the expression of the central image of Bishamon-ten
(Vaisravana) with the Kichijo-ten (Mahasri) and Zennishi-doji (Janesah) to
either side of it shows clear differences in the balance of head and torso, in
the sense of massiveness, the modeling of the face and the treatment of the
clothing; and it is presumed that the difference in skill indicates that the
pieces were produced not only by different sculptors, but at different times.
A tentative comparison of the shape of the ears revealed that the Bishamon-
ten image is characteristic of the second generation of Buddhist sculptors
of the Kei School, led by Tankei, and is particularly characteristic of Higo-
jokei, who worked from the 1220s to the 1250s. The Kichijo-ten image shows
characteristics of the first generation of sculptors, such as Unkei and Kaikei,
active in an earlier period (1170s-1210s). In particular, the same characteristics
are found as in the ears of pieces by Kaikei. The results of a study of the
ears reflect the results of studies of proportions, facial expressions, etc.( The
Zennishi-doji image shows no ears and so was excluded from the study of the
ears; but it shows the same characteristics as the Kichijo-ten image, and the
results of the study of the ears of the Kichijo-ten image are also reflected in
the Zennishi-doji image). Thus it is thought that the Bishamon-ten image
and the images of Kichijo-ten and Zennishi-doji to either side of it are from
different periods, since the sculptors were of different generations; and the
view that they were initially created as a set seems to have been negated.

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