皿井 舞

コレクション : 国立国会図書館デジタルコレクション > デジタル化資料 > 雑誌

This is the third section of a three-part discussion of the construction of Daigoji temple, ordered by Emperor Daigo in Engi 7 (907). As the final section of the article, this section clarifies the meaning of the temple construct at Kami-Daigo. The unusual feature of the Kami-Daigo temple complex is the parallel display of the exoteric Buddhist deity Yakushi with the esoteric Buddhist deities known as the Godaimyoo. This article focuses on this point and begins with an examination of the role and function of Yakushi and the Godaimyoo from the latter half of the 9th century onwards. This examination revealed that prior to the latter half of the 9th century, Yakushi and the Godaimyôô were both thought to be able to protect the country and ward off calamity. Thus it was deemed that they should be enshrined in the focal points of national protection, namely the Kokubunji temples and other such sites. Thus, the KamiDaigo temple complex commissioned by Emperor Daigo was fitted with not one but two central worship images that had powerful anti-calamity functions. This was not, however, a normal state of affairs. It is thought that this unusual situation was brought about by the domestic and international dangers and political unrest that occurred from the end of the 9th century through the beginning of the 10th century. Internally, unrest continued in the Kanto region, with the so-called “ôgoku no ran” riots occurring at the beginning of the 10th century proving a considerable threat to the imperial court. From offshore, pirates from Silla were sporadically raiding Japan. These extremely heightened political tensions provided the impetus for the creation of the Yakushi and Godaimyos images for Kami-Daigo. At first glance this combination of Yakushi and Godaimyôô appears to be a mixed gathering of different types. This “mélange” that supercedes the framework of exoteric/esoteric had not previously been seen in temples. However, this “mélange” appears to be the major characteristic of the imperially commissioned Daigoji, including both Kami-Daigo structures and the Shimo-Daigo structures. At the same time, this “mélange” could only have emerged because of the changes in national policy and culture that began in the early years of the 10th century. Indeed, the period changes are fully etched into this KamiDaigo temple complex.

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.

This paper is the second 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. The purpose of this article is to clarify the organizational structure of Shimo-Daigoji, which was established by the imperial court, through an analysis of historical documents in Daigoji Yôsho 『醍醐寺要書』.This analysis will contribute to an understanding of the organizational system for temples around the early Heian period. The first part of this article analyzes a document concerning the construction of temples created by imperial command, or goganji 御願寺, which is found in Shin-gishiki 『新儀式』, a book on ceremonial commands published in the middle of the 10th century. The document states that these imperial decree temples can be divided into two types, 1) temples created by emperors during their reign, and 2) jôgakuji 定額寺 temples created by retired emperors, empresses, priests and aristocrats and then donated to the imperial court. There were three types of organizational systems for imperial decree temples, 1) imperial court-established organizations which consisted of both priests and secular bureaucrats, 2) imperial court-established organizations which consisted of solely of secular bureaucrats, and 3) imperial court-created temples that the emperor decreed would be operated by the goin 後院 emperor-controlled organizations. The second part of this article analyzes the Senji 宣旨 edicts of the Emperor Daigo issued by his secretariats, also found in Shin-gishiki. The contents of these edicts and the means of their communication revealed the actual organizational system of Daigoji. As a result of this analysis, it is apparent that when the imperial court created Daigoji, they established organizations of priests and bureaucrats who were responsible for the operation of the temple, and that also technical specialists were dispatched to work in the temple as needed. This analysis also indicates that the goin emperor's personal estate also contributed to the creation of Daigoji. Goin was organized in the 9th century as the personal estates of the reigning emperor. The goin organization fell outside the bureaucracy of the Ritsuryo regime. In general, the proper route for the transmission of the emperor's decrees regarding the building of a goganji temple was through the aristocrats and bureaucrats in the Dajôkan agency. The goin, on the other hand, was an agency that could carry out imperial orders outside the framework of the Ritsuryo regime. Therefore, the participation of the goin, an agency close to the emperor's personal affairs, in the creation of Daigoji, indicates that Daigoji took on the character of a temple personally connected to the emperor Daigo. Though previous studies have largely failed to consider the importance of the goin, this article insists that goin played a crucial role in the construction of goganji temples. Actually, it can be suggested that the five-story pagoda at Daigoji is one instance of a project led by the goin. This is extremely noteworthy. This article reexamines the construction of the five-story pagoda from this new understanding of the goin's role in its process. Through a more detailed understanding of the operational structure in place during the establishment of Daigoji, this article aims to clarify the factual details regarding temple establishment procedures during the early Heian period. This article further suggests the necessity of a reconsideration of the commonly accepted beliefs regarding the history of early Heian period sculpture.

The Seated Wooden Bodhisattva image preserved at Hôonji in Himeji, Hyôgo prefecture is a famous extant example of Southern Song dynasty sculpture in Japan. Black ink writing on the inside of this sculpture states that it was carved in 1237 in Mingzhou. This makes the sculpture one of the few known examples of dated Southern Song wooden sculpture in the world. The authors studied this work and present a number of new findings in this paper. The paper includes both fundamental data about the work and newly confirmed information.

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