仏像表現における「型」とその伝播（上）―平安初期菩薩形彫刻に関する一考察―

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  • “Patterns of Form” in Buddhist Sculpture and Their Transmission: A Study of Early Heian Bodhisattva Sculpture

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A previous study of the expression of movement in the early Heian-period sculpture by Tadashi INOUE, “Various Aspects of Danzō (Plain Wood Buddhist Images) IV: A Standing Statue of Elevenheaded Kannon and the Painting Style of Wu Daoxuan” (Gakusō No. 9, March 1987) argues that “Wu Tao-hsüan yang” (Wu Tao-hsüan style) influenced the expression of movement and that the statue of Ekādaśamukha at Hokke-ji dates from the high T’ang period. Reconsidering its significance and problems, the present article attempts to refute Inoue's argument. Li-tai ming-hua chi by Chang Yen-yüan of the late T'ang period talks about Ts'ao Chung-ta, Chang Sêng-yao, Wu Tao-hsüan, and Chou Fang in relation to the production of Buddhist paintings, and describes them as model artists for painters and sculptors alike. Among them, this book mentions Ts'ao, Chang, and Wu with a suffix “yang 様,” such as Ts'ao's yang, Chang's yang, and Wu's yang, while crediting Chou to be the originator of the “t'i 體” of Water Moon Avalokiteśvara. It can be considered that the character “yang” referred to a concrete “form” or “formal pattern” of the intended subject matter, and that “t'i” was to signify the “figure” of Buddhist deities. Therefore “t'i” can be interpreted as including the meaning of “formal pattern” of the Buddhist deity commonly used in painting and sculpture. “Chang's yang” may be characterized as the vigorous modelling of movement, such as fluttering drapery, as described in the T'ang-dynasty comments on Wu Tao-tzu's painting. It seems to have been the “pattern” mainly employed for lowranking deities with which was relatively easy to suggest movement. In the T'ang-dynasty wall paintings at Tunhuang, those of the early and high T’ang made distinctions between bodhisattvas and lower-ranking deities in the depiction of their scraves. From the mid-T'ang period, however, the emphasis is seen in the movement in the fluttering scarves of both ranks of deities. This shift can be understood as a change in the depiction of scarves, based on the newly developed “formal pattern” of the “Wu's yang.” Therefore it is assumed to have occured during the transitional stage between high T’ang and midT’ang. Each of these “patterns” may have had distinct significance in the making and appreciation of Buddhist sculpture as a clearly recognized canon in late T'ang, while functioning as categorization of Buddhist images with different imageries. The statue of Ekādaśamukha at Hokke-ji and the statue of Avalokitesvara at Daigo-ji, which represent the early Heian-period, had a two-dimensional, pictorial “pattern” as their model, which was skillfully translated into a three-dimensional modelling of sculpture. These examples show that the making of Buddhist sculpture employed pictorial “patterns” as models and conquered the concomitant difficulties in the process of its development. As for the movement in the drapery, a certain relationship with the contemporaneous “Wu's yang” of China may be assumed. This is a quick reflection of the canon in late T'ang. Early Japanese use of “patterns,” found in the bodhisattvas playing music as well as other deities in painting and relief at Tódai-ji, suggests that the practice emerged in the making of painting and relief in the latter half of the Tenpyō period. The above argument leads to the following assumptions. First, Chinese influence on Japanese sculpture of the time was strongly pictorial in nature. Second, the Japanese interest in the “formal pattern” was crucial in the acceptance of the Chinese influence. Inoue's argument that the Hokke-ji statue dates from the high T'ang period can be negated on the basis of the following characteristics of the statue. It had a pictorial “pattern” as its model, which was commonly used for paintings of the same deity in Japan. It is imagined that the introduction of “formal patterns” to Japanese Buddhist sculpture was made possible as the Japanese sculptors were interested in proper use of different “patterns” and their foreign nature.

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