彫刻の和様

Abstract

Many papers contend that the characteristics of Japanese style in sculpture are found in the words "elegance" or "feeling". This contention, however, is simply giving words to impressions received from looking at the outward form of Japanese sculpture and does not explain what actually comprises Japanese style. With this in mind, the purpose of this paper is to examine the Hōō Dō Amida Buddha as a typical example of Japanese taste in sculpture and to contrast it with examples of Chinese sculpture. The conclusions which I have drawn are the follwing. 1. Generally speaking, Japanese sculpture from the Asuka to Early Heian period (7 th to 10 th century) existed under the influence of Chinese sculpture being produced simultaneouly from the Northern Wei to the Middle Táng period. Therefore, Japanese and Chinese sculpture at this time reflect many common characteristics in forms of sculpture and in patterns of stylistic evolution. 2. However, certain differences are clearly present. Chinese sculpture was inclined to express fullness and might by placing emphasis on massive volume, while Japanese sculpture at the same period inclined toward gentleness and harmonious proportion through an arrangement of surface detail. 3. The Hōō Dō Amida Buddha image by Jōchō crystallized the qualities of Japanese sculpture which had been developing gradually from the Asuka to early Heian period. The feeling of fullness and might were negated and the contours of figures were softened by flattening volume and creating a more subtle style of sculpture. 4. While Chinese sculpture was grasping toward an objective understanding of an object, in order to reproduce the actual existence of an object, Jōchō in his Amida Buddha was, on the other hand, attempting to reproduce an object in which there would be no barrier of understading between the object and the viewer. In this quality rests the essence of Japanese style in the Hōō Dō Amida Buddha.