八幡神・女神像の手勢と坐法についての若干の覚書き : 京都府岩滝町・板列八幡神社・女神坐像をてがかりに
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概要
- 論文の詳細を見る
Itanami-Hachiman Shrine in Iwataki-cho, Kyoto, has two seated figures of female deity, which are thought to have been made originally as attendant statues of Hachiman-Trinity. Both figures, probably made in the late 10th century, are identical in their postures of arms-and-hands' the each left arm in front of stomach with its hand in the right upper arm, whose forearm is lifted up before the breast. My assumption on this rare posture is that: It had derived from the former pose of the figure, I. E., sitting with one leg properly folded under one but the other drawn up; The sculptor probaly changed the pose mentioned above to one as being seen now, I. E., sitting straight on her seat; and being supposed to be symmetrical as attendants in the trinity, the two figures are made identical in their poses. From this point of view, there might be two patterns of arms-and-hands' one left arm being put on the drawn up knee, the other the same left arm lifted without aid by that knee. A retrospective scrutiny of the formative process of that trinity tells us a little on this problem, too. In the first phase, there was, I suppose, only one single image of deity, but one female figure was added (the second phase), and one more female (the third phase). The pose of figure with its knee drawn up, presumed above, might be thought to be in the second phase, in which no counter-part to be symmetrical needed. But there have been another account of the pose of the trinity that it derived from the Hachiman-Sansho-Zuei (three landscapes of Hachiman-Shrine), now in Ninnaji-Temple. In this picure, the female deity sits straight on her seat. This pose had been traditional in Japan, but was inhibited in the Ritsu-Ryo-Sei, newly-established political system based on various legal codes, except in the case in front of the Emperor both in China and in Japan. The logical conclusion is that the pose of the female deity is that of preying in front of the Ten-no (The Japanese Emperor). In other words, the two female figures in Itanami-Hachiman Shrine besed its style on the buddhist trinity tradition, but was transformed its detail (especially the posture of arms-and-hands) and meaning in the context of Jin-Gi-Sei, a political system in which the Emperor is ranked higher than the Deity.
- 東北芸術工科大学の論文