地域観光資源の 多言語解説文データベース

Maki Odo Temple: Sanctuary of Buddhist Treasures

At its peak many years ago, Makisan Denjoji Temple was one of the largest temples on the whole peninsula, a center for ascetic training. (If you would like to believe the legend, this is also where the ox with the wood from Fukiji Temple grew tired and refused to move any further with his load.) Today, however, it is most important for housing some of the finest examples of wooden Buddhist statuary in Japan—all Important Cultural Properties carved in the Heian period (794–1185). Even seen in this contemporary structure, their presence is powerful and intense, befitting their exalted positions in Esoteric Buddhism’s pantheon. There is an aura of mystery however, for there is no clear record of where they came from or when—just another of the historical and spiritual enigmas that seem to haunt the mountains of the Kunisaki Peninsula.

Amida Nyorai

The centerpiece of the Treasure Hall is the seated image of Amida Nyorai, made of several large sections of Japanese cypress and guarded by four armored devas. The peaceful meditative pose and calm facial features of this 216-centimeter-tall statue are in sharp contrast to the poses of the four guardians, who seem caught in action. The bare skin of the Amida statue appears black where the gold leaf has worn down to show the dark lacquer base coat beneath. The shape of the face is not as round as most depictions of this deity, and the position of the hands is in their most welcoming alignment.

Fudo Myo-o

To the right of Amida is a rare standing image of Fudo Myo-o, a protective deity, with two attendants at its side. At over 250 centimeters, this is one of the largest wooden statues of this Buddhist figure in Japan. The exaggerated appearance is not meant to depict evil, but to frighten people into accepting salvation. Hints of the original indigo color of the robes are still visible in places on the worn surface. His right eye is clear and looking toward heaven, while his left is clouded and looking down at the earth. On his back is a spectacular rendition of a flaming sacred phoenix that swirls all around him, probably a later addition from the Edo period (1603–1867). The sword he wields in his right hand is said to cut through ignorance.

Daiitoku Myo-o

To the left of Amida sits a wooden image of Daiitoku Myo-o on a water buffalo. Like the figure on the other side, this is one of the Five Great Wisdom Kings of Esoteric Buddhism. His Sanskrit name is Yamantaka, or “one who terminates death” —so it’s easy to understand why he became popular as a god of warriors. At 241 centimeters in height, this is the largest wooden statue of this Buddhist deity in Japan. The very lifelike head and body of the water buffalo heightens the exaggerated physical nature of the king on its back, with his six faces, six arms, and six legs. (The animal is construed by some as support for the legend of the nutmeg tree of Fukiji Temple, but it also appears in earlier renditions of Yamantaka in China and India, so the connection is doubtful.)

真木大堂：坐擁佛教至寶的神聖之地

馬城山傳乗寺在多年前的頂盛時期，曾是整座半島最大的寺院之一，也是修行的中心。（根據傳說，搬運富貴寺木材的牛隻因筋疲力盡，止步於此，不肯再繼續前進）。如今，日本最傑出的九尊木造佛像即供奉於此，使其成為舉足輕重的寺院。其中包含本尊阿彌陀如來坐像，以及日本最巨大的不動明王立像與大威德明王像等木雕，皆造於平安時代（794-1185），並榮膺國家級「重要文化財」。與同年代建築相比，馬城山傳乗寺在密教殿堂中地位甚高，是強而有力的存在。其佛像充滿神秘靈氣，卻未有出處及落成年代的明確紀錄，讓國東半島的群山，籠罩在這片歷史悠久又極奧妙的謎團之中。

阿彌陀如來

收藏庫的焦點，當屬阿彌陀如來坐像。佛像採用多塊檜木製成，周遭有身穿甲冑的四大天王護衛。佛像高達216公分，呈冥想之姿，體態莊重，表情沉穩，與充滿動感的四大天王形成強烈對比。阿彌陀如來坐像的肌膚質地偏黑，這是由於當初包覆的金箔漸漸剝落，以致下方的暗色塗漆顯現的緣故。雕像的臉部輪廓比一般佛像略顯瘦削，而雙手擺放的位置則恰到好處。

不動明王

阿彌陀如來的右方，是難得一見的不動明王立像。作為阿彌陀如來的守護神，不動明王兩側也有兩尊隨侍。該明王高達255公分以上，也是日本最大的不動明王木雕像之一。雕像面部猙獰誇張，但目的並非表現惡意，而是為了震懾世人，以令其接受救濟。神像的袈裟原為藍色，如今雖已陳舊，不過仍可辨識當初的用色。混濁的左眼直視地面，澄澈的右眼則遠望天際，而背後的圖像更是重頭戲——傳說中會噴火噬龍的金翼巨鳥「迦樓羅」的迦樓羅焰，如熊熊燃燒的烈火。據推測，該處設計應是於江戶時代（1603-1867）後期新增的部分。

大威德明王

阿彌陀如來坐像的左手一側，是騎乘水牛的木造大威德明王像。與另一側的神像相同，大威德明王也是密教五大明王之一。其梵名為「閻曼德迦（Yamantaka）」，意即「終結亡神、勝伏死主」。因此應不難理解，大威德明王為何是深受世人愛戴的戰神。這尊神像高達241公分，是日本最大的大威德明王木雕像。水牛的頭部與身體部分栩栩如生，讓騎乘於上的六面六臂六足明王更顯誇張。

真木大堂：坐拥佛教至宝的神圣之地

马城山传乘寺在多年前的黄金时代，不仅是整座半岛最大的寺院之一，也是修行的中心。（根据传说，搬运富贵寺木材的牛只因筋疲力尽，止步于此，不愿再继续前行）。如今，作为日本举足轻重的寺院，国内最杰出的九尊木造佛像皆供奉于此。其中包括本尊阿弥陀如来坐像，以及日本最宏大的不动明王立像和大威德明王像等木雕，皆造于平安时代（794-1185），并被指定为国家级“重要文化财”。相较于同年代建筑，马城山传乘寺在密教殿堂中地位甚高，是强劲有力的存在。其佛像充满神秘灵气，却沒有出处及落成年代的明确纪录，让国东半岛的群山，笼罩在这片历史悠远又极富玄妙的谜雾之中。

阿弥陀如来

作为收藏库焦点的阿弥陀如来坐像，全身采用多块桧木制成，周遭有身着甲胄的四大天王护卫。佛像高达216厘米，呈冥想之姿，体态庄重，表情沉稳。充满动感的四大天王则与其形成强烈的对比。阿弥陀如来坐像的肌肤质地偏暗，这是由于当初包覆的金箔渐渐剥落，导致下方的深色涂漆显露而出。雕像的脸部轮廓较一般佛像略显瘦削，而双手摆放的位置则恰到好处。

不动明王

阿弥陀如来的右侧，是难得一见的不动明王立像。作为阿弥陀如来的守护神，不动明王两侧也有两尊随侍。该像高达255米以上，是日本最大的不动明王木雕像之一。雕像面部表情狰狞夸张，是为震慑世人，以令其接受救济，而非表现恶意。神像的袈裟原为蓝色，如今虽已陈旧，不过当初的用色仍依稀可辨。混浊的左眼直视地面，澄澈的右眼则远眺天际，而背后的图像更是压轴好戏——传说中会喷火噬龙的金翼巨鸟“迦楼罗”的迦楼罗焰，如熊熊燃烧的烈火。据推测，该处设计应是于江户时代（1603-1867）后期新增的部分。

大威德明王

阿弥陀如来坐像的左手一侧，是骑乘水牛的木造大威德明王像。大威德明王与另一侧的神像相同，也是密教五大明王之一。其梵名为“阎曼德迦（Yamantaka）”，意指“终结亡神、胜伏死主”。由此便可轻易理解，战神大威德明王为何如此深得百姓爱戴。这尊神像高达241厘米，是日本最大的大威德明王木雕像。水牛的头部与身体部分栩栩如生，使得骑乘于上，拥有六面六臂六足的明王更显夸张。