地域観光資源の 多言語解説文データベース

Eastern Golden Hall

Statue of Yuima Koji

National Treasure

Yuima Koji (known as Vimalakirti in India) is the central character in the Vimalakirti Sutra, a seminal text of the Mahayana Buddhist tradition and a foundational sutra for Kofukuji Temple, whose name derives from the text. The sutra describes how Yuima attained the highest levels of insight without abandoning his life as a householder, and in debate, bested all of the greatest disciples in the Buddha’s entourage. This included the bodhisattva Monju (Manjushri), a sculpture of whom is displayed together with this work. For these reasons, Yuima Koji has long served as a role model and inspiration for Buddhists across Asia.

The sculptor Jokei created this statue in 1196 from assembled blocks of Japanese cypress using the sculpting technique known as yosegi-zukuri. It was decorated by the painter Koen. Yuima is represented as an old man showing the effects of illness and old age. He sits with legs in the full lotus position on a rectangular pedestal decorated with a relief carving of lions and peonies. Behind him stands a screen resembling a wooden rack with fabric draped over it. Yuima wears a soft cloth cap on his head, and a sash over plain robes. His left hand is held in a fist at chest height, while the right rests on his knee with the palm facing up and the index and middle fingers extended. Since it was meant to depict a real person rather than a Buddha or celestial being, this statue is an exceptional example of the new, highly realistic styles of Buddhist portraiture that were being imported from China and put to use by Nara-based sculptors during the early Kamakura period (1185–1333).

東金堂

木造維摩居士坐像

國寶

維摩居士又名維摩詰，是《維摩詰經》裏的核心人物。《維摩詰經》是大乘佛教的重要典籍，也是興福寺的根基之所在，寺名中的「興福」二字即出自這部佛經。這部經書講述了維摩詰如何以在家居士的身份領悟了最高的智慧法門，並在論經中勝過了佛陀身邊所有最了不起的弟子，包括文殊菩薩——他也出現在了這件雕刻作品中。基於以上種種原因，長久以來，維摩詰居士都被視為典範，激勵著全亞洲的佛教徒。

這尊坐像出自1196年，是佛像造像師定慶的作品，佛像取材日本檜木，采用拼合多塊木材的寄木造工藝雕刻而成。裝飾由畫師幸圓完成。維摩詰在這裏以受到疾病和年紀困擾的老人形象出現。他結珈趺坐在一個長方形基座上，基座飾有獅子和牡丹花的浮雕，身後豎著一個木架狀的屏風，上面覆蓋著織物。維摩詰本身頭戴軟帽，簡單的素袍上只系著一條衣帶，左手齊胸握拳，右手置於膝上，掌心朝上，食指和中指展開。這尊雕像意在表現一個真實的人，而非佛或仙人，因此，成為了鐮倉時代（1185-1333）早期高度寫實造像風格的傑出代表。這一造像風格自中國傳入，為當時承襲奈良式造像的日本造像師所吸納，並付諸實踐。

东金堂

木造维摩居士坐像

国宝

维摩居士又名维摩诘，是《维摩诘经》里的核心人物。《维摩诘经》是大乘佛教的重要典籍，也是兴福寺的根基之所在，寺名中的“兴福”二字即出自这部佛经。这部经书讲述了维摩诘如何以在家居士的身份领悟了最高的智慧法门，并在论经中胜过了佛陀身边所有最了不起的弟子，包括文殊菩萨——他也出现在了这件雕刻作品中。基于以上种种原因，长久以来，维摩诘居士都被视为典范，激励着全亚洲的佛教徒。

这尊坐像出自1196年，是佛像造像师定庆的作品，佛像取材日本桧木，采用拼合多块木材的寄木造工艺雕刻而成。装饰由画师幸圆完成。维摩诘在这里以受到疾病和年纪困扰的老人形象出现。他结珈趺坐在一个长方形基座上，基座饰有狮子和牡丹花的浮雕，身后竖着一个木架状的屏风，上面覆盖着织物。维摩诘本身头戴软帽，简单的素袍上只系着一条衣带，左手齐胸握拳，右手置于膝上，掌心朝上，食指和中指展开。这尊雕像意在表现一个真实的人，而非佛或仙人，因此，成为了镰仓时代(1185-1333)早期高度写实造像风格的杰出代表。这一造像风格自中国传入，为当时承袭奈良式造像的日本造像师所吸纳，并付诸实践。