地域観光資源の 多言語解説文データベース

Northern Round Hall

Statues of the Monks Mujaku and Seshin

National Treasures

Mujaku (Asanga) and Seshin (Vasubandhu) were a pair of famous scholar-monks who lived in northwest India during the fourth and fifth centuries and traditionally said to have been brothers. These sculptures are attributed to Unkei (1150–1223) and dated to around 1212. They flank a statue of Maitreya, the Buddha of the Future, who is said to have appeared in a dream to Mujaku. Mujaku wrote down Maitreya’s teachings and gave them to Seshin. Followers of the Hosso School, of which Kofukuji is the head temple, venerate the pair as two of its founding patriarchs.

In sculpting these very lifelike figures, carved by the assembled woodblock-construction technique, Unkei attempted to express an ideal of the Buddhist practitioner in a manner that transcends ethnicity or historical context. Though they are a pair, their expressions are very different. The aged and slightly gaunt Mujaku gently gazes down upon living beings while clutching a cloth-wrapped parcel to his chest. His younger brother Seshin is depicted as a middle-aged man who gazes into the distance with determination. The massive bodies of both images convey a sense of imposing dignity and assurance, while the crystal eyes bring their faces alive. For these reasons, they are considered not only representative of Unkei’s oeuvre, but two of the greatest works of Japanese sculpture.

北圓堂

木造無著·世親立像

國寶

無著和世親是西元4至5世紀時生活在印度西北部的著名高僧，通常認為他們是兄弟倆。這組雕像被認為是著名佛像造像師運慶（1150-1223）的作品，完成於1212年前後。它們分侍彌勒佛像左右。彌勒是未來佛，相傳曾在無著的夢中顯聖。無著記錄下彌勒佛的教誨，傳給了世親。法相宗的信徒尊奉這對兄弟為創派祖師，而興福寺正是法相宗的大本山之一。

這對雕像采用多塊木料拼合的寄木造工藝製成，形象栩栩如生。在創作過程中，運慶試圖超越種族與歷史背景的局限，塑造佛教徒的完美典型形象。兩尊雕像雖為一對，表情卻大異其趣。較為年長、憔悴的無著手托包袱至胸前，雙眼低垂，凝望著眾生。弟弟世親則是中年人形象，目光堅定地望向遠方。兩尊雕像皆體闊身寬，傳遞出尊嚴與自信，水晶鑲嵌的眼睛令雕像面容更加鮮活生動。因此，它們不但被視為運慶畢生創作的代表作，也是日本雕刻史上最偉大的傑作之二。

北圆堂

木造无著·世亲立像

国宝

无著和世亲是公元4至5世纪时生活在印度西北部的著名高僧，通常认为他们是兄弟俩。这组雕像被认为是著名佛像造像师运庆(1150-1223)的作品，完成于1212年前后。它们分侍弥勒佛像左右。弥勒是未来佛，相传曾在无著的梦中显圣。无著记录下弥勒佛的教诲，传给了世亲。法相宗的信徒尊奉这对兄弟为创派祖师，而兴福寺正是法相宗的大本山之一。

这对雕像采用多块木料拼合的寄木造工艺制成，形象栩栩如生。在创作过程中，运庆试图超越种族与历史背景的局限，塑造佛教徒的完美典型形象。两尊雕像虽为一对，表情却大异其趣。较为年长、憔悴的无著手托包袱至胸前，双眼低垂，凝望着众生。弟弟世亲则是中年人形象，目光坚定地望向远方。两尊雕像皆体阔身宽，传递出尊严与自信，水晶镶嵌的眼睛令雕像面容更加鲜活生动。因此，它们不但被视为运庆毕生创作的代表作，也是日本雕刻史上最伟大的杰作之二。