地域観光資源の 多言語解説文データベース

Buddhist Statues of the Wakasa Region

Overview

The Wakasa region has a large number of valuable Buddhist statues for a non-metropolitan area. Many of them are high-quality works created in the former capitals of Nara and Kyoto that are designated Important Cultural Properties. The presence of such sculptures can be attributed to several factors, including the early spread of Buddhism to Wakasa, the relative proximity to the old capitals, the wealth generated by Obama’s port trade, and the fact that the region was largely spared from the damages of civil war. While some statues are kept in the Wakasa History Museum, most remain in the same temples where they have been worshipped for centuries.

Learn More

The Spread of Buddhism to Wakasa

After Buddhism was introduced to Japan from mainland Asia in the sixth century, it was accepted in the capital and promoted through the founding of temples. This was furthered by an imperial order issued in 741, requiring each province to establish a state-sponsored temple (kokubunji). In Wakasa Province, a kokubunji temple was constructed in 807.

Judging by the age of certain statues and temples, Buddhism seems to have reached Wakasa more quickly compared to some other regions. This is attributed in part to the number of monks that traveled there for ascetic training. The mountains of Wakasa were reportedly a popular choice for such training, being far enough from the capital to feel removed from the cultural and political center, but close enough for an easy return if need be. Early exposure to Buddhism contributed to the deep attachment to the faith that prevails among people in the region.

Statuary through the Ages

The Buddhist statue believed to be the oldest in Wakasa was created sometime between the late seventh and the early eighth century. It depicts Kannon, the bodhisattva of compassion, in an eleven-headed form. Dating Buddhist statuary includes analyzing the technical skill involved and identifying visual characteristics typical for certain historical periods, in addition to purely scientific methods. A display board along the wall uses sculptures of Kannon to illustrate the differences between works produced in different eras.

Asuka through Nara Periods (552–794): Early Buddhist statues from the sixth to the eighth centuries were carved with stylized features and mysterious expressions. They were usually made of wood or gilt bronze.

Heian Period (794–1185): In the ninth and tenth centuries, statues were more likely to be made of wood. A single piece of wood was used to carve the entire figure in a technique called ichiboku-zukuri. In combination with the use of large tree trunks, this method made it possible to create sculptures with much bigger, taller bodies. The works of that period became grander and more imposing, with sterner facial expressions and clothing with heavy folds.

The statues of the eleventh and twelfth centuries are characterized by gentler, warmer expressions, round faces, and slender bodies dressed in light, draping robes. The yosegi-zukuri (joined woodblock) technique, in which parts of the sculpture were carved separately and then assembled for more detailed work, was introduced and popularized during that time.

Kamakura Period (1185–1333): In the thirteenth century, Buddhist sculpture style began to shift toward more realistic depictions of the face, body, and clothing. Figures were carved with determined facial expressions and a certain tension in the form. The gyokugan (literally “jewel eyes”) technique of adding crystal eyes that shone in the low lighting of temple interiors became popular.

Flourishing Temples in an Era of Trade

The wars that occurred from the twelfth to the early seventeenth century caused the destruction of many religious institutions and priceless treasures across Japan. Although some conflict did occur in the Wakasa area, it was spared the large-scale battles that ravaged many other provinces. Fewer temples and statues made of wood were lost to fire, and surviving temple records have proved invaluable to modern researchers.

Another factor that contributed to the presence of high-quality Buddhist statuary in the region was the flourishing trade in Obama, which was a thriving port town for centuries. It was especially prosperous in the Edo period (1603–1867), when religious institutions were supported by the imperial court, the Sakai family who ruled the Obama domain, and wealthy merchants. This gave temples the means to obtain valuable sculptures made by experienced craftsmen in Kyoto.

Protection from the Anti-Buddhist Movement

Buddhism and Shinto were practiced in a syncretic fusion for over a thousand years, but in 1868, the Meiji government issued an order to separate the two religions. This triggered a wave of anti-Buddhist sentiment, and many temples, statues, and other works of art were lost. However, in present-day Wakasa there are temples enshrining statues of Shinto deities, as well as temples with sculptures thought to have been transferred from other locations to save them from harm. The deep faith of the people in the region helped preserve many treasures that would otherwise have been destroyed.

若狹地區的佛像

概要

若狹雖然不是大都市，卻擁有衆多珍貴的佛像，其中很多收藏更是來自古都奈良和京都時期的傑作，並被指定為國家重要文化財。這些佛像之所以收藏在若狹，有幾個原因：其一，佛教傳入若狹年代較早；其二，若狹的地理位置鄰近兩大古都；其三，小濱港的貿易活動為若狹地區帶來了財富；其四，若狹的大部分區域未受內戰波及。如今，這些佛像大部分數世紀以來一直被供奉在原初的寺廟裡，有一部分保存在若狹歷史博物館中。

瞭解更多

佛教傳入若峽地區

西元6世紀，佛教自亞洲大陸傳入日本後，很快就被當時的首都接納。佛寺紛紛建立，佛法得到傳播。西元741年，天皇發佈敕令，要求各「國」（地方行政區劃分，有別於「國家」）修建「國分寺」，即國立佛教寺院，此舉更進一步推動了佛教的發展。若狹國的國分寺則於西元807年建立。

從現存部分佛像與佛寺的年代來看，佛教傳入若狹的時間似乎比其他地區更早一些，其中一個原因或許是曾有大量僧侶來到當地苦修。據說，多山的若狹地區與首都之間的距離，既能給人以遠離政治和文化中心之感，又能在必要的時候及時返回，因此常被選為苦修之地。由於接觸佛教較早，若狹地區人民普遍信奉佛教，且信仰虔誠。

不同時期的造像工藝

若狹地區最古老的佛像被認為創作於西元7世紀晚期至8世紀早期之間，是一尊十一面觀音菩薩像。判斷佛像的年代，除了運用科技分析之外，還需要考量造像工藝，對比不同歷史時期佛像造型的典型特徵。牆邊展覽板上的數尊觀音像，形象介紹了不同時期造像的區別。

飛鳥時代至奈良時代（552-794）：

西元6世紀至8世紀的早期佛像在雕刻工藝上帶有明顯的風格特徵，佛像神態富有神秘感，通常為木雕或鍍金銅塑。

平安時代（794-1185）：

西元9世紀至10世紀之間的佛像多為木雕作品。以一塊木料雕刻整尊佛像的工藝稱為「一木造」，所使用的樹幹越粗壯，佛像也就越宏偉。這一時期的佛像作品神情嚴厲，衣飾褶皺厚重，給人以更為莊嚴的印象。

西元11世紀至12世紀的佛像則以優雅溫和的神情、圓潤的臉龐、修長的軀幹和輕薄垂墜的衣袍為特徵。這段時期引入了「寄木造」工藝，並得到廣泛應用。這種工藝採用多塊木料拼合，各部分獨立雕琢後再加以組合，完成造像，因此能夠呈現更精緻的雕刻細節。

鐮倉時代（1185-1333）：

進入13世紀後，佛像面部、軀體和衣飾的雕刻開始趨向於寫實。這一時期的佛像通常表情堅定，形態具有一定的張力。「玉眼」工藝在這一時期開始流行。如字面所示，「玉眼」採用水晶鑲嵌佛像雙眼，在寺廟幽暗的室內依然閃亮。

貿易時代寺廟的繁榮

西元12世紀至17世紀早期之間爆發的戰爭，給日本各地的宗教場所和無價之寶造成嚴重的破壞。儘管若狹地區也不免遭受波及，卻幸運地避開了令其他許多地區遭到嚴重破壞的大規模戰事。在這裡，甚少有木構寺廟與木雕佛像毀於戰火，留存至今的寺院記錄更是現代研究者眼中的瑰寶。

當地之所以能夠擁有高品質的佛像，小濱發達的商貿也是緣由之一。數世紀以來，小濱一直是商業發達的港口市鎮，進入江戶時代（1603-1867）後尤為繁榮。當地宗教機構在當時得到了來自朝廷、統治小濱藩的酒井家，以及各大富商的支持，這使得寺院能夠獲得由京都能工巧匠製作的珍貴雕像。

反佛浪潮中的佛教保護

在日本，佛教與神道教的融合有著上千年的歷史，直至明治政府於1868年發佈政令，拆分兩教。廢佛毀釋之勢興起，導致許多佛寺、佛像和藝術品在這股浪潮中消失。然而，如今的若狹地區依然有供奉著神道教神明的佛寺，也有一些佛寺裡供奉著被認為是從其他地區遷來當避難的佛像。由於當地居民對佛教的虔誠信仰，許多原本可能被破壞的珍寶得以保存至今。

若狭地区的佛像

概要

若狭虽然不是大都市，却拥有大量的珍贵佛像，其中很多都是出自古都奈良和京都的杰作，并已被指定为国家重要文化财产。这些佛像之所以能留存于本地，大致有如下几个原因：佛教传入若狭的时期较早、若狭的地理位置邻近两大古都、小浜港的商贸活动为若狭积累了财富，以及若狭的大部分区域未受内战破坏。如今，这些佛像的一部分保存于若狭历史博物馆内，其余大部分则数百年来一直被供奉在原初的寺院中。

了解更多

佛教传入若峡地区

公元6世纪，佛教自亚洲大陆传入日本后很快被当时的首都接纳，佛寺随之纷纷建立，佛法也得到广泛传播。公元741年，天皇发布敕令，要求各“国”（地方行政区划名，有别于“国家”）修建“国分寺”，即国立佛教寺院，此举进一步推动了佛教的发展壮大。若狭国的国分寺也因此于公元807年建立。

从佛像与佛寺的年代来看，佛教传入若狭的时期应该早于其他地区，其原因之一在于曾有大批僧侣前来苦修。据说，多山的若狭地区成为热门的苦修之地是因为与首都之间的距离感——既让人觉得远离政治和文化中心，又能在必要的时候及时返回。由于接触佛教较早，本地区民众普遍信奉佛教且信仰虔诚。

不同时期的造像工艺

若狭地区最古老的佛像是一尊十一面观音菩萨像，此像被认为创作于公元7世纪晚期至8世纪早期之间。判断佛像的年代，除了借助科技手段之外，还需要分析造像工艺、对不同历史时期佛像造型的典型特征进行对照。墙边展板上的几尊观音像，形象地展示了不同时期造像的区别。

飞鸟时代至奈良时代(552-794)：

公元6世纪至8世纪的早期佛像在雕刻工艺上带有明显的特征，面相神态大都富有神秘感，通常为木雕或镀金铜塑。

平安时代(794-1185)：

公元9世纪至10世纪之间的佛像更多为木雕作品。仅以一块木料雕刻整尊佛像的工艺称为“一木造”，选用的树干越大，佛像也就越宏伟。这一时期的佛像作品神情严厉，衣饰褶皱厚重，给人以更为庄严的印象。

公元11世纪至12世纪的佛像则以优雅温和的神情、圆润的脸庞、修长的躯干和轻薄垂坠的衣袍为特征。“寄木造”工艺在这一时期被引入，并得到普及发展。这种工艺采用多块木料拼合，各部分独立雕琢后再加以组合，完成造像，因此可以雕塑更为精细的佛像。

镰仓时代(1185-1333)：

进入13世纪后，佛像面部、躯体和衣饰的雕刻开始趋向于写实。这一时期的佛像通常表情坚定，形态具有一定的张力。“玉眼”工艺在这一时期开始风行。如字面所示，这种技术采用水晶镶嵌佛像双眼，令其在寺庙幽暗的室内依然闪亮。

贸易时代寺庙的繁荣

公元12世纪至17世纪早期之间爆发的战争，毁掉了日本各地的诸多宗教设施与无价之宝。尽管若狭地区不免遭受波及，但幸运地避开了曾令其他许多地区损害严重的大规模战事。这里的木构寺庙与木雕佛像很少毁于战火，留存至今的寺院档案更是现代研究者眼中的瑰宝。

本地区之所以能够拥有高品质的佛像，小浜发达的商贸也是缘由之一。数世纪以来，小浜一直是生机勃勃的港口市镇，进入江户时代(1603-1867)后尤为繁荣。本地宗教机构在当时得到了来自朝廷、统治小浜藩的酒井家族，以及各大豪商的支持，也因此能有机会获得京都能工巧匠制作的珍贵雕像。

反佛浪潮中的佛教保护

在日本，佛教与神道教的融合有着上千年的历史，直至明治政府于1868年发布政令，拆分两教。废佛毁释之势兴起，许多佛寺、佛像和各类艺术品消失在这股浪潮之中。然而，如今的若狭地区依然有供奉着神道教神明的佛寺，也有一些佛寺里供奉着据说是从其他地方迁来本地避难的佛像。许多本来可能会被毁坏的珍宝因本地区民众对佛教的虔诚信仰而得到了保护。