{"id":40917,"date":"2023-06-10T05:41:23","date_gmt":"2023-06-09T20:41:23","guid":{"rendered":"http:\/\/kochihen.replan.ne.jp\/?p=40917"},"modified":"2023-06-11T21:54:28","modified_gmt":"2023-06-11T12:54:28","slug":"%e3%80%90%e8%81%96%e5%be%b3%e5%a4%aa%e5%ad%90%e3%80%81%e9%9e%8d%e4%bd%9c%e6%ad%a2%e5%88%a9%e3%81%ab%e3%80%8c%e4%b8%88%e5%85%ad%e4%bb%8f%e3%80%8d%e3%82%92%e9%80%a0%e3%82%89%e3%81%9b%e3%82%8b-%e6%b3%95","status":"publish","type":"post","link":"http:\/\/kochihen.replan.ne.jp\/?p=40917","title":{"rendered":"\u3010\u8056\u5fb3\u592a\u5b50\u3001\u978d\u4f5c\u6b62\u5229\u306b\u300c\u4e08\u516d\u4ecf\u300d\u3092\u9020\u3089\u305b\u308b \u6cd5\u9686\u5bfa\u5b9d\u7269\u9928-13\u3011"},"content":{"rendered":"

\"\"<\/a>
\n\"\"<\/a>
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\n\"\"<\/a>
\n\"\"<\/a>
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\n\u6642\u7a7a\u3092\u8d85\u3048\u308b\u98db\u9ce5\u306e\u6642\u4ee3\u306e\u3082\u306e\u3065\u304f\u308a\u306e\u69d8\u5b50\u3002\u5171\u611f\u3092\u6301\u3063\u3066\u305d\u306e\u7a7a\u6c17\u611f\u304c\u8feb\u3063\u3066\u304f\u308b\uff08\u7b11\uff09\u3002<\/p>\n

English version\u2b07<\/p>\n

Shotoku Taishi had Kurusaku Tadatoshi create the Jorokubutsu (Jorokubutsu).
\nA meeting with the creator of the Jorokbutsu, which can be assumed to be the Great Buddha of Asuka, at the time of its creation. Construction site. Report on Asuka’s “monozukuri” site. \u30fb\u30fb\u30fb\u30fb.<\/p>\n

The thirteenth article in the “Shotoku Taishi Era Biography” series from the Gallery of Horyuji Treasures discusses the relationship between Kuramatsuki-Tsumari, the creator of the Asuka Great Buddha, and Shotoku Taishi, who ordered the construction of the national temples.<\/p>\n

After delving into the pictorial biography of Prince Shotoku, I finally encountered a direct scene between Kurusaku Toritoshi and Prince Shotoku. A clear pattern found in the maze of pictorial biography search. In the third article in this series [Modeled after Shotoku Taishi? Two Buddhist statues: The Gallery of Horyuji Treasures-3].
\nThe photo above is of the Great Buddha of Asukadera Temple, the biggest draw for me to explore the Asuka area. The creator of this first Buddhist statue in Japan was Mr. Toritoshi Kuramasaku, and the style of his work really resonated with me. The connection between the creator and Prince Shotoku is expressed in a scene from the pictorial biography. As an ordinary person who is not a scholar, I felt cathartic enough to be convinced of the atmosphere of Japanese society at the time when Buddhism was first introduced (laugh).
\nIn the second picture, Prince Shotoku is seated on the right side, chatting with his entourage, while in another room on the left, a person who appears to be a Buddhist priest and his collaborators are working on the ancestral model of a Buddhist statue. The Jorokubutsu is a 4.8-meter statue of the Great Buddha, and we can imagine that what is depicted in this painting is a human-sized prototype or model of the motif that was conceived. It is likely that Prince Shotoku, who was in charge of placing the order, had detailed discussions with the artist, Kuramasaku Tomotoshi, based on the prototype. The expression on Prince Shotoku’s face is soft, similar to the gentle gaze toward animals we saw yesterday. It must have been a sukiyomi.
\nAnd the clothing of the Buddhist priests has the characteristics of “exotic costumes,” as explained in the catalogue of the 1965 exhibition of the pictorial biography of Prince Shotoku at the Nara National Museum. I find this a convincing professional opinion from a museum curator. It conveys the reality of the social background of the introduction of Buddhism.<\/p>\n

On the other hand, the picture also shows the construction of Asukadera Temple, where the Jorokubutsu was enshrined, and which was later relocated to become Gankoji Temple in Nara. This painting shows that foundation stones were not used and that the pillars were dug into the ground. This is a clue to the architectural technique of the “wooden frame” method of construction, in which nails were not used extensively. This is probably a scene of wooden carpenters, such as the “Koujin” (artisans) introduced the other day, at work.
\nIn the story of the founding of Asukadera Temple, it is said that when the time came to put the Joroku Buddha, which was made by a Buddhist priest, into this building, there was a construction accident because of a lack of intercommunication between the dimensions of the Buddha and the building. It is said that Kurusaku Tadatoshi solved the problem with his exquisite ingenuity and overcame the problem. \uff1cBut how did he do it? The method of how he did it has not been handed down.
\nIn paintings from the Nara period (710-794), carpenters can be seen wearing crow-shaped hats, which is said to have been a foreign architectural cultural fashion at the time. It would be interesting to delve deeper into this aspect of the art.
\nThe scene of manufacturing in the Asuka period transcends time and space. The atmosphere of the time comes to me with sympathy (laughs).<\/p>\n","protected":false},"excerpt":{"rendered":"

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