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作者 Drogin, Melanie Beth
書名 Images for warriors: Unkei's sculptures at Ganjojuin and Jorakuji
國際標準書號 9780599790865
book jacket
說明 208 p
附註 Source: Dissertation Abstracts International, Volume: 61-05, Section: A, page: 1653
Director: Mimi Hall Yiengpruksawan
Thesis (Ph.D.)--Yale University, 2000
Early in his career, the sculptor Unkei (ca. 1150--1223) carved two sets of images for temples in Japan's eastern region. The first set was produced in 1186 (Bunji 2) for Hojo Tokimasa, who was the father-in-law of Minamoto Yoritomo, the leader of the new military government ( bakufu) headquartered in Kamakura. Tokimasa subsequently installed these images at Ganjojuin, a temple he constructed at his home base in Nirayama, Izu (Shizuoka). In 1189 (Bunji 5), Unkei created a similar group of sculptures for Wada Yoshimori, the first director of the bakufu's bureau of samurai. These images were installed at Jorakuji, Yoshimori's temple in Ashina, Sagami (Kanagawa). Both Tokimasa and Yoshimori hailed from locally powerful families, and were among the gokenin (housemen; vassals or retainers) in Yoritomo's innermost circle. Unkei's sculptures at Ganjojuin and Jorakuji mark the connection forged between the busshi (makers of Buddhist images) of the workshop at Kofukuji in Nara, and the bushi (military men) of the new Kamakura regime
While the importance of these innovative works to the development of Unkei's style has been noted widely, the unusual iconography of these images has received little attention. The particular combination of figures at each temple appears to be unprecedented in Japanese sculpture, and may have originated in an obscure iconographic tradition of the Tendai school. Symbolizing the moment of death in sculptural form, this iconographic scheme was well suited for images commissioned by bushi for private temples constructed within their residential domains. The temple/residence complexes of the bushi, as sites where the military lifestyle and the desire for rebirth intermixed, were emblematic of the contradictions and compromises inherent in Buddhist belief among warriors, and provided a fertile ground for creativity in the formulation of appropriate imagery. In selecting an iconographic model for the Ganjojuin and Jorakuji works, Unkei was attentive to the requirements of a new class of patrons. The iconography of these sculptures yields information on Unkei's creative process, the character of private temples in the east, and the concerns that fueled the faith of men at a time of transition in Japanese society, religion, and culture
School code: 0265
DDC
Host Item Dissertation Abstracts International 61-05A
主題 History, Asia, Australia and Oceania
Art History
0332
0377
Alt Author Yale University
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