Sculpture History of Kyoto in the early Kamakura Period

本研究的目的是重新审视镰仓早期的雕塑史，当时小井、昂贵、凯凯等人确立了他们的创新风格。在目前学界的观点中，镰仓雕塑史，更准确地说，是一部早期的镰仓雕塑史，被形容为纪派佛教雕塑家的历史。这一观点是基于以下框架的。在塞堪时期雕塑风格“Wayo”确立后，以“Wayo”风格的领军人物Jocho命名的Jocho风格在平安晚期始终占据主导地位。但在平安末期，随着凯派雕塑家的崛起，奈良地区出现了新的风格，取代了它成为代表风格。然而，如果从表面上看，这种描述镰仓雕塑历史的方式是有误导性的，因为它给我们的印象是，雕塑创作的中心是在奈良。更大的p…强化了这一印象他们的主要作品中还有更多的艺术作品留在那里。为了检验这一传统观点，我们首先查询了相关时期的雕塑，其次收集了关于长川-永盛时期(1158-1197)和后藤场-永世时期(1198-1221)艺术史的书面文献。前一个时期正好在镰仓时期之前，而后者则落在镰仓时期的早期。对雕塑的研究结果表明，在迄今为止被认为是京都雕塑家平安末期创作的作品中，实际上有不少作品来自镰仓早期，比如鸟取寺的佛像，举个例子。此外，通过对文字资料的分析，我们可以看出京都雕塑家活动的蓬勃发展，特别是在学校的活动。所有这些都表明，以京都传统画室为主的佛教雕塑家在镰仓时代早期的活跃程度丝毫不减。通过我们的成果，我们相信我们有必要重新审视镰仓雕塑研究中过于强调纪派雕塑家的总趋势。较少

The purpose of this research is to reexamine the sculpture history in the early Kamakura period when Kokei, Unkei, Kaikei and others established their innovative style. In the current scholarly view, the Kamakura sculpture history, to put it more precisely, the "early" Kamakura sculpture history is described as the history of Kei school Buddhist sculptors. This standpoint is based on the following framework. After the establishment of sculptural style "Wayo" in Sekkan period, Jocho style, named after the leading figure of "Wayo" style Jocho, was dominant throughout the late Heian period. But at the end of the Heian period, the new style emerged in Nara district took it over as the representative style with the rise of Kei school sculptors. However, this way of describing the Kamakura sculpture history is misleading if taken at face value, since it gives us the impression that the center of the sculpture execution was in Nara. This impression is reinforced by the fact that the greater p … More art of their principal works remain there. To examine this conventional view, firstly, we have inquired the sculptures from the relevant period and secondly, collected the written documents concerning the art history from Goshirakawa-Insei period (1158-1197) and from Gotoba-Insei period (1198-1221). The former period is just anterior to the Kamakura period and the latter falls on the early Kamakura period. Outcomes of the research on the sculptures revealed that, among the works heretofore considered executed by Kyoto sculptor in the end of Heian period, not a few were actually from the early Kamakura period like the Buddhist statues in Chorakuji temple in Tottori, to cite a case. Furthermore, from the analysis of the written documents, we could demonstrate the flourishing activities of Kyoto sculptors, especially of In school. All these things make it clear that the Buddhist sculptors who belonged to the traditional studios mainly in Kyoto were no less active in the early Kamakura period. Through our achievement, we believe that we could show the necessity of reconsidering the general tendency in Kamakura sculpture studies which has laid disproportionate emphasis on Kei school sculptors. Less