Sculpture History of Kyoto in the early Kamakura Period

本研究的目的是重新审视镰仓时期早期的雕塑历史，在这个时期，小庆、云庆、小庆等人建立了他们的创新风格。在目前的学者看来，镰仓雕塑史，更准确地说，“早期”镰仓雕塑史被描述为Kei学派佛教雕塑家的历史。这一观点基于以下框架。自关馆时期“Wayo”雕塑风格确立后，以“Wayo”风格的领军人物“Jocho”命名的Jocho风格在平安时代晚期占据主导地位。但在平安时代末期，随着Kei学派雕塑家的兴起，奈良地区出现的新风格取代了它作为代表风格。然而，如果从表面上看，这种描述镰仓雕塑历史的方式是误导的，因为它给我们的印象是雕塑执行的中心是在奈良。他们的主要作品中有更多的艺术作品留在那里，这一事实加强了这种印象。为了验证这一传统观点，首先，我们查询了相关时期的雕塑，其次，收集了Goshirakawa-Insei时期（1158-1197）和gotopa - insei时期（1198-1221）的艺术史书面文件。前一个时期正好在镰仓时期的前面而后一个时期正好在镰仓时期的早期。对这些雕塑的研究结果显示，在迄今为止被认为是京都雕塑家在平安时代末期创作的作品中，有不少作品实际上是镰仓时代早期的作品，例如鸟取县Chorakuji寺的佛像。此外，通过对文字资料的分析，我们可以看出京都雕刻家，尤其是仁派雕刻家的活跃程度。所有这些都清楚地表明，主要在京都的传统工作室的佛教雕刻家在镰仓早期并不逊色。通过我们的成果，我们相信我们可以展示重新考虑镰仓雕塑研究中过分强调Kei学派雕塑家的总体趋势的必要性。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