Study of the activities of Kyoto Busshi in the history of the Buddhist Sculptures in the Kamakura Period

Research Project

Project/Area Number	15K16644
Research Category	Grant-in-Aid for Young Scientists (B)
Allocation Type	Multi-year Fund
Research Field	Fine art history
Research Institution	Tokyo National University of Fine Arts and Music
Principal Investigator	SASAKI Asuka 東京藝術大学, 大学院美術研究科, 研究員 (80620757)
Project Period (FY)	2015-04-01 – 2019-03-31
Project Status	Completed (Fiscal Year 2018)
Budget Amount *help	¥2,990,000 (Direct Cost: ¥2,300,000、Indirect Cost: ¥690,000) Fiscal Year 2017: ¥910,000 (Direct Cost: ¥700,000、Indirect Cost: ¥210,000) Fiscal Year 2016: ¥910,000 (Direct Cost: ¥700,000、Indirect Cost: ¥210,000) Fiscal Year 2015: ¥1,170,000 (Direct Cost: ¥900,000、Indirect Cost: ¥270,000)
Keywords	日本彫刻史 / 仏像 / 細部形式 / 平泉 / 中尊寺 / 美術史 / 仏師
Outline of Final Research Achievements	In the Kamakura period, Kyoto Busshi (Inpa School and Enpa School Sculptors) based their activities in Kyoto. There are a few extant Buddhist sculptures created by Kyoto Busshi in the Early Kamakura period, so the activities of Kyoto Busshi are not so known. This study attempted to follow their activities, and the influences of the new forms and the new styles, focusing on the Buddhist sculptures which presuming to be created by Kyoto Busshi or their peripheral sculptors based on my studies on the forms of the garments. These works scattered in Kinki, Shikoku and Tohoku region were found to have commonality in the forms such as the coiffures and the garments. From this, it was possible to recognize the existence of the rules of the forms shared by these works. Studying these Buddhist sculptures, it was reveal to the aspects how the new forms, which were different from the typical forms of the Late Heian period or Nara Busshi Scool and Keiha School, influenced the various places.
Academic Significance and Societal Importance of the Research Achievements	本研究で取り扱った作品群は、平安時代後期の仏像とも、奈良仏師・慶派仏師の仏像とも異なる新形式を備えており、奈良仏師・慶派仏師とは異なる鎌倉時代前期における新しい試みとして捉えることができる。これにより、今後、奈良仏師・慶派仏師作例との比較も可能となるものと予想され、京都仏師と奈良仏師・慶派仏師作例をより重層的に捉えることも可能になると考える。また、本研究で検討した髻、着衣などの細部形式は、仏像のなかではわずかな部分に過ぎないが、制作時期、仏師系統に適した形状を提示することが可能であり、文化財修復における補作などに寄与できるものと考える。