藤原時代普賢菩薩絵像の一遺例

Generally speaking, two kinds of technique are distinguishable in those Buddhist paintings in the Heian Period. The one, aiming at the effect of lineal expression, puts emphasis on the line drawing which is done first. The colours are then applied lightly, so as to permit the lines to show through, retaining the original drawing untouched to the end. In the other, which lays stress on colouring, the sketchy lines are firstly drawn, then thick colours are applied so that much of the drawing is obscured. And final lines, approximating the first drawing, are again drawn on the surface of the paint. The painting of Fugen Bosatsu, i. e., Samantabhadra (Pls. I-IV), discussed here, is done in the former technique. In this painting the moderate, compa ratively fine lines in black ink, which were drawn at first, forming the Bodhisattva, the garments and the elephant, can be seen through either the paint or in the decorative designs where colours are applied not to cover the lines, thus keeping to the end the original lines in black ink left as they were. On the other hand, the majority of the Bud dhist paintings from the Fujiwara Period are fininished in the latter technique. They are characterized by the beautiful colouring and the lavishness of decorative designs which consist of the rich use of kirikane (cut leaf gold design) and painted patterns. From the mid-llth century to the mid-12th century, there prevailed such a tendency of estheticism in every field of fine arts, reflecting the tastes of the nobility of the time. In the latter half of the 12th century, however, a group of paintings of the above-mentioned leneal expression type began to appear side by side with these so-called Fujiwara paintings characterized by colouring; for example, the Zennyo Ryūwō (Nāgarāja Zennyo) by Jōchi at Koyasan (1145) and the Ni-Ten (Two Celecial Guardians) at Kōfukuji, Nara. The painting under discussion belongs to this group. In this painting we see Bodhisattva Samantabhadra with raised hands in the position of prayer (anjali), riding on a white six-tusked elephant. However, there are differences between this and other extant Fujiwara examples of the same subject : the Fugen in the Tokyo National Museum, that of the former Masuda Collection, and that owned by Bujōji temple, Tottori Prefecture; all of which are of the 12th century. In these three the head of the Bodhisattva is inclined slightly forward, whereas the Fugen under discussion holds his head upright, thereby giving an appearance of greater dignity. Moreover, this painting fills more of the available space and a better balance of proportion is achieved between the figure and the elephant. The drawing which forme the Bodhisattva and the elephant shows a trained skill of brush strokes common to the Fujiwara Period, and it is effectively expressed not only by using the thin colouring, but also by applying colours to the back-side of the painted silk, and the latter technique gives a feeling of volume and warmth to the Fugen and the elephant. That the back side colouring was employed in almost every portion of the figures is discerned by the aid of a binocular microscope and X-ray photography. This technique, though widely practised in the Heian Period, of which the example is found as early as the 11th century, has heretofore not been almost noticed by art historians. Here in this painting, we see the employment in the decoration of hōsōge (auspicious flower of imagination), and of the tortoise shell pattern on the blanket on the back of the elephant, both being in vogue in the Fujiwara Period. This fact seems to suggest the period in which it was produced. The colour tone of this painting is comparable to that of such examples as the Ni-Ten at Kōfukuji and the Yakushi and Jūni-Shinshō (Vaiṣajyaguru and Twelve Guardians) at Ōchi-in, Koyasan, where the main colours: red, orange, green and blue are used to the effect of classical tone. But in the colouring of the Fugen's garment and the lotus petals under the feet of the elephant is noticed a new feeling for colours which is not found in these paintings mentioned above. Furthermore, the line drawing is characterized by the earlier feature in style than that of the Ni-Ten which is generally placed at the close of the 12th century. Judging from these and other facts it will be reasonable to conclude that the present Fugen painting was created in the latter half of the same century. The paintings of Samantabhadra with anjali pose riding on the elephant were produced and adored in the Tendai sect in accordance with the ardent faith in the Lotus Sutra from the Heian Period onward, believing that the Bodhisattva would descend from the heaven in this form to guard and adore the followers of the Sutra. And we have several examples of fine workmanship, but among them, the present painting is outstanding of the period it was worked out, especially because of emphasizing the lineal expression, and also it is no less important as an example of the back-side colouring technique.