真美大観/俵屋宗逹筆風雷二神圖

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風雷二神圖屏風[編集]

  • 金碧紙本着色
  • 俵屋宗逹
  • 二枚折一雙、各隻竪五尺一寸、横五尺六寸
  • 京都市臨濟宗大本山建仁寺藏

風神は、梵語に婆臾といふ、帝釋天に隨伴して、時に天車を同うし、又或は、百千の駿馬を駕せる輕快なる光明車に乗ずることあり、印度の最古經典理具鞞陀の中に、この神を贊せし頌あり、其記する所によれば、此の神の本體は矢張普通に云ふ風なれども、この風こそは諸神の靈魂、天地の本にして、其聲聞くべきも其形見るべからずと稱す、今本圖に見るが如き形は、全く後世人の想像に出るものなり、雷神は水、火、電の三神と倶に二十八部衆の中第二十六位に合擧せられ、雷神は天雷、電神は地電、水火二神は水火を以て其身を莊嚴し、皆夫妻を備ふとあり、既に夫妻あれば、其具體なることは分明なれども、其元は無形の雷鳴を指せるものなるや疑なし

こヽに出せる風雷二神の形象は、何れの時、何人が始めて描き出ししものなるやを詳にせざれども、印度の古經典に依れるものにはあらざるが如し

俵屋宗逹、氏は野々村、字は伊年、對青軒と號す、能登に生れ、加賀の金澤に住し、狩野永徳(西暦一五四三年――一五九〇年)を師として丹青の技を修め、後日本の古畫を參酌して一家を成せり、其生死年月は詳ならず、畫風は本阿彌光悦(西暦一五五八年――一六三七年)に似て、設色濃潤なれども、格調卑俗ならず、有名なる尾形光琳(西暦一六六一年――一七一六年)は、實にこの宗逹を慕ふて、畫界に一派を開きたるなり、聞く光琳が臨模せる二天の圖は、現に一貴紳の家に藏せるよしにて、其流麗或はこの圖に過ぐることあらんも、氣韻に至ては遠く及ばざるを認むと云ふ、以て宗逹が造詣の如何に深奧なるやを悟るべし

The Two Gods, Wind and Thunder.[編集]

  • By Tawara-ya Sô-tatsu.
  • Colored; 5 feet 6½ inches by 5 feet
  • Owned by the temple Ken-nin-ji, Kyôto.
  • Collotype

The God of Wind, Vāyu, is said sometimes to ride in a carriage which is drawn by many thousands of noble steeds, or to ride in a heavenly car together with Śakra Indra. In the Rg-veda, the most ancient sacred books of India, there are some hymns addressed to this god. In them, the wind, the moving air, is considered to be the spirit of the God, and the origin of all phenomena, his voice being audible and his body invisible. So it is clear that the curious form here given originated at a later period. The God of Thunder is often mentioned together with the Gods of Water (Varuna), Fire (Agni), and Lightning, as one of the twenty eight classes of Gods. His body is said to be decked with heavenly drums, as represented in the picture here. We have no means of ascertaining when these gods took on such forms as they bear now.

Tawara-ya Sô-tatsu born of the family, Nono-mura, was otherwise known by the names of I-nen or Tai-sei-ken. He was a native of Noto province and, while living in Kana-zawa, Kaga province, learned painting from Kanô Ei-toku (1543-1590). Afterwards he invented his own style by combining various points of excellence of all the schools. The dates of his birth and death are not certain. His style bears a resemblance to that of Hon-ami Kô-yetsu (1558-1637 A.D.), especially in colouring which in both is thick and rich. O-gata Kô-rin (1661-1716) a famous artist of Maki-ye (pictures drawn with gold or silver upon lacqer ware), taking as model the paintings of Sô-tatsu, originated a new school of painting on lacquer. The pictures of the two gods by Kô-rin drawn in imitation of the pictures given here are in the private collection of a certain Japanese nobleman. Connoisseurs say that the copy is superior to the original in beauty, but far inferior in tone and spirit. Indeed Sô-tatsu is unrivalled in his own branch of art, and will stand forever as leader of one of the most famous schools.

Fujinraijin-tawaraya.jpg

底本[編集]

  • 田島志一編 『真美大観 第二册』 日本佛教眞美協會、1899年。