Monograph No. 1
STUDY on the LIFE and WORKS of UNKEI 運慶
‐English Summary‐
Takeshi Kobayashi, Litt. D.
Chief of the Sculpture Room
N. I. C. M.
1954
TENRI
CONTENTS
Plates 2
Unkei sources 4
I. Introduction 9
II. His life and career 11
III. His early stage 13
IV. His middle stage 14
V. His later stage 18
VI. Works traditionally attributed to Unkei 20
VII. The Characteristics of his Art 21
VIII. Conclusion 24
The Kamakura period, which lasted from late 12th to early 14th century, was a age of great revival in the history of Japanese Buddhist sculpture and Unkei （運慶）was the hero of the age. As the creator of the famous statues of the Giant Devas flanking the South Gate of Todai-ji Temple （東大寺）, Nara, his fame is still nation wide among the Japanese people; perhaps he is the most popular, and one of the greatest artists, in the whole history of Japanese art.
Historically speaking, the Kamakura period was the beginning of the feudal age of Japan and, at the same time, it is a mile stone which marks the downfall of the ancient regime conducted by the courtiers, based on a slave economy, and the uprising of the new power of the masses, with, the warrior clan at their head. The political hero of the age was Minamoto Yoritomo （源頼朝）, who, after long and bitter struggles, finally succeeded in overthrowing the ancient aristocratic regime and established his own government, known as the shogunate or Bakufu （幕府）, in Kamakura. It was in this great transtional period that our Master Unkei was born.
The artistic revival of the Kamakura period culminated in the enormous work of the reconstruction of the Todai-ji Temple, the world's largest wooden structure, at the command of Shogun Yoritomo, soon after he came to power, and Unkei participated in the work. There he made the famous Devas mentioned above, as well as statues of the Four Guardian Kings, or Shitenno （四天王）, in the Main Hall, in collaboration with his father and other members of his family.
As the artist of the new age, his art is full of vigour and vitality, based on realism. We call it "Kamakura shin-yo" （鎌倉新様）, or "the Kamakura new style", in that it is a renovation of the so-called " wayo" （和様）, or the "Japanized style", created by the famous sculptor Jocho （定朝）, which prevailed all through the Fujiwara （藤原） period which preceded the Kamakura period. The most characteristic features of the wayo style were its grace and beauty, based on classical formalism, which is quite foreign to the Kamakura style. Indeed, Unkei made a great artistic revolution against the art of the courtiers from the standpoint of the masses, who are always appreciative of an art of realistic vigour, regardless of the time and age, and that must be the reason why his fame and popularity lasts even to the present day.
But the real secret of his art must lie in the fact that he was born in a great transitional age of Japanese history. For, in his early days, he was a dirciple of the classical art of grace and formality which gave to his art a firm and orthodox foundation. It was on that foundation that he was able to establish his later style of realistic vigour and vitality. This dualism in his art ‐elegant form, alism and vivid realism ‐which was fostered as the natural result of the transitional age in which he lived, explains his great achievement and populatity.
Also Unkei constitutes a unique subject for study in that we have ample materials and legends to study, which is not the case generally with respect to many other artists. Indeed, we sometimes feel that there are too much materials on him, for there are too many legends concerning his life and works. Therefore, in studying Unkei one must not only search out and collect the facts and information, but must also discard them as much as possible ‐just as a sculptor chisels away the unnecessary part of his raw material ‐in order to get at the real aspect of his life and works. And also this must be the task of my present study.
For Example, we find in the former Japanese Government's Catalogue of National Treasures （国宝目録）, the following statues which are attributed to Unkei: Shitenno of Joruri-ji Temple （浄瑠璃寺四天王）, Gigeiten of Akishino-dera Temple （秋篠寺伎芸天）; Kongo-rikishi of Manju-ji Temple （万寿寺金剛力士）, Paladins of Hokai-ji Temple （法寺十二神将）, Amida of Shojoshin-in Temple, Mt. Koya （高野山清浄心院阿彌陀仏）, Dainichi-nyorai, Fudo-and Gosanze-myoo of Kongo-ji Temple （金剛寺大日如来, 不動明王, 降三世明王）, Jizo of Jochi-ji Temple （浄智寺地蔵）, but all these are by no means his authentic works. As the sweep of his style was so broad, ranging from graceful formalism to vigourous realism, so many unknown statues have been attributed to his work.
Lastly his works have close relation with those of his father Kokei （康慶）, his collegue Kaikei （快慶） and his son Tankei （湛慶）. I recently treated Kokei in Kokka （国華）, No. 746, may, 1954, and Tankei in Yamato Bunka （大和文華）, No. 12, Dec., 1953. My earlier work, Nihon Chokokushi Kenkyu （日本彫刻史研究）(Studies on the History of Japanese Sculpture) , 1947, may also be referred to on these points.
Though there are many traditional opinions on his life, as well as many reliable sources, such as Inokuma Kanpaku-ki' （猪隈関白記） or Meigetsu-ki （明月記）, both of which are the diaries of contemporary high courtiers of the time, we totally lack materials on the date of his birth. But his earliest authentic work, a statue of Senju-kannon （千手観音）, Sahasrabhuja, in Rengeo-in Temple （蓮華王院）, the so-called Sanjusangen-do （三十三間堂）, Kyoto, which bears the inscription of 1164, （長寛二年）, 2nd year of Chokan, is thought to be his work at the age of 15-6. (P1. II) For, 9 years later, in 1173 was born his first son, Tankei（湛慶） , at which time he must have been 24-5 years old. So the date of his birth must be 1148-9, 4-5th year of Kyuan （久安）, under the reign of Emperor Toba （鳥羽法皇）, which corresponds approximately to the days of the 2nd Crusade.
As for the date of his death, we find an annotation in the lineage in To-ji Shodo Engi-sho （東寺諸堂縁起抄）, Abstract of the History of Buildings of To-ji Temple, (P1.LI) , which reads as follows: "Unkei died on Dec. 21, 2nd year of Joo （貞応）," ‐1223. We consider that date to be acurate, for that annotation is compatible with any other historical sources concerning his life, and accordingly he is thought to have died at the age of 74 or 75.
Regarding his lineage, we have several kinds of information in various old sources, and it is widely accepted that he was the direct descendant of Jocho （定朝） and also that he was the 6th master of a Buddhist-art atelier, called Shichi-jo Bussho （七条仏所）, which located in Kyoto. But according to my recent study, (Bukkyo Geijutsu （仏教芸術）, No. 6), his lineage must be as follows: Jocho 定朝‐Kakujo 覚助‐Injo 院助‐Inkaku 院覚 (Direct line)
Raijo 頼助‐Kojo 康助‐Kocho 康朝‐Seicho 成朝
Kokei 康慶‐Unkei 運慶‐Tankei 湛慶
Unkei was undoubtedly a son of Kokei, (Source-14, P1.XIV), who was a disciple of Kocho. But we must notice that the lineage of this sort does not indicate necessarily the strain of blood, but only shows the sequence of masters of schools, or art-ateliers. For in those days, the master of the atelier often adopted a skillful apprentice as the heir of his family and the successor of his atelier or school as well. But in any case, this lineage will suffice to show that he was not the direct descendant of Master Jocho, nor could he have been the 6th master of the Shichi-jo Atelier, since it was established long after his death.
Some have thought he was first a Buddist artist attached exclusively to To-ji Temple （東寺）, Kyoto, but we cannot agree, for this theory is based on later sources. Some others have insisted that Unkei was once a monk of a lower class at the West Golden Hall （西金堂）, of Kofuku-ji Temple (Source ‐8) But this too we can scarcely admit. For here the name Unkei is not written as （運慶） but （雲慶）, the identity of whom is extremely difficult. However, it may be said that if Unkei was a monk attached to the West Golden Hall of Kofuku-ji Temple, he might have played more important role in the work of reconstruction of the temple.
Now, one thing must be added here concerning his name. There is no doubt that his name is written as 運慶(Unkei) , but in Azuma Kagami （吾妻鏡）, which is generally admitted as most reliable source, we find his name is often written as 雲慶(Unkei) , and some have thought 雲慶 is the correct form of his name. But this name 雲慶 appears only in the annotations inserted in the text, and that means they are of later description. For that reason, as far as the name of Unkei concerns, Azuma Kagami can not claim its authority.
On the other hand, one of the wooden statuettes of lions of Tamukeyama Hachiman Shrine （手向山八幡）, Nara, bears the inscription of 雲慶, thereby we learn that a Buddhist sculptor named Unkei 雲慶, other than 運慶, was really extant at that period. Still more, we find an inscription on statue of Sogyo Hachiman （僧形八幡） of Todai-ji Temple, a name Unkei 運慶 as the artist who made it under the direction of Kaikei （快慶） in 1201 , the 1st year of Kennin （建仁元年）. This inscription aroused a big sensation when it was found several years ago, that a great master like Unkei should have worked under Kaikei, who was originally a disciple of the former. But the name Unkei 運慶 in this inscription is to be correted as 雲慶 (Unkei) , and that person must be the same with the maker of the above named wooden statuette of lion. This view is amply justified by the fact that the Shrine which possesses that wooden lion was also constructed under the direction of Master Kaikei, who is rather famous in his alias, An-amida-butsu （安阿彌陀仏）.
The most remarkable thing in Unkei's career is his attainement of high ranks in the Monks Administration, Sogo （僧綱）. The date of his first attainement of the 3rd rank, Hokkyo （法橋）, is unknown. But his promotion to the 2nd rank , Hogen （法眼）, was took place on March 12, 1195 （建久六年）, on the occasion of the dedication ceremony of Todai-ji Temple, when he was given a prize by his father Kokei, to whom the prize was originally awarded. It was at his age of 46-7. Later, he was promoted to the highest rank of the Monks Admitation, Hoin （法印）, at the unknown date between 1202-1208, probably in 1203, Nov. 30, on the occasion of the grand dedication ceremony held in Todai-ji, when the whole work of the reconstruction of the temple was completed. (cf. Sources-21, 22, 23, 24, 28.)
The life of Unkei, which lasted for about 75 years, can be divided into 3 stages: early (1163-1189), middle (1190-1210) and later (1211-1223), and we can authenticate his works belonging to the early stage, as follows:
(1) ‐Statue of Senju-kannon （千手観音） , Sahasrabhuja, at Rengeo-in Temple （蓮華王院）, Kyoto, dated 1164, which he made at the age of 15 or 16, under the superintendance of his father Kokei, as we have seen. (P1. I, II.Sources-1, 2.)
(2) ‐Statue of Dainichi-nyorai , （大日如来）, Vairocana, or the esoteric Saka, at Enjo-ji Temple （円城寺） , Nara (P1. III-VIII), dated 1175, which was made under the direction of his father, owing, perhaps, to his unmatured age. The statue is in the form of Bodhisattva about 1-metre high. By the inscription, we learn that it was awarded with 43 roles of silk und it took 326 days for its completion, which is much longer compared with the days required in his later works. Also it bears his ornamental signature. (P1. IV)
(3) ‐Statues of Amida with two waiting Sattvas, and those of Fudo （不動） and of Bishamon （毘沙門） and two inscribed plates, attached to the two latters, still remain, dated 1186, at Ganjoju-in Temple （願成就院）, in Izu （伊豆） Province. They were made on the commission of Hojo Tokimasa （北条時政）, praying for the success of his North-eastern expedition. (P1. XII, Source 4.) At that time Unkei was 37-8 years of age, and these statues were his first work, made on the commission of the Kamakura Shogunate. By that time, he had not any title of the Monks Adminisiration, and also his atelier, which was called Kei-school （慶派）, was not so influential as In-school（院派） or En-school （円派）, both of which being the favorite ateliers of classical type, thrived on the commissions by the Imperial and Fujiwara families. But it is very significant that he had his name written on these plates side by side with that of Hojo Tokimasa and it seems as if it promises his great success in later years.
Concerning his early works, there are two more examples related to Unkei: (4) Motsu-ji Temple （毛越寺） , which is said to have been erected by Fujiwara Motohira （藤原基衡） , prior to 1189 , (Source-5), and (5) Hokekyo （法華経） scroll, dated 1183, which is often called as "Unkei Gangyo" （運慶願経） . (Source 3) But the former is very improbable, for Motohira died in 1157, and it is impossible for Unkei to work for him in so an early date, and regarding the latter, it requires further study.
This stage involves many of his remarkable works which establiched his name permanently in the history of Japanese art.
(1) ーAccording to Kodaireki （皇代暦）, a disciple of Master Kokei was promoted to the rank of Hokkyo （法橋） on the occasion of the first anniversary of late Emperor Goshirakawa in 1193, March 9th. (Source-6) It is not impossible to identify this disciple with Unkei, and if it is done so, the date of his promotion to the rank of Hokkyo, which was hitherto unknown as we have seen above, can be established, and it should be very favourable for the present study. But since this description lacks the name of that disciple, it is too hazardous to indentify it with Unkei, and therefore the problem reqrires further study.
(2) ‐On March 12, 1195, （建久六年）, as was stated above, at the occasion of the dedication ceremony of Todai-ji Temple, Kokei was awarded with prize, which he gave to his son Unkei, who was promoted to the rank of Hogen. But we find in the Words of Dedication by Emperor Go-toba, (Source-11), most of the famous artists of the time are mentioned to have been engaged in the major tasks in that reconstructing work, with the only exception of Kokei and Unkei, who are not mentioned in it at all. Consequently, it is not improbable that the work of Kokei and Unkei, for which they were awarded, must have been the work of making the original type of the head of the Great Buddha, after which the big head was cast, probably, by the Chinese artist, Chen ho hsiang （陳和卿）.
(3) ‐From Aug. 1195, under the auspices of High Priest Chogen （重源）, he began the work of making the statues of Four Guardian Kings of the Great Buddha Hall of Todai-ji Temple, in collaboration with Kokei, Jokaku and Kaikei, according to Zobutsu-hen of Todai-ji Zoku-yoroku. (P1. XIV, Source-14) Also Azuma Kagami, (Source-9), states that financial and various preparations for the work were already undertaken in the previous year, by June, 1194, and by the command of Yoritomo, famous generals of the Shogunate were made responsible respectively for the support of the work of erecting of each of the above mentioned statutes, as well as statues of Kannon, Avalokitesvara, and Kokuzo, Akasagarbha.
Also we find an interesting passage in a contemporary diary, named Meigetsu-ki, which states that by June, 1196, statuettes of the Four Guardian Kings were placed in the Kujo Hall （九条堂）, (Source-13), and that they were the original models, having a height of 4-shaku, which is almost equivalent to 4-feet, after which the colossal statues were later made. Technically, these latter were 10 times higher than the models, and accordingly, they might have a height of 40-shaku. But in fact, 8-shaku were made to represent each 10-shaku unit, and so each of them were 32-shaku high.
(4) ‐However, if we refer not only to the above mentioned sources, Zobutsu-hen of Todai-ji Zoku-yoroku and Meigetsu-ki, but also to Todai-ji Zoryu Kuyo-ki and Shohon Todai-ji Yoroku, both of these materials are also contained in Source-14, we arrive at a more accurate chronpology for the erecting of these statues: A －The erection plan was establisehd in July, 1194; B ‐2 years later in June 1196, the model statutes of the Four Guardian Kings were placed in the Kujo Hall; C ‐Five days later, the purification ceremony was held and the erection of the statues of Kannon and Kokuzo was begun, on June 18th; D ‐About 2 months later, on Aug. 27, the statues were finished; E ‐ In the same month, but on an unknown date, the work of erecting the statues of the Four Guardian Kings was begun; F ‐ They were finished on Dec. 10, 1196.
The above mentioned Unkei and other 3 masters participated in the work were called Grand Buddhist Masters （大仏師） and they were engaged continuously in this work together with 80 Minor Buddhist Masters （小仏師）, 80 carpenters （番匠） and 80 woodcutters （杣人）. We are rather astonished to know they finished all the 6 colossal statues within 6 months. But unfortunately they were all burnt to ashes 2 centuries later in a civil war.
(5) ‐ The last and the most famous of his works in Todai-ji Temple began on July 24, 1203, and was finished on Oct. 3 of the same year. It was the erection of the statues of Giant Devas, flanking the South Gate, which Unkei made in collaboration with Kaikei and 16 artisans. (P1. XVI-XXV) But according to Todai-ji Betto Shidai (P1. XV) Unkei is described with the honorary title of Bitchu Hokkyo （備中法橋） and Kaikei with that of Echigo Hokkyo （越後法橋）, respectively. Of course, we have some other examples of Buddhist sculptors being awarded such honorary titles of local officials, but as for the present case, we are not sure if such titles were really bestowed upon these Masters, or not.
(6) ‐From May 1197 to the end of 1198, he was engaged in the repairing of Toji Temple （東寺）, Kyoto, under the auspices of High Priest Mongaku （文覚上人）. The work involved many statues of varius kinds, including 5 Main Buddhas, which were erected by Archpriest Kobo, （弘法大師）, in 839, 6th year of Showa （承和）, after the iconography, either of the Mandala of Kongo-kai （金剛界）, Vajradhata, or that of Nio-kyo （仁王経）, when he was given that Temple by the Emperor. Since the foundation, it was first repaired in 1104-5, and this was the second time. The detailed history is found in Tohoki, 東宝記. (Source-16) But the work was discontinued in 1199, when Mongaku was banished to the Island of Sado （佐渡）.
(7) ‐ During this repair work, he engaged also in the erection of statues of Devas of the South Gate of the same temple. And according to Tohoki (Source-18) Unkei was the superintendant of the whole work, and at the same time he made the East Deva, while Tenkei made the West Deva. Also all the six of his sons worked in collaboration in the construction: Tankei （湛慶）, Koun （康運）, Koben （康弁）, Kosho （康勝）, Unga （運賀）, Unjo （運助）. The text has also a note to the effect that Unkei was appointed the Buddhist Sculptor Exclusive to Toji Temple, but concerning this passage, we have no other testimony to support it, and we wish to leave them for further study.
(8) ‐In 1196, he made two statues of Devas and eight statues of Hachi-dai-yasha （八大夜叉）, or Eight Great Yaksas, for the Middle Gate of Jingo-ji Temple （神護寺）, Kyoto. He made the latter statues after that of Gango-ji Temple （元興寺）, Nara, according to Jingo-ji Ryakki （神護寺略記）. (Source-12) This statue of Hachi-dai-yasha is also described in Shichi Daiji Nikki （七大寺日記）, Journal of 7 Great Temples, by Oe Chikamichi （大江親通）, of the Fujiwara period, as follows: "It is a breath-taking experience to observe the statues of Devas and Yaksas in the Middle Gate [of Gango-ji]. They are indeed treamendous ones. Yaksa holds a snake in his left hand, while his right hand is placed at his waist, with fist clenched." Thus, the statue seems to have been very famous at that period and the fact that Unkei made his statue after the Gango-ji example may be said to represent the classical tendency in the contemporary society of the Kamakura period.
(9) ‐ He made a small white ebony statuette of Fugen （普賢）, Samantabhadra, by the order of Regent Konoe Motomichi （近衛基通）, the dedication ceremony of which was held on Oct. 26, 1202, according to Inokuma Kanpaku-ki （猪隈関白記）. (Source-19) This statuette, with a height of about 1/2 meters, is not so important in itself, but it is testimony that here Unkei was first favoured by a high courtier of the Fujiwara family. About 4 years before that, in 1198, Inson （院尊）, the most influential master of the classical school of In-pa （院派） died, and in 1199 a famed and skilled master named Myoen （明円） of En-pa （円派）, or En-school, also perished, and thus the influence of Unkei and his school, Kei-ha （慶派）, gradually became powerful, and this small statuette is to tell the beginning of his popular success. He was still Hogen at that time, but soon after that, he was promoted to Hoin, the highest rank for the Buddhist artist.
(16) ‐ Besides the Devas statues in the Middle Gate, Unkei also made statues of Dainichi-nyorai （大日如来）, Kongo-satta, （金剛薩埵） and Fudo-myoo （不動明王） of the Lecture Hall （講堂） or Jingo-ji Temple. Jingo-ji Ryakki (Source-20) states that these statues were made after the models of To-ji statues, which he repaired under the auspices of High Priest Mongaku as we have seen above, who seemed to wish to install the same statues in his own temple, Jingo-ji, and demanded that Unkei make them. These statues are said to have been finished after Mongaku's death, On July 21, 1203.
(11) ‐ In Dec. 1208, the erection of the statues of Hokuen-do （北円堂）, North Round Hall, of Kofuku-ji Temple （興福寺）, was commenced, in which he was enganged with his six sons, above mentioned, together with Genkei （源慶） and Jokei （静慶）, who apparently were his eldest disciples. They bore the titles of Joza Daibusshi （上座大仏師）, Senior Buddhist Master, and their names are found in the inscription on the pedestal of the Main Buddha. (P1. XXXIX-XL) Their names also appear in the already mentioned " Unkei Gangyo" （運慶願経） of 1183, but we have no further knowledge concerning them.
The repairing work involved such figures as the central statue of Miroku （彌勒）, or Maitreya (about 8 feet high), two sitting statues of Martreya's attendants, Hoenrin （法苑林） and Daimyoso （大妙相） (each about 3 feet high), two standing statues of Mujaku （無着） and Seshin （世親） (each 6 feet high), and statues of Four Guardain Kings which were also about 6 feet high.
The date of comletion of the construction of the Hall is thought to be Nov. 26, 1210 (Source-23), but the date of the dedication ceremony is not known. The finishing date of the central statue is thought to be early 1212. (P1. XXXVII-VIII)
Here we must notice that at this big construction work, he was the superintendant, and had no sculptural work of his own, and this will indicate the grouth of his ability as a real grand Master.
(1) ‐ In 1213, he worked in erecting the 9-storied tower (stupa) of Hosho-ji Temple （法勝寺）, Kyoto, and the Buddhist statues involved therein, the dedication ceremony for which was held on April 26, according to Meigetsu-ki. (Source-24)
By the statement of Sansoki Ruiju （三僧記類聚）, (P1. XLII), we learn that these statues were five Buddhas and four Kings, and these were made in collaboration with Injitsu （院実）, son of the late Inkaku （院覚）, and Joen （定円）, son of the late Myoen （明円）.
It is very remarkable that these masters of different schools should collaborate in making various kinds of statues in one temple. But unfortunately we cannot make out what kind of work Unkei was personally engaged in.
(2) ‐ He made a statue of Saka, which was the main statue of Jibutsu-do （持仏堂）, the personal chapel of Shogun Sanetomo （実朝）, the dedication ceremony of which was held on Jan. 28, 1216, according to Azuma Kagami. (Source-26) It states also that the statue was made at Kyoto, from where it was carried to Kamakura. This must have been the case generally at that time.
(3) ‐ Under the auspices of Hojo Yoshitoki （北条義時）, Commissar of Kamakura Shogunate, a statue of Yakushi-nyorai （薬師如来） was erected as the main statue of a chapel, called Okura Shin-mido （大倉新御堂）, which Unkei completed on Dec. 2, 1218, accrding to Azuma Kagami. (Source-27) We find in it a passage which foretells the tragic death of Sanetomo, which occurred on Jan. 27 of the next year, but this must be nothing more than a typical myth of Buddist monks.
(4) ‐In the next year, he made 5 statues of so-called Go-daison （五大尊） of Gobutsu-do （五仏堂） of Shochoju-in Temple （勝長寿院）, which was dedicated to seek favor for the after-life of the late Sanetomo by his mother, Taira no Masako （平政子） on Dec. 27, 1218, according to Azuma Kagami. (Source-28)
This is the last of his works which can be dated clearly, but we must describe two more examples, which are attributed to him, but with unknown dates: one is the main statue of the chapel of Masako, in her new palace, which was finished by Aug. 27, 1223, according to Azuma Kagami. (Source-31) But though the chapel was newly erected, the statue was described as having been the patron Buddha of the late Sanetomo, so we may be safe in identifying it the statue by Unkei mentioned in (2) above.
Another example is a group of statues, consisting of Vairocana and two attendants, Eleven-faced-Avalokitesvara and Maitreya, together with statues of Four Guardian Kings. These figures, seven in all, were transported from Jizo-jurin-in Temple （地蔵十輪院）, Kyoto, to the Golden Hall of Kozan-ji Temple （高山寺） in Toganoo, a suburb of Kyoto, on April, 8, 1223, according to Kozan-ji Engi, 高山寺縁起. (Source-30, P1. XLIII) This text tells also that the Jizo-in Temple was founded as Unkei's family temple, and the statues therein were made piously by him and his disciples over a period of 5 years, but after the fire broke out in 1218, they were removed to Kozan-ji Temple, which was governed by the famous High Priest Myoe （明恵上人）, to whom he paid an ardent devotion. But since we cannot find any description on the date of finishing of these statues, we can only say that they were finished within 5 years prior to the fire, i. e., 1213-1218.
There are many sources concerning the history of Jizo-jurin-in Temple, (Source-33, 35), but they are so complicated that we wish to put them off for further study.
Lastly, there was one more example of his work, a statue Fudo-myoo with two attending boys, in the Golden Hall of Komyobu-ji Temple （光明峯寺）, which is described in the clause of May 6, 1280, of Komyobu-ji Nyudo Saki-no-kanpaku Michiie-ko Shobun-jo （光明峯寺入道前関白道家公処分状）. (Source-7) It tells also of two statues by Kokei, and as the text is famed for its reliability, we can not neglect this material. Therefore it may be assured that the Fudo statue was a genuine product of Unkei's workmanship, but it most likely was made during the 1180's when he was probably over thirty.
VI. Works Traditionally Attributed to Unkei
Besides those authentic works, which amount to over 20, there are some examples which are attributed traditionally to him, but on scarecely credible grounds. Let us now examine these statues.
(1) ‐ Statue of Dainichi-nyorai and those of Devas of Banna-ji Temple （鑁阿寺）, Ashikaga, Gumma Pref., which was founded by High Priest Banna （鑁阿上人）, about 1196, according to the history of the temple. (Source-15) This source states that Unkei made these statues in Ashikaga, but that must be very improbable. For if we consider the fact that even the main statue of the chapel of Shogun Sanetomo was made in Kyoto and carried to Kamakura, we cannot put our confidence in the above statement.
(2) ‐ Koya Shunju （高野春秋）, Source-7, states that Unkei made the statues of the boy attendants attached to Fudo and also boyish statues of Zuiju Hachi-dai-doji （随従八大童子） (P1. LII) in the Fudo Hall of Isshin-in Temple （一心院）, Mt. Koya （高野山）. But this source is a later work and not completely reliable. Moreover the statue in P1. LII represents more Kaikei's style than that of Unkei, and it seems safe not to establish the maker.
(3) ‐ According to the famous Hoyaki-amida Engi, (Source-25), which was made in the late Kamakura period, the so-called statue of Hoyaki-amida is attributed to Unkei's work, and it states also that Unkei made it at Kamakura in 1215, when he went there by the appointment of Shogun Sanetomo. But this too must be a kind of traditional fiction often found in the histories of Temples.
(4) ‐ Also according to Koya Shunju (Source-29), the main statue of the Amida Hall of Jakujo-in Temple （寂静院）, Mt. Koya, is attributed to his work, and he is said to have begun the work by Feb., 1223. But as the reader will judge from P1. LIII, this statue must be the product of a far later period, and cannot be older than the last years of Kamakura. Thus this account is also a fictional statement of the monks.
(5) ‐ Once again, Koya Shunju states that the main statue of Byodo-in Temple 平等院, a trinity statue of Saka, is Unkei's work, done under the auspices of Priest Eigen 永厳, and was later found rotten by Priest Johen 静遍 in 1222. But Eigen died already in Aug. 1151 and it is impossible for Unkei to have made such a statue when he was only 3-4 years old. Here we had better remember that most of the Engi 縁起 the history of temples, are poor materials for historical study, and are full of willful distortions.
(6) ‐ Lastly, we wish to cite one more instance, ‐the statue of Godai-myoo, of Myoo-in Temple （明王院） which is ascribed to his work by Myoo-in Engi, 明王院縁起, the history of Myoo-in. (Source-34) But the date of the erection of the statue described therein is 1231, and it is 8 years later than his death. Thus we come to know that the ascription is utterly false.
VII. The Characteristics of his Art
Now we can count about 11 authentic extant examples of his work, and by referring to them, here we wish to examine the developments and characteristics of his art in his whole life of some 75 years, devided into 3 stages.
(I) ‐The Early Stage: Only two of his authentic works are extant: the statue of Senju-kannon, in Rengeo-in Temple, Kyoto (P1. I, II) which was made about 1164, when he was only 15-6 years old; and the statue of Dainichi-nyorai in Enjo-ji Temple, Nara, which he made in 1175, at the age of 25-6. (P1. III-VII)
In the first of these statues, we perceive his perfect crafkmanship as a Fujiwara disciple, and at the same time we can feel a bit of youthful gracefulness present in it. The second statue represents a more perfect arrangement of the figure as a whole, which marks his unusual talent. But some strains on the face and limbs, together with a high coiffure of, Chinese Sung （宋） style, portend the coming of the new Kamakura age.
In those early days, his father Kokei was very active and he made these statues under the guidance of his father. Concequently, he was still a loyal follower of the traditional style of " wayo", and we can scarcely observe any sign of a later style of his own. Also it was a natural result of the time, for power was still wielded by the regime of the Hei-ke （平家） family, which succeeded the Fujiwara regime only to imitate it, and therefore nothing new could be reflected in these statues from the social or political background of the time. Such a back ground was formulated only by Yoritomo's coming to power, in 1183, when Unkei was at the age of 34-5, which we will treat in the next stage.
(II) ‐The Middle Stage: To this stage belong the statues of Giant Devas of the South Gate of Todai-ji Temple, and a group of statues of Hokuen-do Hall of Kofuku-ji Temple, which includes those of Miroku, Mujaku, Seshin and Four Guardian Kings, all of which are made in the years from 1208 on. The stage corresponds to his age of about 40 to 60, the golden age of his history, during which time he was elevated extremely rapidly in the Buddhist hierarchy, from the title of Hokkyo to Hogen to Hoin, the highest of them all.
The statues of Giant Devas (P1. XVI-XXV) are the largest wooden statues in Japan, and the technique and mechanism with which these colossal timbers are combined and constructed are really techtonic and unique. They were made in collaboration with Kaikei, a leading disciple of his father Kokei. Of these two statues, the eastern figure has a height of 8.48-metre, and the western figure 8.42-metre. They must be called the most typical of the Kamakura sculpture ‐ realistic as well as expressive, and full of vigour and vitality.
There are 5 more examples of the Giant Devas, or Nio （仁王） of the same period, in Kofuku-ji (ca. 1190-1203), Sekigan-ji (1242), Ozo-ji (1256), Shoji-ji (1285) and in Zenshibu-ji (1291). But most of them are either too realistic or too trivial, and have none of the powerful expression of Unkei, where the idea and the execution find their perfect unity.
Among the group of Buddhas in the Hokuen-do Hall of Kofuku-ji Temple, there is a statue of Maitreya, the central statue, which we wish to call the greatest masterpeice of Unkei. For it has an air of brightness, which is a rare quality seldom found in the older sculpture. Also the drapery is executed in an original form, which is skillfully turned from the realistic representation. Both these qualities are rather static, not dynamic, in nature, but it is precisely these features which make the Kamakura art a more advanced art than that of the Fujiwara. Still more the whole execution is broad and fluent, which gives to the statue an air of grandeur, and in this respect it is far more excellent than his previous work of the statue of Dainichi-nyorai. We may say that by this work a new style of art, the so-called Kamakura style, was first established by his great tallent.
The statues of Mujaku and Seshin of the same Hall are not portrait sculptures, but also are a kind of Buddhist statue, which may be called Arhan （羅漢） or Bhiksu （比丘）. They are by no means stylistic, but show great success in expressing these formidable characters with broad and realistic execution, and they far excel the statue of Vimalakuti （維摩） by Jokei, 1196, in the East Golden Hall of Kofuku-ji Temple, or those of Ten Major Disciples （十大弟子） by Kaikei, made 1213-18, in Dai-hoon-ji Temple （大報恩寺）.
Of the statues of Four Guardian Kings, now only that of Komoku-ten is in the same Hall, and the other three are in private collections. By the inscriptions on the pedestals of these statues, we learn that the Komoku-ten was made by Koben, Jikoku-ten by Tankei, Zocho-ten by Koun and Tamon-ten by Kosho. By comparing these statues, we feel that Tankei's work is the most skillful and refined. The work of Koben, the son of Unkei and the maker of the famous Lantern-holding Devils, Ryuto-ki （竜燈鬼） and Tento-ki （天燈鬼） of Kofuku-ji Temple, is broad and vigourous, and most resembles the work of Unkei. The work of Kosho, who is also the maker of the famous Amida statue in the Golden Hall of Horyu-ji Temple, shows a skill of wide range, but somewhat feeble. But the style of any one of these Four Guardian Kings presents little difference from those of others, and this is perhaps because the work was undertaken originally "for the restoration of the original Hall," as is indicated in the Words of Dedication, 1207, and they were made after older examples.
However, still today we can perceive in their style that all of the statues in the Hall were constructed under the powerful guidance of Unkei and thus they seem to keep in good harmony with each other, though some of them underwent later clumsy repairings.
(III) ‐The Later Stage: The statue of Jizo, now in Rokuharamitsu-ji Temple, Kyoto, is the only remaining example which belongs to his later stage, (P1. XLIV‐XLVII) Flanking it are statues of Unkei and Tankei, and the group is said to have been previously placed in the now destroyed hall of Jizo-do, which was located in the grounds of the temple. (According to the opinion of the late Rev. B. Kawasaki.) The statue might be called the highest examples of its sort, and became the model of all the later statue of Jizo. Its refined and noble countenance as well as the whole fiigue including its dreaperies, which is based on excellent realism, should be called the highest peak of Unkei art. It resembles the statue of Maitreya of Hokuen-do in its graceful formalism, as well as the statues of Mujaku and Seshin in their vivid realism, but far exceeds both of them.
Thus by inspecting the whole range of his work, we come to see that the so-called Kamakura new style singularly owes its establishment to Unkei. But here we must notice that only the so-called Sung style （宋様）, which is one of the most significant features of the Kamakura art, is not perceived in his work, except for the high head-dressing as is found on the above Dainichi statue. For, the Sung style is, so to speak, a trivial realism, such as we often find in later ivory works, and the excluding of such a banal style from his art is the best testimony we have to prove the high standard of his aesthetic taste and personality.
In the long history of Japanese sculpture, which began almost in the 7th century, Unkei belong to a rather later age and his name comes to our ears with full familiarity. But it is astonishing to perceive that a sculptor famed for the realism like Unkei should appear in the late 12th Century, 300 years earlier than Michelangelo.
True, he may be called the son of his age. His fame dipends largely on the age of Kamakura, which can be called the age of sculpture. However, but for his work, the glory of the Kamakura age would surely have diminished by half! He is really a great hero, the one truly represenative figure of the Kamakura age. We cannot deny that by his great work, the social position of sculptor itself was highly elevated. As a son of the famous Master Kokei, he could work on commissions from the noble courtiers from an early age, and later he worked mainly for the Shogunate, and this must be the reason why he becames so renowned a figure in his own time. Probably he was known to the warrior lords through the recommendation of the famous High Priests Myoe of Toganoo or Mongaku of Takao.
Needless to say, his greatest merit as a sculptor is the creation of the Kamakura new style, which was in harnomy with the contemporary apprecition of "things as thay are", and detestation of too much artificiality. At the same time we must not neglect the fact that he had many able collaborators belonging to his own family line or school. Moreover we must not overlook his great capacity of leadership, which is rarely perceived in men of the arts and crafts. In a word, he really deserves to be called a great artist.
昭和二十九年九月十日発行
奈良国立文化財研究所学報第一冊
佛師運慶の研究
