繊細であることと雄渾であることが必ずしも相反するわけではないと示す、天王寺 彫はる氏による水月観音の甲羅彫り。指先や白衣などの細やかな表現を疎かにせず、かつ細部にばかり気を取られることなく全体の流れも見事にまとめ上げている。
針束の中や肌の下での墨の混ざりも考慮に入れた、淀みのない滑らかなボカシにも着目されたし。手彫り特有の濃醇な色合いが、鮮やかながらどっしりとした重みを作品に与えている。
This is a kora-bori (carapace style) back piece of Suigetsu Kannon by Tennoji Horiharu, which shows that being precise and powerful at the same time is not contradictory. He has not neglected the finer details such as the bodhisattva’s fingers and vestment, and also has not got distracted only by the details but also managed to make the whole thing flow beautifully.
The smooth bokashi (shading) without muddiness, which was created by taking into account the mixing of ink in the needle bundle and under the skin, is worthy of attention. The rich coloring unique to hand-poking gives the work a vivid yet dignified appearance.
水月観音とは三十三観音の一尊。水面に映る月影を眺める穏やかで優美な姿が古くから多くの芸術家に愛され、水墨画や彫刻など様々な作品が残されている。
水辺の岩上に坐する像容が一般的だが一定はしておらず、ここでは湖面に浮かぶ蓮の花弁に立つ姿が描かれている。
Suigetsu Kannon is one of the thirty-three Kannon. Their serene and graceful appearance as they gaze at the moon reflecting in the water has long been loved by many artists, and various works including ink paintings and sculptures were created.
They are commonly seen sitting on a rock near the water but this is not a fixed form, and here the figure is depicted standing on a lotus petal floating on the surface of a lake.
