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A RARE WOOD FIGURE OF SEATED YAMA 日本 鎌倉時代 十三世紀早期 木雕閻魔王坐像
RAJA (ENMA), KING OF HELL
閻魔半跏端坐，左手置於膝上，右手持驚堂木，裁定生死。身穿官袍，
JAPAN, KAMAKURA PERIOD, EARLY 13TH CENTURY 頭戴幞頭，面目猙獰生動，呲牙裂嘴，怒目而視。
The King of Hell is seated in a cross-legged position, with his left hand 來源
resting on his knee and his right holding his scepter of power. He is clad in Kimiko及John Powers伉儷珍藏，美國科羅拉多州，約1960年代入藏
heavy robes, and the ferocious face, with open mouth and bulging eyes, is
surmounted by a cap inset with the Chinese character wang (king). 展覽
哈佛大學福格美術館，《Traditions of Japanese Art》，1970年
16¿ in. (41 cm.) high 休斯頓美術館，《Unrivalled Splendor: The Kimiko and John Powers
Collection of Japanese Art》，2012年6月10日-9月23日
PROVENANCE
Kimiko and John Powers Collection, Colorado, acquired circa 1960s 著錄
John M. Rosenfield及Shujiro Shimada，《Traditions of Japanese Art:
EXHIBITED Selections from the Kimiko and John Powers Collection》，麻省，1970年，
Fogg Art Museum, Harvard University, Traditions of Japanese Art, 1970. 圖版48號
Museum of Fine Arts, Houston, Unrivalled Splendor: The Kimiko and John J. Rosenfield及S. Shimada，《Unrivalled Splendor: The Kimiko and John
Powers Collection of Japanese Art, 10 June-23 September 2012 Powers Collection of Japanese Art》，休斯頓，2012年，圖版10號
LITERATURE
John M. Rosenfield and Shujiro Shimada, Traditions of Japanese Art: Selections
from the Kimiko and John Powers Collection, Cambridge, MA, 1970, Pl.48
J. Rosenfield and S. Shimada, Unrivalled Splendour: The Kimiko and John
Powers Collection of Japanese Art, Houston, 2012, Pl. 10
For additional reading on Genshin, see TPhwiolipDYivaimsiopnoloskfyO,- ‘jTo-yho-eshEu-ssbeyntials
of Salvation: A Translation of the First
Genshin’ (master’s thesis, Columbia University, 1948); and Allan OA- j.o-yo-shu-,
Andrews, The Teachings Essential for Rebirth: A Study of Genshin’s
Tokyo, 1973. For further reading on Chinese hell paintings, see Lothar
Ledderose, Ten Thousand Things: Module and Mass Production in Chinese
Art, Princeton, 2000, pp. 164–85; and Stephen F. Teiser, The Scripture of
the Ten Kings and the Making of Purgatory in Medieval Chinese Buddhism,
Honolulu, 1994. For a superb summation of the evolution of hell imagery
in Japan, see Caroline Hirasawa, “The Inflatable, Collapsible Kingdom of
Retribution: A Primer on Japanese Hell Imagery,” Monumenta Nipponica
63, no. 1, Spring 2008, pp. 1–50; also Hirasawa, Hell-bent for Heaven in
Tateyama mandara: Painting and Religious Practice at a Japanese Mountain,
Leiden and Boston, 2013, Chapter 3.
56 Masterpieces of Buddhist Art 大俱足 — 經典亞洲佛教藝術
