湛慶の「風神雷神」が、俵屋宗達によって後世に定着 Tankei's "Fujin and Raijin" was established in posterity by Sotatsu Tawaraya

「風神雷神」といえば、誰しもが思うのが俵屋宗達の絵。京都・建仁寺の所有の国宝(京都国立博物館所蔵)として知られているのは言うまでもない。世に示された宗達の「風神雷神図」は江戸期に描かれたもので、その図の原型といわれるものは、当然ながら仏像である。例えば、誰もが知る浅草寺の雷門には、その風神雷神像がある。
本来、姿や形のない風・雷を神格化したもので、風神・雷神の像容は多種多様であってもよいはずなのだが、ご承知の通り、風神像は風袋を襟巻状に背に担ぎ、右手で袋を支え左手で袋の風口を押える、半裸鬼面の姿形である。一方、雷神像は、小太鼓を連ねた輪（雷鼓）を背負い、上下に構えた両手に桴（ばち）を持つ、半裸鬼面である。

Speaking of "Fujin and Raijin," everyone thinks of Tawaraya Sotatsu's paintings. It goes without saying that it is known as a national treasure owned by Kennin-ji Temple in Kyoto (owned by the Kyoto National Museum). Sotatsu's "Fujin and Raijinzu" was drawn in the Edo period, and the prototype of that figure is, of course, a Buddha statue. For example, at the Kaminarimon Gate of Senso-ji Temple, which everyone knows, there is a statue of the wind god Raijin.
Originally, it is a deification of the wind and thunder that have no shape or shape, and the image of the wind god and thunder god should be diverse, but as you know, the wind god statue has a tare on its back. It is a half-naked demon-faced figure that carries, supports the bag with the right hand, and holds the air outlet of the bag with the left hand. On the other hand, the Raijin statue is a half-naked demon mask that carries a ring of small drums (snare drum) on its back and holds a drumstick in both hands held up and down.

では、俵屋宗達が描いた風神雷神図の元になったものは、蓮華王院の三十三間堂の千体千手観音の守護神二十八部衆と共に安置されている風神・雷神像だといわれている。古来の自然信仰や伝説に基づいて造られた日本独自の像容で、鎌倉期、本堂の再建時に像造を統括した湛慶(たんけい)が深く拘わり、その姿形が、江戸期になって、俵屋宗達の風神雷神図の見本になった。そして、宗達の描いた風神雷神が後世の像容として定着した。

Then, the origin of the wind god Raijin map drawn by Tawaraya Sotatsu is the statue of the wind god Raijin enshrined with the guardian deity 28 members of the Thousand-armed Senju Kannons of the Sanjusangendo of the Renge Ouin. It is said that. This image is unique to Japan and was created based on ancient natural beliefs and legends. It became a sample of the wind god and thunder god of Tawaraya Sotatsu. Then, the wind god Raijin drawn by Sotatsu became established as an image of posterity.

今回、蓮華王院を訪ねた目的は、千体の千手観音像を観るのと同時に、風神雷神のイメージが決定づけられた二体を改めて鑑賞するために参拝した。
あの天才絵師 俵屋宗達が襖絵にした風神雷神と、湛慶らの造像した風神雷神との相違を観ることができた。宗達の襖絵は平面に描くための躍動感を創造させる手法や、採色することでさらに立体感を創り出し、新しい風神雷神に変わったことを改めて原型を観て感じさせられた。さらに鬼面のイメージが、この世には存在しない神格化された顔面になっているのも特徴の一つになっている。

The purpose of visiting Rengeouin this time was to see the thousand-armed Kannon statues, and at the same time, to re-appreciate the two bodies that had the image of Fujin and Raijin. I was able to see the difference between the wind god Raijin, which was made by the genius painter Tawaraya Sotatsu, and the wind god Raijin, which was created by Tankei and others. Sotatsu's fusuma paintings created a more three-dimensional effect by creating a dynamic feeling for drawing on a flat surface, and by coloring, it made me feel that I was transformed into a new wind god and thunder god by looking at the prototype again. Furthermore, one of the features is that the image of the demon face is a deified face that does not exist in this world.

リポート & 写真 / 渡邉雄二　トップ写真(蓮華院の風神雷神像) / 蓮華王院のネット画像を転用 Reported & Photos by Yuji Watanabe