東京国立博物館所蔵　国宝　平安仏画
National Treasure Heian Buddhist Paintings in the Tokyo National Museum

　諸経の王とされ、一切成仏を説く『法華経』を基盤とする天台宗が朝廷貴族に重んじられた平安時代には、法華経信仰者の守護者として説かれた普賢菩薩への信仰も盛んになり、画像も多く制作された。
 本画像はそうした普賢菩薩画像の現存作例中最高傑作に位置づけられるものであり、平安仏画の中でも屈指の名品である。その姿は、『法華経』の結経とされる『観普賢菩薩行法経』に詳しく述べられる東方浄妙国土から六牙の白象に乗って法華経信仰者の前に現れたまさにその瞬間をとらえたものと考えられる。衣に施された繊細精緻な截金文様などには平安時代に培われた日本的美意識・造形感覚の極致がみられる一方、経典に白玉に譬えて説かれる菩薩の肉身の白さと繊細な体つきを際立たせる微妙なニュアンスをもつ描線や、緑・朱・青による鮮烈な色使いには北宋様式との関連も指摘され、両者の融合した唯一無二の際立った存在感を放っている。

　In the Heian period (794-1192), the nobles of the imperial court patronized the Tendai sect of Buddhism. At the core of this sect was the Lotus Sutra, considered by many the greatest Buddhist text and famous for its teaching that all living beings, regardless of gender or status, are capable of enlightenment. The deity Fugen, being the protector of those who follow the Lotus Sutra, came to be worshipped fervently and depicted in countless paintings during this time.
　This work is considered both a singular masterpiece among such paintings and a masterpiece among all Buddhist art of the Heian period. Experts believe this painting captures a particular moment described in the Samantabhadra Meditation Sutra, which is the concluding volume of the Lotus Sutra. In this moment Fugen appears from his paradise before followers of the Lotus Sutra, riding atop a white elephant with six tusks. The fine patterns of cut gold leaf on his robe exemplify a uniquely Japanese aesthetic that was cultivated in the Heian period, while other characteristics suggest influence from the painting of China’s Northern Song dynasty: the whiteness of his body, which in sutras is likened to a pearl; outlines that emphasize the delicacy of his build; and a vivid combination of green, red, and blue pigments. Japanese and Chinese aesthetics are thus seamlessly merged to create an exceptional sense of presence.