豊梵天 “三竦み”


横浜 豊梵天氏の手による“三竦み”を題材とした圧巻の胸割り。構図や額の流れを見れば、その都度延ばしていった結果ではなく、初めから堅い決意を持って臨んだ胸割りであることが分かる。背中の経文と蛇は、同じく中華街に彫り場を構えていた彫鈴氏が逝去されたため、途中から引き継いだものだ。左肩の剣龍は彫鈴氏の在りし日の作品となる。


This is a stunning munewari bodysuit on the subject of “San-sukumi” by Yutakabonten in Yokohama. Looking at the composition and the flow of gaku (background), it is clear that this bodysuit was done with a firm determination from the beginning, not as a result of several extending. The sutra and the snake on the back are what Yutakabonten took over from Horisuzu, who had his studio in same Chinatown, as he had passed away. The ken-ryu (sword dragon) on the left shoulder is a work of art by Horisuzu.

One of the oldest known sutra to be placed on the back is “Namu-amidabutsu” of a chivalrous man named Tsurigane Yazaemon in the early Edo period, and here this “Namu-myohorengekyo” has the same underlying meaning. That is the determination to keep faith even at the risk of one’s life.


With the snake on the back, “Tsunade” and “Jiraiya” managing a slug and a toad on the flanks complete San-sukumi (meaning three-way deadlock). San-sukumi refers to a situation in which three parties with mutual advantages and disadvantages are deadlocked, as in rock-paper-scissors. Hojuin Temple in Tokyo places stone statues of a snake, a toad and a slug in the precincts, and they represent the hope for peace based on their state of equilibrium where no conflict occurs.

※DEMPATOO 豊梵天氏のインタビュー記事はこちら
※See Dempatoo Yutaka Bonten’s interview here

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