kouhai　光背

KEY WORD :　art history / sculptures

Halo found on Buddhist images, representing light said to be emitted by the Buddha *gokou 後光. In sculpture, a wooden or metal kouhai was attached to the back of the figure, sometimes decorated in openwork *sukashibori 透彫. Kouhai were used in Japan from the Asuka period, usually made of bronze or gilt bronze, and were named according to their shape and design. One of the earliest examples is the halo on the Shaka sanzonzou 釈迦三尊像 (623) in Houryuuji 法隆寺, which is known as ikkou sanzon kouhai 一光三尊光背 (the single-light triad halo, see *ikkou sanon 一光三尊), because all three figures of the triad are enclosed in a single halo. The halo surrounds the figures completely *kyoshinkou 挙身光 and has a pointed top, giving it the name *funagata kouhai 舟形光背 (the boat-shaped halo). Individual standing figures of the same period had round halos *enkou 円光 as on the Four Heavenly Kings, Shitennou 四天王 in Houryuuji *Kondou 法隆寺金堂, or jewel-shaped halos *houjugata kouhai 宝珠形光背, like that of the Kudara Kannonzou 百済観音像 in Houryuuji Daihouzouden 法隆寺大宝蔵殿. In the Tenpyou period, the double-round halo *nijuu-enkou 二重円光 became popular. A round head-nimbus *zukou 頭光 is attached to a round body-nimbus *shinkou 身光, as on the Miroku Bosatsuzou 弥勒菩薩像 in Houryuuji Daihouzouden 法隆寺大宝蔵殿. Halos decorated with Chinese foliage design *karakusamon 唐草文 and a thousand miniature buddhas senbutsu kouhai 千仏光背 were also produced in the Tenpyou period. A good example is *Rushanabutsu 盧舎那仏 (779) in Toushoudaiji 唐招堤寺, Nara. In the Heian period halos with a decorated base *koukyaku 光脚 became popular. *Ten 天 and *Myouou 明王 figures had halos with flame designs *kaen kouhai 火焔光背. The earliest examples of wooden halos *itakouhai 板光背 date from the late 9c, and these were often painted with flames, karakusamon, and small manifestations of buddha *kebutsu 化仏, as on the Shaka ryuuzou 釈迦立像 in Murouji 室生寺, Nara. In the 12c nijuu enkou were surrounded by a large outer boat-shaped halo of openwork flying apsaras figures *hiten kouhai 飛天光背. The model for this style was the Amida Nyoraizou 阿弥陀如来像 (1053) by Jouchou 定朝 in Byoudouin *Hououdou 平等院鳳凰堂, Kyoto. Other styles characteristic of the late Heian period were the single free-standing ring *rinkou 輪光 like that of the *Kichijouten 吉祥天 in Joururiji 浄瑠璃寺, Kyoto, a halo with radiating spokes like a wheel, houshagata kouhai 放射形光背, seen on the Amida Nyoraizou in Kanzeonji 観世音寺, Fukuoka prefecture; and the *mibu kouhai 壬生光背 named after the Jizou Bosatsuzou 地蔵菩薩像 in Mibudera 壬生寺, Kyoto (now lost). In the Kamakura period various designs of kouhai with openwork decoration continued to be produced, as well as halos decorated with small figures representings the followers of Buddha *kenzoku 眷属, as on the central Senju Kannonzou 千手観音像 in Rengeouin 蓮華王院, Kyoto. Another form of halo called *ensoukou 円相光 enclosed the nijuu ensou in a large outer circle, often seen on Aizen Myououzou 愛染明王像 figures (1247), for example in Saidaiji 西大寺, Nara.

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