Master Sculptor of Buddhist Statues: Matsumoto Shukan - FRONTRUNNERS

Key Concepts

• Buddhist Sculptor (仏師 - Busshi): An artisan who carves Buddhist statues.
• Jizo Bosatsu (地蔵菩薩): A bodhisattva in Buddhism, often depicted as a protector of children and travelers.
• Atomic Bombing of Hiroshima (広島への原爆投下): The event in 1945 that devastated Hiroshima.
• 80th Anniversary (80周年): Referring to the 80th anniversary of the Hiroshima atomic bombing.
• Wood Carving (木彫り - Kibori): The art of carving wood.
• Workshop (工房 - Kōbō): A place where artisans work.
• Prayer (祈願 - Kigan): A wish or prayer.
• Dedication (奉納 - Hōnō): Offering something to a deity or temple.
• Master Sculptor (師匠 - Shishō): A teacher or master in a craft.
• Apprenticeship (入門 - Nyūmon): The process of becoming an apprentice.
• Craftsmanship (技 - Waza): Skill in a particular craft.
• Spirituality (精神性 - Seishinsei): The quality of being concerned with the human spirit or soul.
• Resilience (立ち直り - Tachinaori): The capacity to recover quickly from difficulties.
• Legacy (遺産 - Isan): Something inherited from an ancestor or predecessor.

Buddhist Sculptor's Mission in Hiroshima

This video explores the profound work of a Buddhist sculptor in Hiroshima, focusing on their dedication to creating statues that embody compassion, offer solace, and serve as a connection to the past and hope for the future. The narrative highlights the sculptor's personal journey, their artistic process, and the deep emotional resonance of their creations, particularly in the context of Hiroshima's history.

The Weight of History and the Sculptor's Vow

The sculptor expresses a deep sense of the "weight of sadness and prayers accumulated over 80 years" in Hiroshima. This profound feeling fuels their desire to create Buddhist statues that can "empathize with those who are sad or suffering" and "be close to people's feelings." This aspiration is a central theme, driving their artistic endeavors.

• Personal Connection: One individual shares a poignant connection, stating, "To me, he is a substitute for my husband," as her husband used to visit and pray there together. This illustrates how Buddhist statues can serve as deeply personal anchors for individuals.
• Spiritual Comfort: The idea that "Buddhas reside within trees" is presented, suggesting a spiritual presence that can be accessed for comfort. The sculptor's work is seen as a way to guide people towards this inner peace, stating, "If you do as the Buddha says, you will surely see it. There is no doubt."

The Unique Workshop and Artistic Philosophy

The video introduces a workshop that is described as the "only one in Japan making large wooden Buddhas." This highlights the rarity and significance of their craft.

• Master-Apprentice Relationship: The sculptor speaks of their master, aiming to "absorb all the good aspects, both in skill and spirituality, and surpass them." This demonstrates a strong commitment to learning and growth within the tradition.
• Commemorating the 80th Anniversary: The sculptor reveals that this year marks the 80th anniversary of the Hiroshima bombing. They intend to create a statue as a form of "dedication" and as a work that "becomes a source of suffering" for themselves, but also one that "can wish for the growth of children in the future." This signifies a desire to create art that is both personally challenging and forward-looking.

The Scars of the Atomic Bomb and the Resilience of the Jizo Statue

The video vividly portrays the aftermath of the atomic bombing, emphasizing the destruction and suffering.

• Physical Evidence of Trauma: A statue is presented with "legs missing" and "severe pain," as it was located approximately 2 kilometers from the hypocenter. The blast destroyed all buildings, and the statue bears the marks of being "burned and charred." These damaged statues are preserved "as they are, as a testament to the atomic bombing" for visitors to see.
• A Sanctuary for Children: The site is described as having started "four years after the bombing, when there was nowhere for children to play, and those who were burned out were taken in and cared for." This highlights the role of such places in providing refuge and care amidst devastation.
• Loss and Sadness: The sculptor expresses deep sorrow that "long-held human wishes and worries were lost due to the atomic bomb." Witnessing the "situation of the atomic bombing at that time" and the "80 years of accumulated sadness and prayers" evokes a profound sense of weight.

The Creative Process: From Concept to Completion

The video details the sculptor's meticulous process of creating a Jizo Bosatsu statue.

• Material Selection: The sculptor decides to use "Kusunoki (camphor wood)" for the current project, aiming to create a "Jizo who protects children."
• Artistic Deliberation: The sculptor grapples with artistic decisions, such as the "height of the hands" and whether the "face is too small for the body." This illustrates the internal dialogue and 고민 (gomind - 고민, worry/concern) involved in the creative process.
• Master's Insight: The master sculptor has reached a state where they can "see the Buddha within the wood." The apprentice, however, is still navigating the uncertainties of their craft.
• Inspiration from Nature and Emotion: The sculptor draws inspiration from the "gentle face" of a Jizo statue that comforted residents of Yamakoshi after an earthquake in 2004. This statue helped them "forget bad things and remember only good things."
• Witnessing the Impact of Art: Having seen "children cry when looking at their master's work," the sculptor is motivated to "create Buddhist statues for someone else when they grow up."

The Significance of the Jizo Statue for the Community

The Jizo statues are portrayed as vital figures for the local community, offering comfort and hope.

• A Source of Courage: "Seeing these Jizo statues gives us great courage," especially when "feelings are down." They are considered "truly important Jizo statues for the local people."
• A Symbol of Resilience: The gentle faces of the Jizo statues are seen as a source of strength, helping people to "forget bad things and remember only good things."

The Sculptor's Journey and Recognition

The video traces the sculptor's path from childhood to becoming a recognized artist.

• Early Exposure: The sculptor first visited the workshop as a child and later studied at a school for crafts.
• Dedication and Skill Development: After "living in the mountains for years," the sculptor won an award at the "Japan Buddhist Sculpture Exhibition."
• A Special Commission: The sculptor is working on a project for Ishiyamadera Temple, where a prayer was made for the safe birth of a child. The statue is intended to "wish for the child's future growth and safe birth."
• Mastering Repetition: Creating "5 to 7 identical statues" was challenging but provided a "sense of improvement," making it a "very good learning experience."
• Recognition and Title: The sculptor is praised for their "delicate work" and, despite being in their twenties, is awarded the title of "Great Buddhist Sculptor" (大仏師 - Daibutsushi) in recognition of their future potential.

Refining the Vision: Incorporating Prayers

A significant development in the creative process is the decision to "recreate" a statue to include a "prayer tablet inside the body."

• Enhanced Significance: The new statue will be "slightly larger" and will incorporate this new element, adding "width and depth."
• The Prayer Tablet: The written prayer will "convey people's hopes and wishes." The process involves splitting a block of wood to make an insert, which is then glued together.

The Collaborative Nature of Large-Scale Projects

The video touches upon the practicalities of large-scale sculpting.

• Teamwork: Undertaking "large projects and handling multiple large statues a year" is difficult for one person, highlighting the need for collaboration.
• Client Satisfaction: The sculptor seeks feedback on the statue's appearance, with the client expressing satisfaction: "It has a good face. Thank you. I'm glad. I believe everyone will be happy to pray here."

Personal Reflections and Artistic Growth

The sculptor reflects on their personal journey and artistic development.

• Parental Perspective: Having "played on their lap when they were in first grade," the sculptor sometimes views the statues from a "parent's perspective."
• Asserting One's Opinion: The sculptor believes they are "too kind" and should "assert their own opinions more."
• Continuous Learning: The sculptor acknowledges the need to "continue to be seen" and is contemplating the "face of the statue."

The Master's Legacy and the Sculptor's Evolution

The video revisits the master sculptor's work and the apprentice's evolving understanding.

• Diverse Expressions: The master's statues depict various expressions, with some "smiling" and others not, suggesting a desire for "everyone to sleep peacefully."
• Pursuing the "Childlike Face": The sculptor is driven to understand "what a childlike face is."
• A Brighter Future: For the "future era," the sculptor decides to create statues with "cheerful faces" that "anyone can look at and feel happy." This involves adjusting the "corners of the mouth" and the "atmosphere around the eyes" to create a "more cheerful Jizo."
• Incorporating the Prayer: The prayer tablet is placed inside the statue, "not to be seen."

The Art of Tool Maintenance and the Joy of Creation

The importance of maintaining tools is emphasized.

• Precision and Sharpness: The sculptor "basically does not use sandpaper" and relies on "sharp blades" for a "beautiful finish." Constant maintenance of tools is crucial.
• Joy in Creation: The sculptor expresses the hope that "many children will touch them" while creating the statues.
• Seeking Feedback: The sculptor presents a completed statue to their master for review. The master offers constructive criticism, suggesting to "take a little more off here" to make the statue "smile even bigger and more powerfully."

The Final Touches and the Embrace of the Jizo

The video culminates with the completion and presentation of the Jizo statues.

• Gentle and Welcoming: The statues are described as having "gentle and welcoming faces" that "children will be happy with."
• The "Nadebutsu" (なで仏 - Nadebutsu): The statues are referred to as "Nadebutsu," meaning they can be touched. This is significant as they are located at a "high temple on the mountain."
• Connecting Generations: The sculptor believes that "even if children don't understand the deep meaning now, when they grow up and are told that their hands are inside this Jizo, they will pass on various things to the next generation." This act is seen as connecting to the future.
• The Sculptor's Ultimate Goal: The sculptor's greatest reason for continuing their profession is to "create Buddhist statues that can empathize with people's feelings, whether they are sad, suffering, or have wishes and hopes."