Claustro del monasterio de [San Juan de la Peña](https://es.wikipedia.org/wiki/Real_Monasterio_de_San_Juan_de_la_Pe%C3%B1a), Huesca (Aragón).

[Monasterio de San Juan de la Peña.](http://www.monasteriosanjuan.com/)

Registro rápido durante una visita normal, sin acceso al espacio interior, finales de 2019.

Información ampliada: [romanicoaragones.com](http://www.romanicoaragones.com/0-Jacetania/25-SanJuanPena-Activo.htm)

San Juan de la Peña - Claustro

此尊造像為京都三十三間堂（蓮華王院）內守護千手觀音的「二十八部眾」護法神之一，屬於其中「四龍」尊格，被奉為司掌慈雨與善水的海龍王。雕像為鎌倉時代（13世紀）木造傑作，現已列為日本國寶。其形象威嚴磅礡：頭戴精雕龍首寶冠，身著細膩鎧甲，右手持劍，左手則握持一條蜿蜒的白龍，雙足穩踏岩座。整體姿態挺拔，鎧甲表面呈現出深沉的金屬質感與歲月斑駁，展現了鎌倉時代佛教雕塑將神祇威儀與高超寫實技法相結合的巔峰成就。

This statue is one of the Twenty-Eight Deva Guardians protecting the principal Thousand-Armed Kannon at Sanjūsangen-dō (Rengeō-in) in Kyoto, specifically one of the “Four Dragon” deities revered as the Dragon King of the sea who governs benevolent rain and pure water. A wooden masterpiece from the Kamakura period (13th century) and a designated National Treasure, the figure is majestically portrayed: wearing an intricately carved dragon-head crown, adorned with detailed armor, holding a sword in its right hand and grasping a coiled white dragon in its left, standing firmly on a rock base. The dignified posture and the deep metallic texture with subtle patina on the armor exemplify the peak of Kamakura-period Buddhist sculpture, masterfully blending divine majesty with superb realism.

京都三十三間堂二十八部眾--裟伽羅龍王

五部浄居（寺伝原名：金色孔雀王）是京都三十三間堂內守護千手觀音的「二十八部眾」之一，為國寶，創作於鎌倉時代，像高162釐米。其身份相當於天龍八部眾中的「天」，是代表去除物欲的五個最高天界的守護神。雕像特徵之一是其寶冠上飾有象頭，可能與神祇Vinayaka（伽內什）相關。整體造型莊嚴，體現了鎌倉時代佛教護法神像的典型風格。

The statue of Gobu-jogo (temple tradition name: Golden Peacock King) is one of the Twenty-Eight Deva Guardians protecting the Thousand-Armed Kannon at Sanjūsangen-dō. Designated a National Treasure​ from the Kamakura period, it stands 162 cm tall. It corresponds to the “Deva” among the Eight Legions, representing the guardian deity of the five highest heavens free from material desires. A distinctive feature is the elephant head adorning its crown, possibly linking it to the deity Vinayaka (Ganesha). The statue presents a solemn form, exemplifying the classic style of Kamakura-period Buddhist guardian sculpture.

京都三十三間堂二十八部眾-No.20五部浄居

提頭頼吒王（寺傳名：五部浄）是京都三十三間堂的「二十八部眾」護法神之一，為國寶。此尊鎌倉時代造像高166厘米，其身份是守護須彌山東方的四天王之持國天，職責為警固佛界。雕像呈現典型的武士護法形象，身著精緻鎧甲，面容威嚴，姿態穩健，體現了鎌倉時代佛教造像的力量感與寫實風格。

The statue of Dhṛtarāṣṭra (Jikokuten) is one of the Twenty-Eight Deva Guardians at Sanjūsangendō, a National Treasure​ from the Kamakura period, standing 166 cm tall. As the Heavenly King Who Upholds the Realm​ of the Four Heavenly Kings, he guards the eastern slope of Mount Sumeru, protecting the Buddhist domain. The statue embodies the classic guardian-warrior form, featuring detailed armor, a stern expression, and a solid posture, showcasing the powerful realism characteristic of Kamakura-period Buddhist sculpture.

京都三十三間堂二十八部眾-No.12提頭頼吒王

畢婆伽羅是京都三十三間堂內守護千手觀音的「二十八部眾」之一，與鳩槃荼同為「天龍八部眾」護法神。此尊國寶雕像創作於鎌倉時代，像高164釐米，為金銅鑄造。其形象為威武的武士立姿，頭戴火焰背光寶冠，面容忿怒，身著細膩的甲胄與飄逸天衣。根據圖像所示，雕像右手置於身側；左手則呈握拳或持物狀，其法器現已缺失。​ 整體姿態威嚴穩健，足踏岩座，展現了鎌倉時代護法神像的典型風格。

The statue of Vibhakara (Mahoraga) is one of the Twenty-Eight Deva Guardians protecting the Thousand-Armed Kannon at Sanjūsangen-dō, revered alongside Kumbhāṇḍa as a protector deity among the “Eight Legions.” This National Treasure, cast in gilt bronze during the Kamakura period, stands 164 cm tall. Depicted as a formidable warrior in a standing pose, it wears a crown with a flaming mandorla, an angry expression, and detailed armor with flowing celestial robes. Based on the provided image, the statue's right hand is resting at its side; its left hand is clenched or posed as if holding a ritual object, which is now missing.​ Standing firmly on a rock base, its dignified posture exemplifies the classical style of Kamakura-period guardian sculpture.

京都三十三間堂二十八部眾-No.24畢婆伽羅

京都三十三間堂內的神母女像，寺傳亦稱「摩和羅女」。此像列為日本國寶，鎌倉時代作，像高154cm。她通稱訶梨帝母・鬼子母神，是護法、愛兒與豐穣的女神。雕像神態莊嚴，展現當時精湛雕刻技藝，融合宗教信仰與藝術美學。
The Jinmonyo (神母女) statue at Kyoto's Sanjusangen-do, traditionally called "Mara Nyō," is a Kamakura-period National Treasure, standing 154cm tall. Also known as Kariteimo/Kishimojin, she is the goddess of Dharma protection, children's love, and abundance. Its solemn expression showcases masterful sculptural artistry, blending religious devotion with aesthetic beauty.

京都三十三間堂二十八部眾-No.22神母女

大弁功徳天（吉祥天）是三十三间堂内千手观音的重要胁侍，为“二十八部众”护法神之一。此国宝雕像创作于镰仓时代，像高166厘米。其形象为端庄的女性天神，头戴宝冠，身披天衣，常手持宝珠，象征吉祥与财富。雕像风格写实典雅，展现了镰仓佛教艺术的高超技艺。

Daibenkudokuten (Kichijō-ten/Goddess of Fortune) is a principal attendant​ of the Thousand-Armed Kannon and a guardian deity among the “Twenty-Eight Deva Guardians” at Sanjūsangendō. This National Treasure​ statue dates to the Kamakura period​ and stands 166 cm tall. Depicted as a graceful female deva​ wearing a crown and celestial robes, she often holds a wish-fulfilling jewel, symbolizing auspiciousness and prosperity. The statue exemplifies the refined realism and skilled artistry of Kamakura-period Buddhist sculpture.

京都三十三間堂二十八部眾-No.14大弁功徳天

伊鉢羅（寺傳名：滿善車王）是京都三十三間堂內守護千手觀音的「二十八部眾」護法神之一，與裟伽羅龍王同為經典護法。此尊國寶雕像創作於鎌倉時代，像高164厘米，為銅造立像。其最大特征在於頭頂與眉部雕刻出鮮明的鰭狀造型，形象威猛獨特。雕像身披鎧甲，雙手持法器，足踏岩座，整體姿態剛健，充分展現了鎌倉時代佛教雕塑在表現護法神威嚴與力量感上的高超技藝。
English Version
Ibadara (temple tradition name: Manzensha-ō) is one of the Twenty-Eight Deva Guardians protecting the Thousand-Armed Kannon at Sanjūsangen-dō in Kyoto, often paired with Sāgara Nāgarāja. Designated a National Treasure, this 164-cm tall standing bronze statue dates to the Kamakura period. Its most distinctive feature is the prominent fin-like forms carved into its hair and eyebrows. Clad in armor, holding ritual implements in both hands, and standing on a rocky base, the figure embodies a vigorous and formidable presence, showcasing the masterful Kamakura-period artistry in expressing the awe-inspiring power of Buddhist guardian deities.

京都三十三間堂二十八部眾-伊鉢羅Ibadara

毘沙門天是京都三十三間堂的國寶雕像，創作於鎌倉時代，像高161厘米。其身份為四天王之多聞天，是守護北方的戰神與福德之神。雕像的顯著特徵是左手持握象徵勝利與福德的寶塔，通常身披鎧甲，呈現威武的武士護法形象，體現了鎌倉時代佛教護法神像的雄健風格與精湛工藝。

The statue of Vaiśravaṇa (Bishamonten) at Sanjūsangendō is a National Treasure​ from the Kamakura period, standing 161 cm tall. As Vaiśravaṇa, the Heavenly King of the North​ among the Four Heavenly Kings, he is revered as a god of victory and fortune. The statue's defining attribute is the jeweled pagoda held in its left hand, symbolizing triumph and blessings. Typically depicted in armor as a majestic warrior-guardian, it exemplifies the robust style and masterful craftsmanship of Kamakura-period Buddhist guardian deity sculptures.

京都三十三間堂二十八部眾-No.11毘沙門天

毘楼勒叉（寺伝原名：東方天）是京都三十三間堂內守護千手觀音的「二十八部眾」護法神之一，為國寶，創作於鎌倉時代，像高165釐米。其尊名為印度語（梵文：Virūḍhaka）的音譯，在佛教中其身份是四天王之一的「增長天」，職責為守護南方。雕像呈現威嚴的護法神形象，但其右手原本所持的法器現已失傳。此像體現了鎌倉時代佛教造像的藝術成就。
English Version
The statue of Virūḍhaka (temple tradition name: Eastern Heaven) is one of the Twenty-Eight Deva Guardians protecting the Thousand-Armed Kannon at Sanjūsangen-dō. A National Treasure​ from the Kamakura period, it stands 165 cm tall. Its name is a transliteration from Sanskrit (Virūḍhaka). In Buddhism, it is identified as "Growth Heavenly King" (Virūḍhaka), one of the Four Heavenly Kings, tasked with guarding the southern direction. The statue presents a majestic guardian form, though the ritual implement originally held in its right hand is now lost. This work reflects the artistic achievements of Kamakura-period Buddhist sculpture.

京都三十三間堂二十八部眾-No.17毘楼勒叉

薩遮摩和羅（寺伝原名：摩醯首羅王）是京都三十三間堂內守護千手觀音的「二十八部眾」護法神之一，為國寶，創作於鎌倉時代，像高159釐米。其原型為印度教三大主神之一的濕婆神（Śiva），在佛教中被譯為 「大自在天」​ ，被視為統治物質世界的最高神祇。雕像呈現護法神的威嚴造型，體現了鎌倉時代佛教藝術對印度教神祇的吸收與融合。

The statue of Sache Mahora (temple tradition name: Maheshvara) is one of the Twenty-Eight Deva Guardians protecting the Thousand-Armed Kannon at Sanjūsangen-dō. Designated a National Treasure​ from the Kamakura period, it stands 159 cm tall. It represents the Hindu god Śiva, known in Buddhism as "Great Lord of Heaven" (Maheśvara), the supreme deity ruling the material world. The statue exhibits a majestic guardian form, showcasing the Kamakura period's assimilation and synthesis of Hindu deities into Buddhist art.

京都三十三間堂二十八部眾-No.19薩遮摩和羅

金色孔雀王（寺伝原名：散脂大将）是京都三十三間堂內守護千手觀音的「二十八部眾」護法神之一，為國寶，創作於鎌倉時代，像高164釐米。其形象源於能喰毒蛇的孔雀所神格化的鳥神。雕像最大特徵是其戲劇性的 “割面相”​ ：呈現一張憤怒的新面孔從原有破裂面容中浮現的獨特造型，具有三目，戴有頰當，極富張力。其左手小指部分已破損缺失。此像展現了鎌倉佛師在表現護法神變幻與威嚴時的高度藝術創造力。
English Version
The statue of Golden Peacock King (temple tradition name: Sanchi Taishō) is one of the Twenty-Eight Deva Guardians protecting the Thousand-Armed Kannon at Sanjūsangen-dō. A National Treasure​ from the Kamakura period, it stands 164 cm tall. It embodies the deification of a peacock known for devouring poisonous snakes. Its most striking feature is the dramatic “split-face” composition: a new, fierce countenance with three eyes emerges as if from within the original split visage, creating powerful tension. The little finger on its left hand is damaged and missing. This statue exemplifies the remarkable artistic creativity of Kamakura-period sculptors in expressing the transformative power and majesty of guardian deities.

京都三十三間堂二十八中-No.21金色孔雀王

大梵天王是京都三十三間堂内守护千手观音的「二十八部众」护法神之一，为国宝，创作于镰仓时代，像高170厘米。其原型为婆罗门教最高神梵天，后融入佛教成为重要护法神。根据图片所示，雕像为双臂立像，面容庄严，头戴高冠。其右手抬起至胸前，掌心向内，作特定印相或持物姿态（原物或已失）；左手则清晰可见托举一净碗。身披袍服，立于岩座之上，整体风格威严古朴，展现了镰仓时代佛教造像的写实性。

The statue of Great Brahmā is one of the Twenty-Eight Deva Guardians protecting the Thousand-Armed Kannon at Sanjūsangen-dō. A National Treasure​ from the Kamakura period, it stands 170 cm tall. Its origin is the supreme Hindu deity Brahmā, later adopted into Buddhism. As seen in the image, it is a two-armed standing figure with a solemn expression and a tall crown. Its right hand is raised near the chest, palm inward, forming a specific mudra or gesture (possibly once holding an object now lost), while its left hand clearly supports a bowl. Draped in robes and standing on a rock base, its majestic and archaic style reflects the realism of Kamakura-period Buddhist sculpture.

京都三十三間堂二十八衆-No.16大梵天王

婆籔仙是三十三間堂千手觀音的脅侍仙人，與功徳天同為常隨護法，屬佛教守護神，尊火祀火。其形象源於印度神話中最富有的聖仙，後融入佛教。此尊國寶為鎌倉時代作品，像高156厘米，採用檜木寄木造技法。其頭巾為另木製作，取下後可見頭部地肌雕刻打磨精細並施有彩繪。

Basosen is an attendant immortal​ of the Thousand-Armed Kannon at Sanjūsangendō, serving alongside Kudokuten as a perennial guardian and a Buddhist protector deity who venerates and worships fire. Its iconography originates from a wealthy sage in Indian mythology, later assimilated into Buddhism. This National Treasure​ statue dates to the Kamakura period, stands 156 cm tall, and is crafted using the Japanese joined-wood (yosegi-zukuri) technique with cypress. Notably, its detachable hood is made from a separate piece of wood; beneath it, the scalp is meticulously carved, polished, and painted。

京都三十三間堂二十八部眾-No.13婆籔仙

金毘羅是京都三十三間堂內守護千手觀音的「二十八部眾」之一，為國寶，創作於鎌倉時代，像高155釐米。其形象源自鱷魚神格化的水神，被認為能護佑海上安全與漁獲豐收。雕像呈武士立姿，身著甲胄，面容威嚴。其左手持弓，但現存實物僅餘半截弓身；旁側的復原模型則完整呈現了持弓姿態。整體造型展現了鎌倉時代護法神像的雄渾力量與細膩工藝。

The statue of Konpira (Kumbhīra) is one of the Twenty-Eight Deva Guardians protecting the Thousand-Armed Kannon at Sanjūsangen-dō. Designated a National Treasure​ and created in the Kamakura period, it stands 155 cm tall. Its imagery derives from a crocodile deified as a water deity, believed to grant maritime safety and bountiful catches. The figure stands in a warrior's pose, clad in armor with a stern expression. Its left hand holds a bow, though only half of the original bow remains today. The sculpture exemplifies the robust power and refined craftsmanship of Kamakura-period guardian statues.

京都三十三間堂二十八部眾-No.23金毘羅

此尊阿修羅像是佛教護法神“天龍八部”之一，其形象起源可追溯至古代波斯。作為京都三十三間堂（蓮華王院）內“二十八部眾”護法神像之一，此木造、漆箔雕像創作於鎌倉時代（13世紀），被指定為日本國寶。雕像為三面六臂形象，頭戴華麗寶冠，面容威嚴，上身袒露，下著裙裳，體態雄健，衣帶飄舉，足踏岩座，極具動感。其手臂姿態各異，多數手部原應持法器，現已缺失，但雕像本身所展現的鎌倉時代高超的寫實技法與威猛氣勢依然令人震撼。

This statue of Asura, a protective deity from the “Eight Legions” of Buddhism with origins traceable to ancient Persia, is part of the “Twenty-Eight Deva Guardians” at Sanjūsangen-dō (Rengeō-in) in Kyoto. Created in the Kamakura period​ (13th century), this wooden, gold-leafed​ statue is designated a Japanese National Treasure. It depicts Asura with three faces and six arms, adorned with an ornate crown, a fierce expression, a bare torso, a skirt, and dynamic scarves, standing powerfully on a rock base. The arms are posed dynamically; while most hands likely originally held ritual implements, which are now missing. Nevertheless, the statue remains a powerful testament to the masterful realism and awe-inspiring artistry of the Kamakura period.

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