十二神将にお導きを賜りて
　慈恩寺薬師堂内の十二神将は、圧巻である。描き始めるとひぐらしの音がピタリと止る。緊張と集中である。そこから長いながい格闘が始まる。
　東北は苦難の道を歩んだ歴史であるが、縄文の坂を登れば、そこにはおおらかな万葉びとの心がある。萬鉄五郎の絵が賛（うた）い、棟方志功の腕が木（もく）に躍る。我々にも縄文のパッションが脈々と流れているのだ。
　歩みはのろいが、私はひとつでも縄文の蓋をあけてみたい。
佐藤幸子

【With the special providence of Juni Shinsho, the statues of Twelve Heavenly Generals】

The Juni Shinsho at the Yakushi-do hall of Jionji-Temple is quite overwhelming. As I started drawing, a Higurashi, evening cicada, stopped singing. I concentrated on drawing entirely with a sense of intensity. It was just the start of the long, long journey of my endeavor. Looking back, we see Tohoku History went through a variety of painful hardships. Looking from the *Jomon Era, we encounter the generous heart of **Manyo People. Nowadays, such passion is expressed in the painting works of Tetsugoro Yorozu and woodprint arts of Shiko Munakata. We have inherited the underlying spirit of Jomon people. Slowly but steadily, I wish to touch the passion of Jomon as I paint.

Sachiko Sato

*Jomon Era: around 13,000 years BP to 2,300 years BP
**Manyo People: who lived around 6th to 7th century AD. Their emotional experiences are expressed in Manyoshu, the oldest Japanese poetry anthology.



【本山慈恩寺住職　布施 慶典管長様から】

　日展入選作品である因達羅大将は、かつて魔虎羅大将と共にワシントンの米国国立博物館増築記念行事の文化庁主催日本鎌倉展に出品され大変好評を得た仏像で、終わると引き続き東京国立博物館に三年間借用され、もう三年借りたいとの強い要請がありましたが、慈恩寺で出羽路十二薬師霊場開祖法要が行われるため戻してもらった経緯があります。
　その一年前、佐藤さんが見えられ、是非この因達羅大将を描きたいとの申し入れがありその熱心な頼みについ負けて許可したのでした。許可した以上はそれなりの責任があります。絵を描いている間は薬師寺の拝観を止め心静かに描かれるべく協力しました。
　当初私は、多分水彩画とばかり思っていましたが、薬師堂を覗いて驚きました。それが油絵だったのです。しかもそれが100号という大作、絵を描いている時の眼光の鋭さ、そして大胆な筆法、とてもか弱い女性の絵とは思えませんでした。それがまた日展入選、本当によかったと思います。
　これからもますます御研鑽なられんことをお祈り致します。

【Message from Mr. Keiden Fuse, the Chief Official of Honzan Jion-ji Temple】

The picture of Indara Taisho won a prize at the Nitten Exhibition (The Japan Fine Art Exhibition). The statue of Indara Taisho had been exhibited and received favorable reviews at the Japan-Kamakura Exhibition sponsored by the Japanese Cultural Agency, held as part of the commemoration events for the United States National Museum extension. After this, the statue had been lent to the Tokyo National Museum for three years. Afterward, there was a strong request from the museum to let them keep the statue for three more years. I declined to do so because of the plan to hold a Buddhist memorial service for the founder of Dewaji Juni Yakushi Reijo, the sacred sites and pilgrimage routes in Dewaji area, at Jion-ji Temple. Ms. Sato visited our temple one year before that. She strongly wished to draw the statue of Indara Taisho. Giving in to her enthusiasm, I allowed her to do so. Because I gave her permission, I felt great responsibility. During the period she drew the picture, the Yakushi-do hall was closed to the public to let her concentrate on her work. Initially, I thought that it would be a water painting but I was astonished when I looked into the Yakushi-do hall. It was an oil painting. Moreover, the work was large (approximately 16m×13m) with bold painting technique. She had sharp eyes while drawing. It was hard to believe that such a slender woman created the picture. I feel truly pleased to hear that your work was awarded at the Nitten Exhibition. I wish you further success with your devotion.