WEKO3
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Twenty-four of the extant scrolls bear the signature “Minchô hitsu” while the remaining four bear the seals of Unkoku Tôeki (15911644). This article will discuss the movement of these works through history and consider their current state.\n First a set of hanging scrolls depicting the 28 patriarchs of the Shôitsu sect, from Bodhidharma through Zozan Junkû, was painted by Minchô (1352-1431) for the Yômeiin sub temple of Tôfukuji in Kyoto. The Sôfukuji set bearing the Minchô signatures are copy works made sometime after the beginning of the 16th century and the original set would have consisted of 28 hanging scrolls of the Shôitsu sect patriarchs extending from Bodhidharma through Zôzan. At some point this set of 28 copies entered the Daiji-in sub temple of Daitokuji. Given that Daitokuji is also of the Daiô sect, it was determined around 1630 that Unkoku Tôeki should create new images of the last 4 patriarchs then lacking in the Shôitsu sect set. However, at some point in time and contrary to Tôeki\u0027s intention, 24 of the 28 copies with Minchô signatures and four works by Tôeki were reassembled to create the Daiô set. When they were given to the Hekigyoku-an sub temple of Daiji-in, for an unknown reason, one of the Tôeki Daiô sect works was replaced by a remaining different patriarch of the Shốitsu sect. Then around the mid 18th century, Tosa Mitsufusa (1700-1772) made a copy of the Tôeki scrolls, and that set was presented to Sôfukuji in 1807 where they are extant today.\n Of course, the four scrolls painted by Tôeki are all finished works and representative of his painting style. Thus said, the set has basically maintained the evaluation that springs from their “Minchô hitsu” fame, and clearly the set have been handed down to the present time as part of that transference of attribution. These Sôfukuji scrolls are fascinating examples not only in the study of the related artists, but also in transmittal of the patriarchal images, and in the social mechanism of movement and amplification.\n The interesting aspect of “transference” can be seen not at the point of production, but rather in the various incidents that occurred around the works after the production of the original set. The level of conscious effort to raise the social and artistic value of the works can be seen as both the reason behind the maintenance of, or conversely, loss of that status. Thus we can see that post-production events were as important as pre-production events, if not more important. 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崇福寺蔵「二十八祖像」をめぐって―雲谷等益、明兆から雪舟、文清まで―
https://tobunken.repo.nii.ac.jp/records/6135
https://tobunken.repo.nii.ac.jp/records/61358608c14a-d583-462d-bd0f-d6ca0183be4b
名前 / ファイル | ライセンス | アクション |
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386_1_Watada_Redacted.pdf (20.9 MB)
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Item type | 学術雑誌論文 / Journal Article(1) | |||||
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公開日 | 2017-10-05 | |||||
タイトル | ||||||
タイトル | 崇福寺蔵「二十八祖像」をめぐって―雲谷等益、明兆から雪舟、文清まで― | |||||
タイトル | ||||||
言語 | en | |||||
タイトル | The Twenty-eight Patriarchs at Sofukuji: From Unkoku Toeki and Mincho to Sesshu and Bunsei | |||||
言語 | ||||||
言語 | jpn | |||||
キーワード | ||||||
主題Scheme | Other | |||||
主題 | 雲谷等益筆 虎丘紹隆像・雲谷等益筆 松源崇嶽像・雲谷等益筆 虚堂智愚像・雲谷等益筆 南浦紹明像・明兆落款 菩提達磨像・明兆落款 大祖慧可像・明兆落款 大鑑慧能像・明兆落款 楊岐方會像(いずれも二十八祖像のうち 福岡 崇福寺蔵)大徳寺碧玉庵・大慈院・列祖像・肖像 | |||||
キーワード | ||||||
言語 | en | |||||
主題Scheme | Other | |||||
主題 | Portrait of Hugiu Shaolong, by Unkoku Toeki / Portrait of Songyuan Chongyue, by Unkoku Toeki / Portrait of Xutang Zhiyu, by Unkoku Toeki / Portrait of Nanpo Jomyo, by Unkoku Toeki / Portrait of Bodhidharma, with a Mincho sign / Portrait of Dazu Huike, with a Mincho sign / Portrait of Daijian Huineng, with a Mincho sign / Portrait of Yangqi Fanghui, with a Mincho sign, all from the Twenty-eight Patriarchs, Sofukuji, Fukuoka | |||||
資源タイプ | ||||||
資源タイプ識別子 | http://purl.org/coar/resource_type/c_6501 | |||||
資源タイプ | journal article | |||||
著者 |
綿田, 稔
× 綿田, 稔× Watada, Minoru |
|||||
抄録 | ||||||
内容記述タイプ | Abstract | |||||
内容記述 | Sôfukuji is located in Fukuoka city and is renowned for its set of 28 hanging scrolls depicting the 28 patriarchs of the Daiô sect of Rinzai Zen, from Bodhidharma the first patriarch, to Nanpo Jômyô, the 28th. Twenty-four of the extant scrolls bear the signature “Minchô hitsu” while the remaining four bear the seals of Unkoku Tôeki (15911644). This article will discuss the movement of these works through history and consider their current state. First a set of hanging scrolls depicting the 28 patriarchs of the Shôitsu sect, from Bodhidharma through Zozan Junkû, was painted by Minchô (1352-1431) for the Yômeiin sub temple of Tôfukuji in Kyoto. The Sôfukuji set bearing the Minchô signatures are copy works made sometime after the beginning of the 16th century and the original set would have consisted of 28 hanging scrolls of the Shôitsu sect patriarchs extending from Bodhidharma through Zôzan. At some point this set of 28 copies entered the Daiji-in sub temple of Daitokuji. Given that Daitokuji is also of the Daiô sect, it was determined around 1630 that Unkoku Tôeki should create new images of the last 4 patriarchs then lacking in the Shôitsu sect set. However, at some point in time and contrary to Tôeki's intention, 24 of the 28 copies with Minchô signatures and four works by Tôeki were reassembled to create the Daiô set. When they were given to the Hekigyoku-an sub temple of Daiji-in, for an unknown reason, one of the Tôeki Daiô sect works was replaced by a remaining different patriarch of the Shốitsu sect. Then around the mid 18th century, Tosa Mitsufusa (1700-1772) made a copy of the Tôeki scrolls, and that set was presented to Sôfukuji in 1807 where they are extant today. Of course, the four scrolls painted by Tôeki are all finished works and representative of his painting style. Thus said, the set has basically maintained the evaluation that springs from their “Minchô hitsu” fame, and clearly the set have been handed down to the present time as part of that transference of attribution. These Sôfukuji scrolls are fascinating examples not only in the study of the related artists, but also in transmittal of the patriarchal images, and in the social mechanism of movement and amplification. The interesting aspect of “transference” can be seen not at the point of production, but rather in the various incidents that occurred around the works after the production of the original set. The level of conscious effort to raise the social and artistic value of the works can be seen as both the reason behind the maintenance of, or conversely, loss of that status. Thus we can see that post-production events were as important as pre-production events, if not more important. Clearly the pre-production process is not the only thing to be analyzed in an art historical study. In addition, this article also presents some of the issues related to the copies of Sesshû's self portrait and two of the half-length patriarch portraits with “Bunsei” seals which arose in the author's mind while writing this article. |
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書誌情報 |
美術研究 en : The bijutsu kenkyu : the journal of art studies 号 386, p. 1-18, 発行日 2005-06-07 |