WEKO3
アイテム
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The Honden comprises a three-bay square moya surrounded by a hisashi that is five bays by four bays. Architectural historians have convincingly demonstrated the remarkable fact that the hisashi and the moya were originally unrelated structures. \n Moreover, evidence indicates that the heavily decorated moya was first built in Kyoto after 1586 ; there it stood as an independent building until 1602 or 1603, when it was moved to Chikubushima. In this paper, I examine the meaning of the moya decoration and thereby elucidate the original manifestation of this building.\n The moya is fully covered with decoration of primarily floral subjects in several media. The interior is filled with polychrome and gold-leaf paintings. The exterior walls hold large panels of highrelief woodcarvings. Both inside and out, makie lacquer sheathes the pillars and lintel-beams. All the places where the pillars and lintel-beams meet are marked with gilt metalwork. Colors cover the woodcarvings and other wood parts not coated with lacquer. As a whole, the decoration of the moya achieves a visually satisfying sense of completeness and thematic integrity.\n Although the moya preserves the most fully realized ensemble of decoration from the Momoyama period, no serious attempt has been made to understand its original incarnation in Kyoto. I argue that the Toyotomi built the moya as part of a larger effort to commemorate the death of Hideyoshi\u0027s intended heir, Sutemaru (1589-1591). I reach this conclusion by studying the moya decoration in light of a matrix of interrelated evidence provided by Momoyama-period texts and works of art.\n The moya decoration is replete with symbolic meaning. It graphically proclaims the Toyotomi sponsorship of the building, in part through the plentiful use of chrysanthemum and paulownia crests. The abundance of interior and exterior decoration, as well as the copious use of gold, indicate that the moya was a structure built in memory of a person who died. The golden Four Seasons floral imagery on the interior, often seen in the mortuary context in Japan, alludes to the Western Paradise.\n The decoration of the exterior, on the other hand, refers not to paradisical themes, but to the specific individual memorialized in the building. Two floral motifs carved in wood dominate the exterior, the chrysanthemum and the fuyō. I discuss the use of the chrysanthemum in the Momoyamaperiod mortuary context and conclude that the moya chrysanthemum carvings should be interpreted as katamigusa, or flowers that stand in memory of one who has died. The validity of this interpretation is sustained through analysis of the fuyō carvings, the earliest known large-scale depictions of this subject carved in wood in Japan. I link these carvings to three eulogies, written for Sutemaru\u0027s death anniversary rituals by the Buddhist priest, Nanka Genkō (1538-1604), in which fuyō is a conspicuous motif used metaphorically to refer to Sutemaru; I argue that the fuyō carvings on the moya were intended to similarly evoke an associa tion with Sutemaru. I discuss one additional motif that connects the moya to Sutemaru, that is, the combination of crane and pine.\n My conclusion that the moya is connected with Sutemaru has obvious implications for the original site of this building. 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棄丸の幻影―都久夫須麻神社本殿母屋をめぐって―
https://tobunken.repo.nii.ac.jp/records/6234
https://tobunken.repo.nii.ac.jp/records/6234e5bb3d22-a958-4f11-aaf6-2bff24a20ead
名前 / ファイル | ライセンス | アクション |
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366_1_Andrew_Redacted (11.6 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 | 棄丸の幻影―都久夫須麻神社本殿母屋をめぐって― | |||||
タイトル | ||||||
言語 | en | |||||
タイトル | Memorializing Sutemaru: Regarding the Moya of the Tsukubushima Sanctuary Main Hall | |||||
言語 | ||||||
言語 | jpn | |||||
キーワード | ||||||
主題Scheme | Other | |||||
主題 | 都久夫須麻神社本殿母屋・天井画芙蓉図・木彫彩色芙蓉外壁・木彫彩色菊外壁・葡萄蒔絵長押下端部分・鶴蒔絵内法長押部分(滋賀 都久夫須麻神社)竹生島・西方浄土・死者追善・南化玄興の弔辞・「鶴松」・祥雲寺・豊臣家・初期障屏画 | |||||
キーワード | ||||||
言語 | en | |||||
主題Scheme | Other | |||||
主題 | Tsukubusuma Sanctuary, Moya Interior, Exterior and Underside of Lintel-beam | |||||
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 |
アンドリュー・M・ワツキー
× アンドリュー・M・ワツキー× 三戸, 信惠× Andrew, M. Watsky× Mito, Nobue |
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抄録 | ||||||
内容記述タイプ | Abstract | |||||
内容記述 | On Chikubushima, a small island in the far northern end of Lake Biwa, stands a Momoyamaperiod building today called the Tsukubusuma Jinja Honden. The Honden comprises a three-bay square moya surrounded by a hisashi that is five bays by four bays. Architectural historians have convincingly demonstrated the remarkable fact that the hisashi and the moya were originally unrelated structures. Moreover, evidence indicates that the heavily decorated moya was first built in Kyoto after 1586 ; there it stood as an independent building until 1602 or 1603, when it was moved to Chikubushima. In this paper, I examine the meaning of the moya decoration and thereby elucidate the original manifestation of this building. The moya is fully covered with decoration of primarily floral subjects in several media. The interior is filled with polychrome and gold-leaf paintings. The exterior walls hold large panels of highrelief woodcarvings. Both inside and out, makie lacquer sheathes the pillars and lintel-beams. All the places where the pillars and lintel-beams meet are marked with gilt metalwork. Colors cover the woodcarvings and other wood parts not coated with lacquer. As a whole, the decoration of the moya achieves a visually satisfying sense of completeness and thematic integrity. Although the moya preserves the most fully realized ensemble of decoration from the Momoyama period, no serious attempt has been made to understand its original incarnation in Kyoto. I argue that the Toyotomi built the moya as part of a larger effort to commemorate the death of Hideyoshi's intended heir, Sutemaru (1589-1591). I reach this conclusion by studying the moya decoration in light of a matrix of interrelated evidence provided by Momoyama-period texts and works of art. The moya decoration is replete with symbolic meaning. It graphically proclaims the Toyotomi sponsorship of the building, in part through the plentiful use of chrysanthemum and paulownia crests. The abundance of interior and exterior decoration, as well as the copious use of gold, indicate that the moya was a structure built in memory of a person who died. The golden Four Seasons floral imagery on the interior, often seen in the mortuary context in Japan, alludes to the Western Paradise. The decoration of the exterior, on the other hand, refers not to paradisical themes, but to the specific individual memorialized in the building. Two floral motifs carved in wood dominate the exterior, the chrysanthemum and the fuyō. I discuss the use of the chrysanthemum in the Momoyamaperiod mortuary context and conclude that the moya chrysanthemum carvings should be interpreted as katamigusa, or flowers that stand in memory of one who has died. The validity of this interpretation is sustained through analysis of the fuyō carvings, the earliest known large-scale depictions of this subject carved in wood in Japan. I link these carvings to three eulogies, written for Sutemaru's death anniversary rituals by the Buddhist priest, Nanka Genkō (1538-1604), in which fuyō is a conspicuous motif used metaphorically to refer to Sutemaru; I argue that the fuyō carvings on the moya were intended to similarly evoke an associa tion with Sutemaru. I discuss one additional motif that connects the moya to Sutemaru, that is, the combination of crane and pine. My conclusion that the moya is connected with Sutemaru has obvious implications for the original site of this building. I propose that the moya was first located at Shōunji, Sutemaru's mortuary temple complex in Kyoto, and briefly explain the reasons why it was moved to distant Chikubushima. |
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書誌情報 |
美術研究 en : The bijutsu kenkyu : the journal of art studies 号 366, p. 1-26, 発行日 1997-02-25 |