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The continuity of the composition indicates that they originally formed a single-scroll painting. The theme is based on the twenty-fifth chapter of the Lotus Sutra (Kuan-yin-ching) and represented by twenty ecclesiastic scenes. Cartouches are placed within the composition, where parts of the prose and verse in the chapter are written in ink. \n As for the selection of the scenes, what is interesting about this painting is that all of the scenes in the verse that are concerning the salvation from various sufferings are depicted. From the prose, the thirty-three transformations of Avalokiteśvara and abundant benefits and liberation from greed conferred by Avalokiteśvara are picturized.\n Rather conservative painting technique of the combination of underdrawing, colouring and finish with ink is employed. Texture strokes in ink are not used, even in detail. The colour scheme reflects a Chinese flavour, characterised by the floridity, which is different from the mode of colouring after the thirteenth century.\n The painting had an inscription on the back, which was removed at the time of repairs. According to the inscription, the painting originally was kept as a treasure at certain Hōshakuji Temple, which is presumed to be the Hoshakuji located in\nŌyamazaki Town in the vicinity of Kyoto. It is interesting to note that the Avalikiteśvara figures in the painting are all eleven-headed Avalokiteśvara corresponding to the main statue of the Hōshakuji, made in the first year of the Tempuku Era (1233).\n The earliest documented evidence of the belief of Kuan-yin-ching in the history of Japan took place in the first year of the Shuchō Era (686), when a lecture on it was held for the convalescence of the Emperor Temmu from his illness. The popularity of the belief has hitherto remained unabated.\n Unlike the pictorial works depicting the twentyeight chapters of the Lotus Sutra, those limitted to the Kuan-yin-ching do not abound. So far the sole extant Japanese example has been the handscroll painting of Kuan-yin-ching in the Metropolitan Museum of Art, whose colophon bears the execution date of the first year of the Shōka Era (1257). While this handscroll painting of Kuan- yin-ching is a copy of a Chinese printed version, the hangingscroll painting in question is not based on any other compositions. 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本土寺所蔵 観音経絵について
https://tobunken.repo.nii.ac.jp/records/6369
https://tobunken.repo.nii.ac.jp/records/6369c2cef312-d720-479d-bc46-adc100496d99
名前 / ファイル | ライセンス | アクション |
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325_1_Miyajima_Redacted.pdf (12.3 MB)
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Item type | 学術雑誌論文 / Journal Article(1) | |||||
---|---|---|---|---|---|---|
公開日 | 2017-10-05 | |||||
タイトル | ||||||
タイトル | 本土寺所蔵 観音経絵について | |||||
タイトル | ||||||
言語 | en | |||||
タイトル | Kuan-yin-ching Painting Owned by the Hondoji | |||||
言語 | ||||||
言語 | jpn | |||||
キーワード | ||||||
主題Scheme | Other | |||||
主題 | 観音経絵(石川 本土寺蔵)宝積寺旧蔵 | |||||
キーワード | ||||||
言語 | en | |||||
主題Scheme | Other | |||||
主題 | Kuang-yin-ching Painting, The Hondoji, Ishikawa | |||||
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 |
宮島, 新一
× 宮島, 新一× Miyajima, Shin’ichi |
|||||
抄録 | ||||||
内容記述タイプ | Abstract | |||||
内容記述 | The Kuan-yin-ching painting owned by the Hondoji Temple presently consists of two hanging scrolls, each measuring 124.6cm in height and 90.1 cm in width. The continuity of the composition indicates that they originally formed a single-scroll painting. The theme is based on the twenty-fifth chapter of the Lotus Sutra (Kuan-yin-ching) and represented by twenty ecclesiastic scenes. Cartouches are placed within the composition, where parts of the prose and verse in the chapter are written in ink. As for the selection of the scenes, what is interesting about this painting is that all of the scenes in the verse that are concerning the salvation from various sufferings are depicted. From the prose, the thirty-three transformations of Avalokiteśvara and abundant benefits and liberation from greed conferred by Avalokiteśvara are picturized. Rather conservative painting technique of the combination of underdrawing, colouring and finish with ink is employed. Texture strokes in ink are not used, even in detail. The colour scheme reflects a Chinese flavour, characterised by the floridity, which is different from the mode of colouring after the thirteenth century. The painting had an inscription on the back, which was removed at the time of repairs. According to the inscription, the painting originally was kept as a treasure at certain Hōshakuji Temple, which is presumed to be the Hoshakuji located in Ōyamazaki Town in the vicinity of Kyoto. It is interesting to note that the Avalikiteśvara figures in the painting are all eleven-headed Avalokiteśvara corresponding to the main statue of the Hōshakuji, made in the first year of the Tempuku Era (1233). The earliest documented evidence of the belief of Kuan-yin-ching in the history of Japan took place in the first year of the Shuchō Era (686), when a lecture on it was held for the convalescence of the Emperor Temmu from his illness. The popularity of the belief has hitherto remained unabated. Unlike the pictorial works depicting the twentyeight chapters of the Lotus Sutra, those limitted to the Kuan-yin-ching do not abound. So far the sole extant Japanese example has been the handscroll painting of Kuan-yin-ching in the Metropolitan Museum of Art, whose colophon bears the execution date of the first year of the Shōka Era (1257). While this handscroll painting of Kuan- yin-ching is a copy of a Chinese printed version, the hangingscroll painting in question is not based on any other compositions. This renders the painting extremely valuable in the comparative study with Chinese made illustrations of the twenty-fifth chapter of the Lotus Sutra. As for the dating, the author assumes this Kuan-yin-ching painting to have been executed in the third quarter of the thirteenth century. |
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書誌情報 |
美術研究 en : The bijutsu kenkyu : the journal of art studies 号 325, p. 1-9, 発行日 1983-09-30 |