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The subjects in the “Painting of the Annihilation of the Demons” and “Scrolls of Hells” are not strictly identical, but the accompanying texts of the “Painting of the Annihilation of the Demons”, the “Scroll of Hells” owned by the Tokyo National Museum, and the “Punishment of Demons” owned by the Fukuoka City Museum of Art are by the hand of the same calligrapher. The “Painting of Priests Hell” formerly in the possession of the Masuda Family had, furthermore, been handed down together with the “Painting of the Annihilation of the Demons”. The author, therefore, presumes that these four versions were produced at the same time as a part of a set. In the “Painting of the Annihilation of the Demons”, activities of fierce deities such as T‘ien-hsing-hsing are depicted grotesquely in the respective scenes, a feature which suggests that the work was executed by the will of a patron who was not bound by conventions and precedents, and the only such possible patron in this period that comes to mind is Ex-emperor Goshirakawa (1127-1192). If this is in fact the case, the latest possible date of the work would be about 1192. Furthermore, there is a recent theory that the calligraphic style in the scrolls is of the 1180\u0027s. Taking all these facts and the painting style into consideration, the four versions are suspected to have been produced in the latest years of Ex-emperor Goshirakawa.\n The unique graded colouring of the body of the figures such as T‘ien-hsing-hsing, Chan-t\u0027a-po-wang and Chung-k‘uei seems to define the work as an early example of an conventional current of painting of the time in Nara-centered region. The current is typified by the Four Guardians in the door paintings of the miniature shrine made in 1212 (Kenryaku 2) for a Mahāśrī statue of the Jōruriji. Reinforcing this stylistic interpretation is the fact that Tien-hsing-hsing chastises Niu-tou-tien-wang, a deity which had considerable significance in the Tendai Sect, in a scene of the work now in question and that the former is iconographically close to Ta-tien-shên in the framed picture called “Kegon Gojūgosho E” owned by the Tōdaiji, and also the iconographical lineage of Vaiśravaṇa holding a bow.\n As Mr. Taichirō Kobayashi theorized, the remote source of the “Painting of the Annihilation of the Demons” must be in T‘ang China, but, judging from the fact that there are no analogous examples, it is hard to imagine that these kinds of picture had been painted continuously since T\u0027ang times. The iconography which had long been considered heretical and not used formally must have been aroused by the popular mood of the end of the Heion Period and the beginning of the Kamakura Period, a mood which sought a new standpoint in the midst of political turmoil. It is likely that the pictures of T‘ien hsing-hsing and Vaisravaṇa happened to reflect the notions peculiar to the Nara region Buddhism in this reviving process of the long forgotten icono graphy.\n It is known from a literary source that “Pictures of Six Worlds of Unenlightened Beings” were once kept in the treasury of Ex-emperor Goshirakawa at the Rengeōin. If the work now in question was made under the patronage of Ex-emperor Goshirakawa as the author presumes, it could well be a part of this “Pictures of the Six Worlds” set. 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辟邪絵―わが国における受容―
https://tobunken.repo.nii.ac.jp/records/6393
https://tobunken.repo.nii.ac.jp/records/639323eda47c-392d-4d0b-8807-8ceacef8daea
名前 / ファイル | ライセンス | アクション |
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331_1_Miyajima_Redacted.pdf (26.0 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 | 辟邪絵―わが国における受容― | |||||
タイトル | ||||||
言語 | en | |||||
タイトル | Recepience of “Demon Annihilation” Painting in Japan | |||||
言語 | ||||||
言語 | jpn | |||||
キーワード | ||||||
主題Scheme | Other | |||||
主題 | 辟邪絵(毘沙門天図・天刑星図・栴檀乾闥婆翁図・神虫図・鍾馗図・文化庁蔵)・地獄草紙断簡(勘当の鬼図・福岡市美術館蔵) | |||||
キーワード | ||||||
言語 | en | |||||
主題Scheme | Other | |||||
主題 | “Painting of the Annihilation of the Demons” Picture of Vaisravana, Vasravana, T’ien-hsing-hsing, Chan-t’an-chien-t’a-po-wang, Shen-ch’ung and Chung-k’uei, Agency for Cultural Affairs / “Scroll of Hells,” Picture of Punishment of Demons, Fukuoka City Museum of Art | |||||
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 |
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抄録 | ||||||
内容記述タイプ | Abstract | |||||
内容記述 | The author discusses the relationship between an illustrated handscroll known as the “Painting of the Annihilation of the Demons” now kept by the Agency for Cultural Affairs and versions of the “Scrolls of Hells” both of which date to the transitional phase between the Heian and the Kamakura Periods. The subjects in the “Painting of the Annihilation of the Demons” and “Scrolls of Hells” are not strictly identical, but the accompanying texts of the “Painting of the Annihilation of the Demons”, the “Scroll of Hells” owned by the Tokyo National Museum, and the “Punishment of Demons” owned by the Fukuoka City Museum of Art are by the hand of the same calligrapher. The “Painting of Priests Hell” formerly in the possession of the Masuda Family had, furthermore, been handed down together with the “Painting of the Annihilation of the Demons”. The author, therefore, presumes that these four versions were produced at the same time as a part of a set. In the “Painting of the Annihilation of the Demons”, activities of fierce deities such as T‘ien-hsing-hsing are depicted grotesquely in the respective scenes, a feature which suggests that the work was executed by the will of a patron who was not bound by conventions and precedents, and the only such possible patron in this period that comes to mind is Ex-emperor Goshirakawa (1127-1192). If this is in fact the case, the latest possible date of the work would be about 1192. Furthermore, there is a recent theory that the calligraphic style in the scrolls is of the 1180's. Taking all these facts and the painting style into consideration, the four versions are suspected to have been produced in the latest years of Ex-emperor Goshirakawa. The unique graded colouring of the body of the figures such as T‘ien-hsing-hsing, Chan-t'a-po-wang and Chung-k‘uei seems to define the work as an early example of an conventional current of painting of the time in Nara-centered region. The current is typified by the Four Guardians in the door paintings of the miniature shrine made in 1212 (Kenryaku 2) for a Mahāśrī statue of the Jōruriji. Reinforcing this stylistic interpretation is the fact that Tien-hsing-hsing chastises Niu-tou-tien-wang, a deity which had considerable significance in the Tendai Sect, in a scene of the work now in question and that the former is iconographically close to Ta-tien-shên in the framed picture called “Kegon Gojūgosho E” owned by the Tōdaiji, and also the iconographical lineage of Vaiśravaṇa holding a bow. As Mr. Taichirō Kobayashi theorized, the remote source of the “Painting of the Annihilation of the Demons” must be in T‘ang China, but, judging from the fact that there are no analogous examples, it is hard to imagine that these kinds of picture had been painted continuously since T'ang times. The iconography which had long been considered heretical and not used formally must have been aroused by the popular mood of the end of the Heion Period and the beginning of the Kamakura Period, a mood which sought a new standpoint in the midst of political turmoil. It is likely that the pictures of T‘ien hsing-hsing and Vaisravaṇa happened to reflect the notions peculiar to the Nara region Buddhism in this reviving process of the long forgotten icono graphy. It is known from a literary source that “Pictures of Six Worlds of Unenlightened Beings” were once kept in the treasury of Ex-emperor Goshirakawa at the Rengeōin. If the work now in question was made under the patronage of Ex-emperor Goshirakawa as the author presumes, it could well be a part of this “Pictures of the Six Worlds” set. The “Pictures of the Six Worlds of Unenlightened Beings” (“Rokudo t'a E”) was after all a new terminology then and could include anything relevant to that theme. |
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書誌情報 |
美術研究 en : The bijutsu kenkyu : the journal of art studies 号 331, p. 1-22, 発行日 1985-03-30 |