WEKO3
アイテム
{"_buckets": {"deposit": "eca30743-6957-4a1c-a60b-4d9ba87592f8"}, "_deposit": {"created_by": 3, "id": "6438", "owners": [3], "pid": {"revision_id": 0, "type": "depid", "value": "6438"}, "status": "published"}, "_oai": {"id": "oai:tobunken.repo.nii.ac.jp:00006438", "sets": ["1054"]}, "author_link": ["26823", "26822"], "item_10001_biblio_info_7": {"attribute_name": "書誌情報", "attribute_value_mlt": [{"bibliographicIssueDates": {"bibliographicIssueDate": "1976-03-30", "bibliographicIssueDateType": "Issued"}, "bibliographicIssueNumber": "302", "bibliographicPageEnd": "32", "bibliographicPageStart": "11", "bibliographic_titles": [{"bibliographic_title": "美術研究"}, {"bibliographic_title": "The bijutsu kenkyu : the journal of art studies", "bibliographic_titleLang": "en"}]}]}, "item_10001_description_5": {"attribute_name": "抄録", "attribute_value_mlt": [{"subitem_description": " Each of the eight paintings in this set has two scenes on the average, or three at the most. Except for those concerning Kūkai, the scenes are based on Himitsu-mandara-kyō Fuhō-den (so-called Kō Fuhō-den) and Shingon Fuhō-den (so-called Ryaku Fuhō-den) both written by Priest Kūkai. The eight paintings were originally sliding screens arranged on the east and west sides in the Shingon-dō Hall of the Eikyūji. The western ones, dealing with the lives of Nāgārjuna, Nāgabodhi, Vajrabodhi and Amogavajra, are painted as autumn landscapes and the eastern ones which are concerned with Śubhākarasimha, I-hsing, Hui-kuo and Kūkai, are spring landscapes. Decisive and effective lines were used from the beginning and colour washes were added. Fine finish lines were applied, but only to such portions as human figures and twigs of trees. This is a typical painting technique of the Heian Period.\n In the scroll of Nāgārjuna, the foreground which occupies about two-thirds of the picture plane, is a beautiful natural scene with a stupa in the center. To the lower right of the stupa, whose roof is decorated with golden rings, there is a hall with a four-sided roof and, to the upper right is another building in which Nāgārjuna who is almost flaked off is seated. This is the setting for a story contained in Kō Fuhō-den that Arya- deva, coming from Ceylon, visited Nāgārjuna and engaged in a religious discussion when Nāgārjuna was in a monastery near the capital of the Kosala Kingdom. The person sitting on the left side of the podium of the upper building is Aryadeva. And Aryadeva appears once more together with Nāgārjuna\u0027s disciple under the eaves of the building. Farther up and to the left Nāgārjuna and his successor Nāgabodhi are seen in another building. The background is a view of distant mountains, over which lines of dirds fly. \n The scroll of Nāgabodhi also has a foreground occupying about two-thirds of the picture. A range of hills runs from the middle of the left to the lower right and is adorned with evergreens and tinted trees. On a hillside there sit Nāgabodhi and his disciple Amogavajra. On a higher tableland two monks are seen sitting together. The left monk is Nāgabodhi and the other seems to be Hsüan-chuang, the Chinese monk who travelled to India, who is accompaned by a foreign-looking person. A similar figure of Hsüan-chuang is seen in other paintings. The complex hill formation in the foreground is done with fluent lines and rough touches. Similar touches are seen in the second scroll of the Caricaturistic Painting of Animals, Birds and Human Figures in the Kōzanji. The rendition of trees and autumnal grasses also show Heian-like characteristics. Two unidentifiable figures carrying musical instruments are in the middle part of the painting. In the upper part, distant mountains and roofs of temple-like buildings are seen.\n The scroll of Vajrabodhi is, on the contrary, dominated by a view of the sea. The craggy hill at the lower left is Potalaka, the land of Avalokiteśvara. The theme here depicted is the story of Vajrabodhi who by means of a spell revived a withered nyagrodha tree at the temple gate when he visited Avalokiteśvara. According to the story, Avalokiteśvara suggested to him to go on a mission to China. Avalokiteśvara is rendered with the graceful feeling common to Avalokiteśvara paintings of the Heian Period. The left end of the hill-range in the scroll of Nāgabodhi continues into the lower right part and the cliff commands the sand beach washed by waves of the sea and on which sea shells are scattered. The rough sea is rendered with fine lines. It stretches upward and is partly covered with mist. We can imagine from this what the “Screen Painting of Rough Sea” in the Heian court looked like. The sea here is of course a device to narrate Vajrabodhi\u0027s trip to China, with his boat in the distance. His party and the people welcoming them are seen on the right-hand-side beach with pines. Similar pine trees are in the frontispieces of the sutra set dedicated by the Taira Family to Itsukushima Shrine in the 1160\u0027s, but the trees in this picture are less formalized and freer. A boat close to the boat of Vajrabodhi can be found in the Scroll Painting of Minister Kibi\u0027s Travel to China in the Museum of Fine Arts, Boston.\n", "subitem_description_type": "Abstract"}]}, "item_creator": {"attribute_name": "著者", "attribute_type": "creator", "attribute_value_mlt": [{"creatorNames": [{"creatorName": "柳澤, 孝"}], "nameIdentifiers": [{"nameIdentifier": "26822", "nameIdentifierScheme": "WEKO"}]}, {"creatorNames": [{"creatorName": "Yanagisawa, Taka", "creatorNameLang": "en"}], "nameIdentifiers": [{"nameIdentifier": "26823", "nameIdentifierScheme": "WEKO"}]}]}, "item_files": {"attribute_name": "ファイル情報", "attribute_type": "file", "attribute_value_mlt": [{"accessrole": "open_date", "date": [{"dateType": "Available", "dateValue": "2017-10-04"}], "displaytype": "detail", "download_preview_message": "", "file_order": 0, "filename": "302_11_Yanagisawa_Redacted.pdf", "filesize": [{"value": "40.9 MB"}], "format": "application/pdf", "future_date_message": "", "is_thumbnail": false, "licensetype": "license_11", "mimetype": "application/pdf", "size": 40900000.0, "url": {"label": "302_11_Yanagisawa_Redacted.pdf", "url": "https://tobunken.repo.nii.ac.jp/record/6438/files/302_11_Yanagisawa_Redacted.pdf"}, "version_id": "0a3a9ee7-b5a6-4811-bcda-02394e6e0f74"}]}, "item_keyword": {"attribute_name": "キーワード", "attribute_value_mlt": [{"subitem_subject": "真言八祖行状図 龍智・金剛智(東京 某氏蔵)・藤原宗弘・金剛智", "subitem_subject_scheme": "Other"}, {"subitem_subject": "Paintings Depicting the Lives of Eight Patriarchs of Shingon Sect, Scroll of Nagabodhi and Vajrabodhi, Private Collection, Tokyo", "subitem_subject_language": "en", "subitem_subject_scheme": "Other"}]}, "item_language": {"attribute_name": "言語", "attribute_value_mlt": [{"subitem_language": "jpn"}]}, "item_resource_type": {"attribute_name": "資源タイプ", "attribute_value_mlt": [{"resourcetype": "journal article", "resourceuri": "http://purl.org/coar/resource_type/c_6501"}]}, "item_title": "真言八祖行状図と廃寺永久寺真言堂障子絵(二)", "item_titles": {"attribute_name": "タイトル", "attribute_value_mlt": [{"subitem_title": "真言八祖行状図と廃寺永久寺真言堂障子絵(二)"}, {"subitem_title": "Paintings Depicting the Lives of Eight Patriarchs of Shingon Sect Originally Owned by the Eikyuji (Part II)", "subitem_title_language": "en"}]}, "item_type_id": "10001", "owner": "3", "path": ["1054"], "permalink_uri": "https://tobunken.repo.nii.ac.jp/records/6438", "pubdate": {"attribute_name": "公開日", "attribute_value": "2017-10-05"}, "publish_date": "2017-10-05", "publish_status": "0", "recid": "6438", "relation": {}, "relation_version_is_last": true, "title": ["真言八祖行状図と廃寺永久寺真言堂障子絵(二)"], "weko_shared_id": 3}
真言八祖行状図と廃寺永久寺真言堂障子絵(二)
https://tobunken.repo.nii.ac.jp/records/6438
https://tobunken.repo.nii.ac.jp/records/64384ad98c73-9576-461b-82d7-d31d482f868d
名前 / ファイル | ライセンス | アクション |
---|---|---|
302_11_Yanagisawa_Redacted.pdf (40.9 MB)
|
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 | 真言八祖行状図と廃寺永久寺真言堂障子絵(二) | |||||
タイトル | ||||||
言語 | en | |||||
タイトル | Paintings Depicting the Lives of Eight Patriarchs of Shingon Sect Originally Owned by the Eikyuji (Part II) | |||||
言語 | ||||||
言語 | jpn | |||||
キーワード | ||||||
主題Scheme | Other | |||||
主題 | 真言八祖行状図 龍智・金剛智(東京 某氏蔵)・藤原宗弘・金剛智 | |||||
キーワード | ||||||
言語 | en | |||||
主題Scheme | Other | |||||
主題 | Paintings Depicting the Lives of Eight Patriarchs of Shingon Sect, Scroll of Nagabodhi and Vajrabodhi, Private Collection, Tokyo | |||||
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 |
柳澤, 孝
× 柳澤, 孝× Yanagisawa, Taka |
|||||
抄録 | ||||||
内容記述タイプ | Abstract | |||||
内容記述 | Each of the eight paintings in this set has two scenes on the average, or three at the most. Except for those concerning Kūkai, the scenes are based on Himitsu-mandara-kyō Fuhō-den (so-called Kō Fuhō-den) and Shingon Fuhō-den (so-called Ryaku Fuhō-den) both written by Priest Kūkai. The eight paintings were originally sliding screens arranged on the east and west sides in the Shingon-dō Hall of the Eikyūji. The western ones, dealing with the lives of Nāgārjuna, Nāgabodhi, Vajrabodhi and Amogavajra, are painted as autumn landscapes and the eastern ones which are concerned with Śubhākarasimha, I-hsing, Hui-kuo and Kūkai, are spring landscapes. Decisive and effective lines were used from the beginning and colour washes were added. Fine finish lines were applied, but only to such portions as human figures and twigs of trees. This is a typical painting technique of the Heian Period. In the scroll of Nāgārjuna, the foreground which occupies about two-thirds of the picture plane, is a beautiful natural scene with a stupa in the center. To the lower right of the stupa, whose roof is decorated with golden rings, there is a hall with a four-sided roof and, to the upper right is another building in which Nāgārjuna who is almost flaked off is seated. This is the setting for a story contained in Kō Fuhō-den that Arya- deva, coming from Ceylon, visited Nāgārjuna and engaged in a religious discussion when Nāgārjuna was in a monastery near the capital of the Kosala Kingdom. The person sitting on the left side of the podium of the upper building is Aryadeva. And Aryadeva appears once more together with Nāgārjuna's disciple under the eaves of the building. Farther up and to the left Nāgārjuna and his successor Nāgabodhi are seen in another building. The background is a view of distant mountains, over which lines of dirds fly. The scroll of Nāgabodhi also has a foreground occupying about two-thirds of the picture. A range of hills runs from the middle of the left to the lower right and is adorned with evergreens and tinted trees. On a hillside there sit Nāgabodhi and his disciple Amogavajra. On a higher tableland two monks are seen sitting together. The left monk is Nāgabodhi and the other seems to be Hsüan-chuang, the Chinese monk who travelled to India, who is accompaned by a foreign-looking person. A similar figure of Hsüan-chuang is seen in other paintings. The complex hill formation in the foreground is done with fluent lines and rough touches. Similar touches are seen in the second scroll of the Caricaturistic Painting of Animals, Birds and Human Figures in the Kōzanji. The rendition of trees and autumnal grasses also show Heian-like characteristics. Two unidentifiable figures carrying musical instruments are in the middle part of the painting. In the upper part, distant mountains and roofs of temple-like buildings are seen. The scroll of Vajrabodhi is, on the contrary, dominated by a view of the sea. The craggy hill at the lower left is Potalaka, the land of Avalokiteśvara. The theme here depicted is the story of Vajrabodhi who by means of a spell revived a withered nyagrodha tree at the temple gate when he visited Avalokiteśvara. According to the story, Avalokiteśvara suggested to him to go on a mission to China. Avalokiteśvara is rendered with the graceful feeling common to Avalokiteśvara paintings of the Heian Period. The left end of the hill-range in the scroll of Nāgabodhi continues into the lower right part and the cliff commands the sand beach washed by waves of the sea and on which sea shells are scattered. The rough sea is rendered with fine lines. It stretches upward and is partly covered with mist. We can imagine from this what the “Screen Painting of Rough Sea” in the Heian court looked like. The sea here is of course a device to narrate Vajrabodhi's trip to China, with his boat in the distance. His party and the people welcoming them are seen on the right-hand-side beach with pines. Similar pine trees are in the frontispieces of the sutra set dedicated by the Taira Family to Itsukushima Shrine in the 1160's, but the trees in this picture are less formalized and freer. A boat close to the boat of Vajrabodhi can be found in the Scroll Painting of Minister Kibi's Travel to China in the Museum of Fine Arts, Boston. |
|||||
書誌情報 |
美術研究 en : The bijutsu kenkyu : the journal of art studies 号 302, p. 11-32, 発行日 1976-03-30 |