WEKO3
アイテム
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It is a rare extant example of an illuminated indigo-coloured sutra set made before the twelfth century. The outside of the cover of each scroll is ornamented with imaginary floral scroll patterns in gold and silver (Pl. IIa ; figs. 3 to 9) and the inside has frontispiece in gold and silver (Pls. I, IIb, III, IV, V) which illustrates a scene of Buddha\u0027s preaching and some themes of the chapters contained in the scroll. The present author has made a stylistic and iconological study on the illuminations of these covers.\n In this stylistic study, the author has compared the illuminations with those of other sutra sets, handicraft decorations and architectural ornamentations of the Heian Period, some of which are dated, and reached the conclusion that the work must have been made in the second quarter of the eleventh century or thereabouts by court painters or the like by order of some member or members of the Imperial family or closely related aristocracy. The floral scroll has the nearest kinship with that incised on the outside of a gilt bronze sutra box excavated at Yokawa in Mt. Hiei, which is known to have been used to contain sutra scrolls dedicated to the Enryakuji in 1031 by the consort of Emperor Ichijō, a daughter of FUJIWARA no Michinaga. The human figures, animals and landscape elements of the frontispieces are stylistically close to the narrative decoration of a lacquer box owned by the Fujita Museum of Art which is presumably from the first half of the eleventh century and the door paintings of the Hōōdō Hall of the Byōdōin dedicated in 1053 by FUJIWARA no Yorimichi, the eldest son of Michinaga. And the style in general of the frontispieces is more advanced than the former and less advanced than the latter. The floral scroll designs of the outside of the covers are also stylistically earlier than the latter. The landscape of the frontispieces shows a full Japanization and departure from the prior influence of T\u0027ang Chinese landscape rendering. The rather dramatized, vivid representation of figures and quick use of brush lines characterize these frontispieces.\n As a result of the iconological study of the frontispieces, it was found that one or more themes from every chapter in each scroll is illustrated in some way in the frontispiece. The entire composition therefore is fairly complex, but does not lack integration. The fact that the contents of all the chapters are illustrated and that the depiction is not manneristic and does not show a misunderstanding of the contents is a reflection of the social situation that the Lotus Sutra was widely read and lecture series on it were frequently held in the circles of the aristocracy of the time. 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延暦寺蔵金銀交書法華経の荘厳画
https://tobunken.repo.nii.ac.jp/records/6461
https://tobunken.repo.nii.ac.jp/records/6461d23f1e15-d2b9-4791-9d9f-31876e792c13
名前 / ファイル | ライセンス | アクション |
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309_1_Egami_Redacted.pdf (30.1 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 | 延暦寺蔵金銀交書法華経の荘厳画 | |||||
タイトル | ||||||
言語 | en | |||||
タイトル | Ornamentation of Indigo-paper Lotus Sutra with Gold-and-silver Text in the Possession of the Enryakuji | |||||
言語 | ||||||
言語 | jpn | |||||
キーワード | ||||||
主題Scheme | Other | |||||
主題 | 紺紙金銀交書法華経見返し(滋賀 延暦寺蔵) | |||||
キーワード | ||||||
言語 | en | |||||
主題Scheme | Other | |||||
主題 | Lotus Sutra with Gold-and-silver Text on Indigo-paper, The Enryakuji, Shiga | |||||
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 |
江上, 綏
× 江上, 綏× Egami, Yasushi |
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抄録 | ||||||
内容記述タイプ | Abstract | |||||
内容記述 | The Enryakuji owns an old eight-scroll indigopaper Lotus Sutra set with the text written in gold and silver which has been regarded as being a work of the Middle Heian Period. It is a rare extant example of an illuminated indigo-coloured sutra set made before the twelfth century. The outside of the cover of each scroll is ornamented with imaginary floral scroll patterns in gold and silver (Pl. IIa ; figs. 3 to 9) and the inside has frontispiece in gold and silver (Pls. I, IIb, III, IV, V) which illustrates a scene of Buddha's preaching and some themes of the chapters contained in the scroll. The present author has made a stylistic and iconological study on the illuminations of these covers. In this stylistic study, the author has compared the illuminations with those of other sutra sets, handicraft decorations and architectural ornamentations of the Heian Period, some of which are dated, and reached the conclusion that the work must have been made in the second quarter of the eleventh century or thereabouts by court painters or the like by order of some member or members of the Imperial family or closely related aristocracy. The floral scroll has the nearest kinship with that incised on the outside of a gilt bronze sutra box excavated at Yokawa in Mt. Hiei, which is known to have been used to contain sutra scrolls dedicated to the Enryakuji in 1031 by the consort of Emperor Ichijō, a daughter of FUJIWARA no Michinaga. The human figures, animals and landscape elements of the frontispieces are stylistically close to the narrative decoration of a lacquer box owned by the Fujita Museum of Art which is presumably from the first half of the eleventh century and the door paintings of the Hōōdō Hall of the Byōdōin dedicated in 1053 by FUJIWARA no Yorimichi, the eldest son of Michinaga. And the style in general of the frontispieces is more advanced than the former and less advanced than the latter. The floral scroll designs of the outside of the covers are also stylistically earlier than the latter. The landscape of the frontispieces shows a full Japanization and departure from the prior influence of T'ang Chinese landscape rendering. The rather dramatized, vivid representation of figures and quick use of brush lines characterize these frontispieces. As a result of the iconological study of the frontispieces, it was found that one or more themes from every chapter in each scroll is illustrated in some way in the frontispiece. The entire composition therefore is fairly complex, but does not lack integration. The fact that the contents of all the chapters are illustrated and that the depiction is not manneristic and does not show a misunderstanding of the contents is a reflection of the social situation that the Lotus Sutra was widely read and lecture series on it were frequently held in the circles of the aristocracy of the time. Besides, in the early half of the eleventh century, the practice of composing waka poems embodying the teachings of the twentyeight chapters of the sutra was began. Therefore painters who did this work should also have been well informed of the contents of the parables and the other teachings mentioned in the sutra. If the date given to the work in this paper is proper, it will serve as a precious extant example which typifies the stylistic tendency in early eleventh century Japanese court-type painting in general in respect to the decorative design, the representation of figures, animals and landscape elements and also the treatment of narrative scenes. |
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書誌情報 |
美術研究 en : The bijutsu kenkyu : the journal of art studies 号 309, p. 1-17, 発行日 1979-02-26 |