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Chung-yu Tsu-ch’an was a monk of the Ch’an (Jap. : Zen) Sect and Wu-i K’o-ch\u0027in was a monk of the T\u0027ien-t\u0027ai (Jap. : Tendai) Sect of Buddhism. They were dispatched to Japan as mission members by the emperor of Ming China, T\u0027ai-tsu, in the sixth year of Hung-wu Era (A. D. 1373; The sixth year of Ōan Era in the Japanese calendar) and returned to China two years later.\n A coloured painting of Kṣitigarbha with complimentary inscription by Wu-i K’o-ch\u0027in on it is owned by the Jishōin, a subsidiary temple of the Shōkokuji and it has a close stylistic relationship to the Amitābha Triad owned by the Shōjōkein, Kyoto, which is a representative work of the Southern Sung Dynasty, painted by P’u-yüeh. The former painting has no later, or particularly Japanese, elements added. However, the author who minutely analyzed the inscription, including the signature of the inscriber “Wa-kuan pi-ch\u0027iu K\u0027o-ch\u0027in 瓦官比丘克勤”, reached the conclusion that it was perhaps inscribed while the priest stayed in Japan. And its stylistic characteristics and the fact that the inscription was usually added just after the work was made, reinforce this interpretation. The author is of the opinion that this painting is not a late Yüan or early Ming Chinese piece after an older style but it is a Japanese work of the middle fourteenth century when Japanese artists were incorporating Chinese models.\n On the other hand, the Śākyamuni Triad owned by the Konchiin at Shiba, Tokyo, is easily recognizable as a work of fourteenth century Japan. Therefore the inscription by Chung-yu Tsu-ch\u0027an would naturally have been added when he was in Japan. The most Japanese feature of this work is that the formal beauty of the lines is sought for rather than the exact rendition of the subject.\n Thus, the two works with inscriptions by Chinese delegates are considered to be Japanese products of the period. However, they were not only executed in different techniques, coloured painting and drawing, but they followed different models, in Chinese painting. The former was based on Southern Sung painting and the latter on Yüan Dynasty unaccentuated line drawing (Pai-miao drawing). Both, therefore, look to be stylistically exclusive of each other. But, at the same time, they have one feature in common. Both show the process of assimilating what had been achieved in landscape painting. 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仲猷祖闡・無逸克勤の来朝とその著賛作品
https://tobunken.repo.nii.ac.jp/records/6535
https://tobunken.repo.nii.ac.jp/records/6535dbfe7693-8e83-4d9d-80c5-61fdbf28eb3a
名前 / ファイル | ライセンス | アクション |
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287_19_Ebine_Redacted.pdf (15.4 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 | 仲猷祖闡・無逸克勤の来朝とその著賛作品 | |||||
タイトル | ||||||
言語 | en | |||||
タイトル | The Trip of Chung-yu Tsu-ch’an and Wu-i K’o-ch’in to Japan and Their Inscriptions on Paintings | |||||
言語 | ||||||
言語 | jpn | |||||
キーワード | ||||||
主題Scheme | Other | |||||
主題 | 無逸克勤賛地蔵菩薩図(京都 慈照院蔵)・仲猷祖闡賛釈迦三尊図(京都 金地院蔵)・釈迦三尊図(京都 鹿王院蔵) | |||||
キーワード | ||||||
言語 | en | |||||
主題Scheme | Other | |||||
主題 | “Ksitigarbha” with Inscription by Wu-i K’o-ch’in, The Jishoin, Kyoto / “Sakyamuni Triad” with Inscription by Chung-yu Tsu-ch’an, The Konchiin, Kyoto / “Sakyamuni Triad” Attributed to Lu Chung-chien, The Rokuoin, Kyoto | |||||
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 |
海老根, 聰郎
× 海老根, 聰郎× Ebine, Toshiro |
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抄録 | ||||||
内容記述タイプ | Abstract | |||||
内容記述 | In the present paper the author introduces two paintings which have inscriptions by Chung- yu Tsu-ch'an 仲猷祖闡 and Wu-i K’o-ch'in 無逸克勤 and discusses related art historical problems. Chung-yu Tsu-ch’an was a monk of the Ch’an (Jap. : Zen) Sect and Wu-i K’o-ch'in was a monk of the T'ien-t'ai (Jap. : Tendai) Sect of Buddhism. They were dispatched to Japan as mission members by the emperor of Ming China, T'ai-tsu, in the sixth year of Hung-wu Era (A. D. 1373; The sixth year of Ōan Era in the Japanese calendar) and returned to China two years later. A coloured painting of Kṣitigarbha with complimentary inscription by Wu-i K’o-ch'in on it is owned by the Jishōin, a subsidiary temple of the Shōkokuji and it has a close stylistic relationship to the Amitābha Triad owned by the Shōjōkein, Kyoto, which is a representative work of the Southern Sung Dynasty, painted by P’u-yüeh. The former painting has no later, or particularly Japanese, elements added. However, the author who minutely analyzed the inscription, including the signature of the inscriber “Wa-kuan pi-ch'iu K'o-ch'in 瓦官比丘克勤”, reached the conclusion that it was perhaps inscribed while the priest stayed in Japan. And its stylistic characteristics and the fact that the inscription was usually added just after the work was made, reinforce this interpretation. The author is of the opinion that this painting is not a late Yüan or early Ming Chinese piece after an older style but it is a Japanese work of the middle fourteenth century when Japanese artists were incorporating Chinese models. On the other hand, the Śākyamuni Triad owned by the Konchiin at Shiba, Tokyo, is easily recognizable as a work of fourteenth century Japan. Therefore the inscription by Chung-yu Tsu-ch'an would naturally have been added when he was in Japan. The most Japanese feature of this work is that the formal beauty of the lines is sought for rather than the exact rendition of the subject. Thus, the two works with inscriptions by Chinese delegates are considered to be Japanese products of the period. However, they were not only executed in different techniques, coloured painting and drawing, but they followed different models, in Chinese painting. The former was based on Southern Sung painting and the latter on Yüan Dynasty unaccentuated line drawing (Pai-miao drawing). Both, therefore, look to be stylistically exclusive of each other. But, at the same time, they have one feature in common. Both show the process of assimilating what had been achieved in landscape painting. In other words, the natural sense of space as seen in landscape painting is incorporated into both of these works. The author considers that these paintings thus occupy positions in the transition from the current of religious figure paintig to the current of landscape painting in fourteenth and fifteenth century Japan. |
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書誌情報 |
美術研究 en : The bijutsu kenkyu : the journal of art studies 号 287, p. 19-31, 発行日 1973-10-30 |