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The earliest remaining example is the set in the Golden Hall of the Hōryūji which belongs to the seventh century. The author, formalistically analyzing all the sixty extant examples of sculptural works of Four Lakapālas in Japan, found that there is a group with certain characteristics which is consisted mainly of tenth century examples.\n The names of the four deities, directions at which they are arranged and their forms have intimate relationship. In Buddhist scriptures and iconographical books the Four Lokapālas, Dhṛ. tarāṣṭra, Virūḍhaka, Virūpākṣa and Vaiśrayana are usually assigned to east, west, south and north respectively. But, when we see actual examples in temples, we often encounter the case that we have to doubt if the present arrangement is the same as the original. For they can be easily moved. Then the author checked the forms of Four Lokapālas depicted in paintings. For instance, rather many T\u0027ang Dynasty and tenth century paintings with images of Four Lokapālas are known from Tun-huang. In a few of the works the images are added with their names. Here the images are arranged sometimes on the four sides of the main image and sometimes in a line. And, in both cases, the order of arrangemant is rather free as far as we know from the added names. That meanes painting works with Four Lokapālas are not so useful for understanding of the problems of original arrangement of sculptured Lokapālas.\n The author then tried to classify Japanese sculptured Four Lokapālas by the forms of the four figures and found that the roughly datable five sets from the tenth century and many of the sets made in the Heian Period form a formalistic group. The group can be subdivided into fiye types as follows:\n Ⅰ. Tow have opposite positions (one with right hand raised and the other with left hand raised), one has left hand raised and the last one, Vaiśravaṇa, has left hand raised holding a pagoda on its palm and right hand also raised.\n Ⅱ. Two have opposite positions like the case of I, one has left hand raised and Vaiśrayaṇa has left hand raised holding a pagoda and right hand hung down.\n Ⅲ. Two have opposite positions like the case of I. One has right hand raised and Vaiśrayaṇa has left hand raised holding a pagoda and right hand hung down.\n Ⅳ. Two have right hand raised, one has left hand raised and Vaiśrayana has left hand raised holding a pagoda and right hand also raised.\n Ⅴ. Two have opposite positions, one has both hands lowered and Vaiśrayaṇa has left hand holding a pagoda and right hand hung down.\n Ⅰ is the form which the example of the Zensuiji, supposed to have been of Tendai Sect, in Shiga Prefecture, shows. The work was presumably made around the fourth year of Shōryaku Era (993). Among the works of this type there are works in the Kanshinji, Osaka, the Seiryōji, Kyoto, the Onsenji, Hyōgo and the relief of nine deities in the Kongōbuji, Wakayama.\n Ⅱ is the form typified by the work of the Enkyōji, also of Tendai Sect, Hyōgo prefecture, which was made around the first year of Eien (987) and the similar works are in the Mampukuji, Shimane, the Seisuiji Shimane, the Kakurinji, Hyōgo, the Enryakuji, Shiga and the Zenjōji, Kyoto. The Zenjōji is supposed to have been founded around the second year of Shōryaku Era(991).\n Ⅲ is typified by the work in the Hōryūji, Nara, which is from Shōryaku Era (990–995). Similar ones are known in the Gankōji, Gifu, the Jōruriji, Kyōto, the Fumonji, Aichi, the Kokubunji in Hōfu, Yamaguchi and others.\n Ⅳ is the form of the set of images owned by the Rokuharamitsuji. It was made around the fifth year of Tenryaku Era (951) by the order of Priest Kūya and is the oldest example whose approximate date is known: But one of the four images is a later replacement and the set may have originally been of the type Ⅲ.\n Ⅴ includes an image which makes the set rather different from the other types. But, since the other three have close forms to those of the other types, the author included it in this group. It is exemplified by the sets of the Tōrakuji, Hyōgo, the Daijōji, Hyōgo, the Reisenji, Shiga, the Kongōbuji, Wakayama, the Ōzōji, Gifu and the Daigoji, kyoto.\n The fact that almost all of the examples of the Heian Period are included in this group shows that these types of forms, which differ from those of the ninth century, in the tenth century and left long influence afterward. This might be interpreted as an evidence that the Japanization of Buddhist sculpture was started in the tenth century.", "subitem_description_type": "Abstract"}]}, "item_access_right": {"attribute_name": "アクセス権", "attribute_value_mlt": [{"subitem_access_right": "metadata only access", "subitem_access_right_uri": "http://purl.org/coar/access_right/c_14cb"}]}, "item_creator": {"attribute_name": "著者", "attribute_type": "creator", "attribute_value_mlt": [{"creatorNames": [{"creatorName": "猪川, 和子"}], "nameIdentifiers": [{"nameIdentifier": "27150", "nameIdentifierScheme": "WEKO"}]}, {"creatorNames": [{"creatorName": "Ikawa, Kazuko", "creatorNameLang": "en"}], "nameIdentifiers": [{"nameIdentifier": "27151", "nameIdentifierScheme": "WEKO"}]}]}, "item_keyword": {"attribute_name": "キーワード", "attribute_value_mlt": [{"subitem_subject": "四天王像広目天(京都 浄瑠璃寺蔵)・四天王像増長天・広目天・多聞天(京都 六波羅蜜寺蔵)・四天王像増長天(滋賀 善水寺蔵)・四天王像持国天・増長天・広目天・多聞天(兵庫 円教寺蔵)・四天王像増長天・多聞天(島根 万福寺蔵)・四天王像持国天・増長天・広目天・多聞天(滋賀 延暦寺蔵)", "subitem_subject_scheme": "Other"}, {"subitem_subject": "Virupaksa, The Joruriji, Kyoto / Virudhaka, Virupaksa and Vaisravana, The Rokuharamitsuji, Kyoto / Virudhaka, The Zensuiji, Shiga / Dhrtarastra, Virudhaka, Virupaksa and Vaisravana, The Enkyoji, Hyogo / Virudhaka and Vaisravana, The Mampukuji, Shimane / Dhrtarastra, Virudhaka, Virupaksa and Vaisravana, The Enryakuji, Shiga", "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": "四天王彫像―十世紀の基準作例を中心とする形制の考察―上", "item_titles": {"attribute_name": "タイトル", "attribute_value_mlt": [{"subitem_title": "四天王彫像―十世紀の基準作例を中心とする形制の考察―上"}, {"subitem_title": "Images of Four Lokapalas: With Special Reference to Formalistic Study of Tenth Century Specimens (Part I)", "subitem_title_language": "en"}]}, "item_type_id": "10001", "owner": "3", "path": ["1097"], "permalink_uri": "https://tobunken.repo.nii.ac.jp/records/6601", "pubdate": {"attribute_name": "公開日", "attribute_value": "2017-10-05"}, "publish_date": "2017-10-05", "publish_status": "0", "recid": "6601", "relation": {}, "relation_version_is_last": true, "title": ["四天王彫像―十世紀の基準作例を中心とする形制の考察―上"], "weko_shared_id": 3}
四天王彫像―十世紀の基準作例を中心とする形制の考察―上
https://tobunken.repo.nii.ac.jp/records/6601
https://tobunken.repo.nii.ac.jp/records/660181dd4136-bbfe-4280-8948-d5a403f4cf57
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 | 四天王彫像―十世紀の基準作例を中心とする形制の考察―上 | |||||
タイトル | ||||||
言語 | en | |||||
タイトル | Images of Four Lokapalas: With Special Reference to Formalistic Study of Tenth Century Specimens (Part I) | |||||
言語 | ||||||
言語 | jpn | |||||
キーワード | ||||||
主題Scheme | Other | |||||
主題 | 四天王像広目天(京都 浄瑠璃寺蔵)・四天王像増長天・広目天・多聞天(京都 六波羅蜜寺蔵)・四天王像増長天(滋賀 善水寺蔵)・四天王像持国天・増長天・広目天・多聞天(兵庫 円教寺蔵)・四天王像増長天・多聞天(島根 万福寺蔵)・四天王像持国天・増長天・広目天・多聞天(滋賀 延暦寺蔵) | |||||
キーワード | ||||||
言語 | en | |||||
主題Scheme | Other | |||||
主題 | Virupaksa, The Joruriji, Kyoto / Virudhaka, Virupaksa and Vaisravana, The Rokuharamitsuji, Kyoto / Virudhaka, The Zensuiji, Shiga / Dhrtarastra, Virudhaka, Virupaksa and Vaisravana, The Enkyoji, Hyogo / Virudhaka and Vaisravana, The Mampukuji, Shimane / Dhrtarastra, Virudhaka, Virupaksa and Vaisravana, 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 | |||||
アクセス権 | ||||||
アクセス権 | metadata only access | |||||
アクセス権URI | http://purl.org/coar/access_right/c_14cb | |||||
著者 |
猪川, 和子
× 猪川, 和子× Ikawa, Kazuko |
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抄録 | ||||||
内容記述タイプ | Abstract | |||||
内容記述 | Image of Four Lokapālas has been made since the early period of the history of Japanese Buddhism. The earliest remaining example is the set in the Golden Hall of the Hōryūji which belongs to the seventh century. The author, formalistically analyzing all the sixty extant examples of sculptural works of Four Lakapālas in Japan, found that there is a group with certain characteristics which is consisted mainly of tenth century examples. The names of the four deities, directions at which they are arranged and their forms have intimate relationship. In Buddhist scriptures and iconographical books the Four Lokapālas, Dhṛ. tarāṣṭra, Virūḍhaka, Virūpākṣa and Vaiśrayana are usually assigned to east, west, south and north respectively. But, when we see actual examples in temples, we often encounter the case that we have to doubt if the present arrangement is the same as the original. For they can be easily moved. Then the author checked the forms of Four Lokapālas depicted in paintings. For instance, rather many T'ang Dynasty and tenth century paintings with images of Four Lokapālas are known from Tun-huang. In a few of the works the images are added with their names. Here the images are arranged sometimes on the four sides of the main image and sometimes in a line. And, in both cases, the order of arrangemant is rather free as far as we know from the added names. That meanes painting works with Four Lokapālas are not so useful for understanding of the problems of original arrangement of sculptured Lokapālas. The author then tried to classify Japanese sculptured Four Lokapālas by the forms of the four figures and found that the roughly datable five sets from the tenth century and many of the sets made in the Heian Period form a formalistic group. The group can be subdivided into fiye types as follows: Ⅰ. Tow have opposite positions (one with right hand raised and the other with left hand raised), one has left hand raised and the last one, Vaiśravaṇa, has left hand raised holding a pagoda on its palm and right hand also raised. Ⅱ. Two have opposite positions like the case of I, one has left hand raised and Vaiśrayaṇa has left hand raised holding a pagoda and right hand hung down. Ⅲ. Two have opposite positions like the case of I. One has right hand raised and Vaiśrayaṇa has left hand raised holding a pagoda and right hand hung down. Ⅳ. Two have right hand raised, one has left hand raised and Vaiśrayana has left hand raised holding a pagoda and right hand also raised. Ⅴ. Two have opposite positions, one has both hands lowered and Vaiśrayaṇa has left hand holding a pagoda and right hand hung down. Ⅰ is the form which the example of the Zensuiji, supposed to have been of Tendai Sect, in Shiga Prefecture, shows. The work was presumably made around the fourth year of Shōryaku Era (993). Among the works of this type there are works in the Kanshinji, Osaka, the Seiryōji, Kyoto, the Onsenji, Hyōgo and the relief of nine deities in the Kongōbuji, Wakayama. Ⅱ is the form typified by the work of the Enkyōji, also of Tendai Sect, Hyōgo prefecture, which was made around the first year of Eien (987) and the similar works are in the Mampukuji, Shimane, the Seisuiji Shimane, the Kakurinji, Hyōgo, the Enryakuji, Shiga and the Zenjōji, Kyoto. The Zenjōji is supposed to have been founded around the second year of Shōryaku Era(991). Ⅲ is typified by the work in the Hōryūji, Nara, which is from Shōryaku Era (990–995). Similar ones are known in the Gankōji, Gifu, the Jōruriji, Kyōto, the Fumonji, Aichi, the Kokubunji in Hōfu, Yamaguchi and others. Ⅳ is the form of the set of images owned by the Rokuharamitsuji. It was made around the fifth year of Tenryaku Era (951) by the order of Priest Kūya and is the oldest example whose approximate date is known: But one of the four images is a later replacement and the set may have originally been of the type Ⅲ. Ⅴ includes an image which makes the set rather different from the other types. But, since the other three have close forms to those of the other types, the author included it in this group. It is exemplified by the sets of the Tōrakuji, Hyōgo, the Daijōji, Hyōgo, the Reisenji, Shiga, the Kongōbuji, Wakayama, the Ōzōji, Gifu and the Daigoji, kyoto. The fact that almost all of the examples of the Heian Period are included in this group shows that these types of forms, which differ from those of the ninth century, in the tenth century and left long influence afterward. This might be interpreted as an evidence that the Japanization of Buddhist sculpture was started in the tenth century. |
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書誌情報 |
美術研究 en : The bijutsu kenkyu : the journal of art studies 号 263, p. 1-18, 発行日 1970-02-05 |