WEKO3
アイテム
{"_buckets": {"deposit": "1e828ef2-bdb1-4a8e-8fb5-c20b69fc31d1"}, "_deposit": {"created_by": 3, "id": "6609", "owners": [3], "pid": {"revision_id": 0, "type": "depid", "value": "6609"}, "status": "published"}, "_oai": {"id": "oai:tobunken.repo.nii.ac.jp:00006609", "sets": ["1100"]}, "author_link": ["27166", "27167"], "item_10001_biblio_info_7": {"attribute_name": "書誌情報", "attribute_value_mlt": [{"bibliographicIssueDates": {"bibliographicIssueDate": "1970-05-15", "bibliographicIssueDateType": "Issued"}, "bibliographicIssueNumber": "266", "bibliographicPageEnd": "8", "bibliographicPageStart": "1", "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": " In Nos. 187 and 224 of this journal, the author discussed the pair of paintings in Fujita Museum of Art showing Priest Śubhākarasimha at the Kaniṣka Stūpa and Priest Nāgārjuna at the Iron Caitya, which are reframed from the screens of the Shingondō Hall of the Eikyūji. Particularly in No. 224, she proved that these paintings were originally on the pair of screens placed at the east and west sides of the Shingondo Hall of the Eikyūji which was dedicated in the second year of the Hoen Era (1136), and that they were executed by the court painter, Munehiro FUJIWARA.\n As these paintings have many scratches and other damaged places, a two-year project of repairing them was started at the workshop of Oka Bokkōdo, Kyoto, in April, 1968. During these repairs, when the cartouche that had been pasted on the painting of Priest Śubhākarasimha at the Kaniṣka Stūpa was temporarily removed, a small drawing of a hawk was found under it. In the present paper, this drawing of a hawk is introduced.\n The bird concerned apparently has the characteristics of a hawk, that is a large beak, spotted wings and so on. As the drawing had been covered by the cartouche for about eight hundred years, its colours are well preserved and it has no later retouches. Its comparatively imprecise characteristics are perhaps due to the fact that Munehiro lacked the experience of seeing a real hawk and painted it in imitation of one in a manuscript.\n Some people who have seen this drawing received the impression that it would be a scribbling. But it is certainly not a scribbling, judging from its style, technique and its formal pattern (Pls. II, III). The author thinks that it\nwas painted to represent circular flight, with its target the two cormorants depicted in the water\u0027s edge far below. The same kind of scene with a hawk and cormorants is seen in the screen painting of the house of Tadazane FUJIWARA depicted in Picture Scroll of the Miracles of the Gods of Kasuga Shrine (1309).\n The reason why this hawk was covered by the cartouche inscribed by Sadanobu FUJIWARA, is not clear. As far as we see in the picture scrolls of the Heian Period, the cartouches were pasted mostly at the upper corner or a little lower, as in this case. The position must usually have been influenced by the composition. In the case of this painting, however, if it had been at the corner, the hawk would not have been covered and the cmposition would have been better. The other painting of this pair, that is, the painting of Priest Nāgārjuna at the Iron Caitya, now lacks its cartouche and the upper left portion where the cartouche existed is repaired. Its place is taken by a different sheet of silk and therefore the exact position of the original cartouche is unknown. In this case, too, the whole composition would be better if the cartouche had been pasted at the very corner.\n The final right to decide where the cartouches were placed was that of the person who ordered the painting. In the case of the present work, such people as Priest Raijitsu who founded the Eikyūji and Priest Ryōe who was in charge of the construction of the hall, would have had the right to decide. Then, the present author supposes that such priests may have decided to conceal it since the subject was against the Buddhist teaching prohibiting the killing of any creature.", "subitem_description_type": "Abstract"}]}, "item_creator": {"attribute_name": "著者", "attribute_type": "creator", "attribute_value_mlt": [{"creatorNames": [{"creatorName": "柳澤, 孝"}], "nameIdentifiers": [{"nameIdentifier": "27166", "nameIdentifierScheme": "WEKO"}]}, {"creatorNames": [{"creatorName": "Yanagisawa, Taka", "creatorNameLang": "en"}], "nameIdentifiers": [{"nameIdentifier": "27167", "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": "266_1_Yanagisawa_Redacted.pdf", "filesize": [{"value": "11.5 MB"}], "format": "application/pdf", "future_date_message": "", "is_thumbnail": false, "licensetype": "license_11", "mimetype": "application/pdf", "size": 11500000.0, "url": {"label": "266_1_Yanagisawa_Redacted.pdf", "url": "https://tobunken.repo.nii.ac.jp/record/6609/files/266_1_Yanagisawa_Redacted.pdf"}, "version_id": "98bc0276-47e0-4bb3-9d8f-6e28efb7cffa"}]}, "item_keyword": {"attribute_name": "キーワード", "attribute_value_mlt": [{"subitem_subject": "宗弘筆鷹図・鷹と鵜・鷹と霞(善無畏金粟王塔下感得図色紙形下より出現・大阪 藤田美術館蔵)藤原宗弘", "subitem_subject_scheme": "Other"}, {"subitem_subject": "Detail of a Painting of Priest Subhakarasimha at the Kaniska Stupa by Munehiro Fujiwara: Drawing of a Hawk Discovered under the Cartouche, Fijita Museum of Art, Osaka", "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": "永久寺真言堂障子絵色紙下より出現の鷹図について", "item_titles": {"attribute_name": "タイトル", "attribute_value_mlt": [{"subitem_title": "永久寺真言堂障子絵色紙下より出現の鷹図について"}, {"subitem_title": "Drawing of Hawk Discovered under the Cartouche of Painted Screen from Shingongo Hall, the Eikyuji", "subitem_title_language": "en"}]}, "item_type_id": "10001", "owner": "3", "path": ["1100"], "permalink_uri": "https://tobunken.repo.nii.ac.jp/records/6609", "pubdate": {"attribute_name": "公開日", "attribute_value": "2017-10-05"}, "publish_date": "2017-10-05", "publish_status": "0", "recid": "6609", "relation": {}, "relation_version_is_last": true, "title": ["永久寺真言堂障子絵色紙下より出現の鷹図について"], "weko_shared_id": 3}
永久寺真言堂障子絵色紙下より出現の鷹図について
https://tobunken.repo.nii.ac.jp/records/6609
https://tobunken.repo.nii.ac.jp/records/66095380e69c-592a-42c1-a968-21a0d5e3ee23
名前 / ファイル | ライセンス | アクション |
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266_1_Yanagisawa_Redacted.pdf (11.5 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 | 永久寺真言堂障子絵色紙下より出現の鷹図について | |||||
タイトル | ||||||
言語 | en | |||||
タイトル | Drawing of Hawk Discovered under the Cartouche of Painted Screen from Shingongo Hall, the Eikyuji | |||||
言語 | ||||||
言語 | jpn | |||||
キーワード | ||||||
主題Scheme | Other | |||||
主題 | 宗弘筆鷹図・鷹と鵜・鷹と霞(善無畏金粟王塔下感得図色紙形下より出現・大阪 藤田美術館蔵)藤原宗弘 | |||||
キーワード | ||||||
言語 | en | |||||
主題Scheme | Other | |||||
主題 | Detail of a Painting of Priest Subhakarasimha at the Kaniska Stupa by Munehiro Fujiwara: Drawing of a Hawk Discovered under the Cartouche, Fijita Museum of Art, Osaka | |||||
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 |
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抄録 | ||||||
内容記述タイプ | Abstract | |||||
内容記述 | In Nos. 187 and 224 of this journal, the author discussed the pair of paintings in Fujita Museum of Art showing Priest Śubhākarasimha at the Kaniṣka Stūpa and Priest Nāgārjuna at the Iron Caitya, which are reframed from the screens of the Shingondō Hall of the Eikyūji. Particularly in No. 224, she proved that these paintings were originally on the pair of screens placed at the east and west sides of the Shingondo Hall of the Eikyūji which was dedicated in the second year of the Hoen Era (1136), and that they were executed by the court painter, Munehiro FUJIWARA. As these paintings have many scratches and other damaged places, a two-year project of repairing them was started at the workshop of Oka Bokkōdo, Kyoto, in April, 1968. During these repairs, when the cartouche that had been pasted on the painting of Priest Śubhākarasimha at the Kaniṣka Stūpa was temporarily removed, a small drawing of a hawk was found under it. In the present paper, this drawing of a hawk is introduced. The bird concerned apparently has the characteristics of a hawk, that is a large beak, spotted wings and so on. As the drawing had been covered by the cartouche for about eight hundred years, its colours are well preserved and it has no later retouches. Its comparatively imprecise characteristics are perhaps due to the fact that Munehiro lacked the experience of seeing a real hawk and painted it in imitation of one in a manuscript. Some people who have seen this drawing received the impression that it would be a scribbling. But it is certainly not a scribbling, judging from its style, technique and its formal pattern (Pls. II, III). The author thinks that it was painted to represent circular flight, with its target the two cormorants depicted in the water's edge far below. The same kind of scene with a hawk and cormorants is seen in the screen painting of the house of Tadazane FUJIWARA depicted in Picture Scroll of the Miracles of the Gods of Kasuga Shrine (1309). The reason why this hawk was covered by the cartouche inscribed by Sadanobu FUJIWARA, is not clear. As far as we see in the picture scrolls of the Heian Period, the cartouches were pasted mostly at the upper corner or a little lower, as in this case. The position must usually have been influenced by the composition. In the case of this painting, however, if it had been at the corner, the hawk would not have been covered and the cmposition would have been better. The other painting of this pair, that is, the painting of Priest Nāgārjuna at the Iron Caitya, now lacks its cartouche and the upper left portion where the cartouche existed is repaired. Its place is taken by a different sheet of silk and therefore the exact position of the original cartouche is unknown. In this case, too, the whole composition would be better if the cartouche had been pasted at the very corner. The final right to decide where the cartouches were placed was that of the person who ordered the painting. In the case of the present work, such people as Priest Raijitsu who founded the Eikyūji and Priest Ryōe who was in charge of the construction of the hall, would have had the right to decide. Then, the present author supposes that such priests may have decided to conceal it since the subject was against the Buddhist teaching prohibiting the killing of any creature. |
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書誌情報 |
美術研究 en : The bijutsu kenkyu : the journal of art studies 号 266, p. 1-8, 発行日 1970-05-15 |