WEKO3
アイテム
{"_buckets": {"deposit": "4f8797e3-5072-49d3-b4f7-bae29aa92b27"}, "_deposit": {"created_by": 3, "id": "6616", "owners": [3], "pid": {"revision_id": 0, "type": "depid", "value": "6616"}, "status": "published"}, "_oai": {"id": "oai:tobunken.repo.nii.ac.jp:00006616", "sets": ["1102"]}, "author_link": ["27181", "27180"], "item_10001_biblio_info_7": {"attribute_name": "書誌情報", "attribute_value_mlt": [{"bibliographicIssueDates": {"bibliographicIssueDate": "1970-09-15", "bibliographicIssueDateType": "Issued"}, "bibliographicIssueNumber": "268", "bibliographicPageEnd": "38", "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": " 1. Introduction \n 2. Outline of the Survey \n 3. Structure and Ornamentation of the Covers \n 4. Reconstruction of the Original Position of the Covers \n Existence of Disorder \n Fundamental Facts for the Reconstruction \n Reconstruction of the Order of the Front Covers\n Reconstruction of the Order of the Back Covers \n 5. Painters and Art Historical Position of the Work\n Painters and Their Painting Styles \n The Tradition of Cover Painting \n Painters of the Covers and the Decoration of the Text Pages \n 6. Problems of How the Volume Names Were Originally Shown \n 7. Later Repairs and Supplements to Missing Volumes \n Date of the Supplements to Missing Volumes \n Date of the Repairs \n Writers of the Title Labels \n\n In the early eleventh century, FUJIWARA no Kintō selected thirty-six poets as the foremost poets in the history of waka (Japanese poetry). They consisted of authors of the Nara and Heian Periods. Then it became popular to copy the collection of anthologies of these poets, which is collectively called Sanjūroku-nin Kashū (Anthology of Thirty-six Leading Poets), and since that time people have copied versions of this anthology. The set now called Honganji Version is one of the oldest copies and is very gorgeously decorated. This version, which is no doubt the most elaborate book ever made in Japan, was produced in the 1110\u0027s or thereabouts. From its various features, it is known that it was made at this approximate date as a large-scale project in the imperial court with many painters and calligraphers working on this complex but consistent plan. This set of volumes was given to the Nishi-Honganji from Emperor Gonara in the eighteenth year of Tembun Era (1549). When this set was found in the storehouse of the temple in the twenty-ninth year of Meiji Era (1896), thirty-four volumes dealing with thirty-two poets were recognized as originals and the other volumes were later supplements. In the fourth year of Shōwa Era (1929) two of the original volumes, that is, the second volume of poems by Tsurayuki and the volume of those by Ise, were dismembered into separate sheets and sold to collectors for the purpose of gaining funds for the establishment of a school.\n Numerous kinds of paper were used for the text pages of this work: paper made from different materials, paper dyed in different colours, some with printed design, some with sprinkled gold and/or silver foil in a great variety of shapes, and some sheets were even made by patching irregular pieces of paper of various colours. Moreover, every page of the total of more than two thousand pages bears painted decoration, that is, painting with more or less large compositions or scattered floral patterns accompanied by bird patterns.\n The inside and outside of the covers are also decorated. The inside has scattered floral patterns and bird patterns painted chiefly with silver pigment. Green, blue and gold pigments seem to be spotted around some portions of the patterns. This information is known from observation of broken parts of the covers and from X-ray photographs. But we cannot now see them as they originally were since the inside of the cover is concealed by blue paper pasted over for the purpose of reinforcement in the Edo Period. The outside of the covers is decorated with landscape painting stretching from the front cover to the back. Most of the landscape paintings are of silver pigment, and those of the covers of the two volumes for the poems by Yoshinobu are done in both gold and silver pigments.\n As the approximate date of this work is known, these painted decorations are important materials for the study of the main current of secular painting in the period. Particularly the landscape paintings on the outside of the covers are precious, since almost no examples of small landscape painting remain from the Heian Period. The author, who has been studying the painted decorations of the work concerned for several years, here introduces and discusses the cover paintings of the original volumes now in the Honganji and the painting on the cover of the second volume of Tsurayuki now preserved by Mr. TANAKA, Shimbi, as well as that of the Ise Volume, which is known from the photograph taken before it was dismembered.\n Some of the original volumes have deep blue covers and the others have deep green covers, both of simple-patterned silk gauze. The blue ones are lined with raw silk gauze without woven patterns and also with white twill which forms the inside of the cover, while the green ones are lined only with white twill, a fact newly found by the group survey of the Institute. The landscape paintings are not now so clearly seen against the deep colour of the cloth since the silver pigment has darkened over a long period of time. But X-ray photographs clearly show both the landscape painting on the outside of the cover and the scattered floral patterns and birds on the inside of the cover. And, by retouching the X-ray photographs and removing the patterns inside, we see the compositions of the landscape pictures without distracting elements.\n Some of the covers were exchanged by mistake and came to be out of order when the volumes were repaired, perhaps mostly at the time this was done in the Early Edo Period. Then, the present author reconstructed the original combinations and order of the covers by means of stylistic and compositional features, and by such physical traces as the attachment of both the pigment on the inside of the cover and the fragmented cover cloth to the text page, and holes by bookworms.\n The restored compositions give us useful ideas of the work of the painters of the day. All the landscape pictures, including the restored compositions, are shown in the plates and the appendix figures of the present number. Those shown in the plates accompany the unretouched original X-ray photographs.\n A few of the painters executed the covers of two volumes and other covers are all by different painters. It is interesting to see that the individuality of each painter is well displayed in these pictures of the same kind of subject.\n All the landscape pictures we have here represent outstretching fields with moderate ups and downs. Some of them are no doubt views of meadows. Particularly interesting is the composition with many horses shown in Pls. I and II, a composition attained by combining the present front cover of the Kanemori Volume and the present back cover of the Tadami Volume.\n The author also discusses such ploblems as dates of the repairs, the supplements to the missing volumes, and the writers of the title labels attached to the front covers in relation to the reconstruction of the original condition of the covers.", "subitem_description_type": "Abstract"}]}, "item_creator": {"attribute_name": "著者", "attribute_type": "creator", "attribute_value_mlt": [{"creatorNames": [{"creatorName": "江上, 綏"}], "nameIdentifiers": [{"nameIdentifier": "27180", "nameIdentifierScheme": "WEKO"}]}, {"creatorNames": [{"creatorName": "Egami, Yasushi", "creatorNameLang": "en"}], "nameIdentifiers": [{"nameIdentifier": "27181", "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": "268_1_Egami_Redacted.pdf", "filesize": [{"value": "26.8 MB"}], "format": "application/pdf", "future_date_message": "", "is_thumbnail": false, "licensetype": "license_11", "mimetype": "application/pdf", "size": 26800000.0, "url": {"label": "268_1_Egami_Redacted.pdf", "url": "https://tobunken.repo.nii.ac.jp/record/6616/files/268_1_Egami_Redacted.pdf"}, "version_id": "688910f0-fdf5-4af6-9f98-362d84b97cf7"}]}, "item_keyword": {"attribute_name": "キーワード", "attribute_value_mlt": [{"subitem_subject": "本願寺本三十六人集兼盛集表表紙・忠見集裏表紙・貫之集上表紙・信明集表紙・元輔集表紙・公忠集表紙(京都 本願寺蔵)", "subitem_subject_scheme": "Other"}, {"subitem_subject": "Cover Paintings of Honganji Version Sanjuroku-nin Kashu (Anthology of Thirty-six Leading Poets), Owned by the Honganji, Kyoto", "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": "本願寺本三十六人集表紙絵の復元と考察", "item_titles": {"attribute_name": "タイトル", "attribute_value_mlt": [{"subitem_title": "本願寺本三十六人集表紙絵の復元と考察"}, {"subitem_title": "Cover Paintings of Honganji Version Anthology of Thirty-six Leading Poets", "subitem_title_language": "en"}]}, "item_type_id": "10001", "owner": "3", "path": ["1102"], "permalink_uri": "https://tobunken.repo.nii.ac.jp/records/6616", "pubdate": {"attribute_name": "公開日", "attribute_value": "2017-10-05"}, "publish_date": "2017-10-05", "publish_status": "0", "recid": "6616", "relation": {}, "relation_version_is_last": true, "title": ["本願寺本三十六人集表紙絵の復元と考察"], "weko_shared_id": 3}
本願寺本三十六人集表紙絵の復元と考察
https://tobunken.repo.nii.ac.jp/records/6616
https://tobunken.repo.nii.ac.jp/records/66167c4f4f3f-d670-4157-9ccb-1ddb37e00334
名前 / ファイル | ライセンス | アクション |
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268_1_Egami_Redacted.pdf (26.8 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 | 本願寺本三十六人集表紙絵の復元と考察 | |||||
タイトル | ||||||
言語 | en | |||||
タイトル | Cover Paintings of Honganji Version Anthology of Thirty-six Leading Poets | |||||
言語 | ||||||
言語 | jpn | |||||
キーワード | ||||||
主題Scheme | Other | |||||
主題 | 本願寺本三十六人集兼盛集表表紙・忠見集裏表紙・貫之集上表紙・信明集表紙・元輔集表紙・公忠集表紙(京都 本願寺蔵) | |||||
キーワード | ||||||
言語 | en | |||||
主題Scheme | Other | |||||
主題 | Cover Paintings of Honganji Version Sanjuroku-nin Kashu (Anthology of Thirty-six Leading Poets), Owned by the Honganji, 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 |
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 | 1. Introduction 2. Outline of the Survey 3. Structure and Ornamentation of the Covers 4. Reconstruction of the Original Position of the Covers Existence of Disorder Fundamental Facts for the Reconstruction Reconstruction of the Order of the Front Covers Reconstruction of the Order of the Back Covers 5. Painters and Art Historical Position of the Work Painters and Their Painting Styles The Tradition of Cover Painting Painters of the Covers and the Decoration of the Text Pages 6. Problems of How the Volume Names Were Originally Shown 7. Later Repairs and Supplements to Missing Volumes Date of the Supplements to Missing Volumes Date of the Repairs Writers of the Title Labels In the early eleventh century, FUJIWARA no Kintō selected thirty-six poets as the foremost poets in the history of waka (Japanese poetry). They consisted of authors of the Nara and Heian Periods. Then it became popular to copy the collection of anthologies of these poets, which is collectively called Sanjūroku-nin Kashū (Anthology of Thirty-six Leading Poets), and since that time people have copied versions of this anthology. The set now called Honganji Version is one of the oldest copies and is very gorgeously decorated. This version, which is no doubt the most elaborate book ever made in Japan, was produced in the 1110's or thereabouts. From its various features, it is known that it was made at this approximate date as a large-scale project in the imperial court with many painters and calligraphers working on this complex but consistent plan. This set of volumes was given to the Nishi-Honganji from Emperor Gonara in the eighteenth year of Tembun Era (1549). When this set was found in the storehouse of the temple in the twenty-ninth year of Meiji Era (1896), thirty-four volumes dealing with thirty-two poets were recognized as originals and the other volumes were later supplements. In the fourth year of Shōwa Era (1929) two of the original volumes, that is, the second volume of poems by Tsurayuki and the volume of those by Ise, were dismembered into separate sheets and sold to collectors for the purpose of gaining funds for the establishment of a school. Numerous kinds of paper were used for the text pages of this work: paper made from different materials, paper dyed in different colours, some with printed design, some with sprinkled gold and/or silver foil in a great variety of shapes, and some sheets were even made by patching irregular pieces of paper of various colours. Moreover, every page of the total of more than two thousand pages bears painted decoration, that is, painting with more or less large compositions or scattered floral patterns accompanied by bird patterns. The inside and outside of the covers are also decorated. The inside has scattered floral patterns and bird patterns painted chiefly with silver pigment. Green, blue and gold pigments seem to be spotted around some portions of the patterns. This information is known from observation of broken parts of the covers and from X-ray photographs. But we cannot now see them as they originally were since the inside of the cover is concealed by blue paper pasted over for the purpose of reinforcement in the Edo Period. The outside of the covers is decorated with landscape painting stretching from the front cover to the back. Most of the landscape paintings are of silver pigment, and those of the covers of the two volumes for the poems by Yoshinobu are done in both gold and silver pigments. As the approximate date of this work is known, these painted decorations are important materials for the study of the main current of secular painting in the period. Particularly the landscape paintings on the outside of the covers are precious, since almost no examples of small landscape painting remain from the Heian Period. The author, who has been studying the painted decorations of the work concerned for several years, here introduces and discusses the cover paintings of the original volumes now in the Honganji and the painting on the cover of the second volume of Tsurayuki now preserved by Mr. TANAKA, Shimbi, as well as that of the Ise Volume, which is known from the photograph taken before it was dismembered. Some of the original volumes have deep blue covers and the others have deep green covers, both of simple-patterned silk gauze. The blue ones are lined with raw silk gauze without woven patterns and also with white twill which forms the inside of the cover, while the green ones are lined only with white twill, a fact newly found by the group survey of the Institute. The landscape paintings are not now so clearly seen against the deep colour of the cloth since the silver pigment has darkened over a long period of time. But X-ray photographs clearly show both the landscape painting on the outside of the cover and the scattered floral patterns and birds on the inside of the cover. And, by retouching the X-ray photographs and removing the patterns inside, we see the compositions of the landscape pictures without distracting elements. Some of the covers were exchanged by mistake and came to be out of order when the volumes were repaired, perhaps mostly at the time this was done in the Early Edo Period. Then, the present author reconstructed the original combinations and order of the covers by means of stylistic and compositional features, and by such physical traces as the attachment of both the pigment on the inside of the cover and the fragmented cover cloth to the text page, and holes by bookworms. The restored compositions give us useful ideas of the work of the painters of the day. All the landscape pictures, including the restored compositions, are shown in the plates and the appendix figures of the present number. Those shown in the plates accompany the unretouched original X-ray photographs. A few of the painters executed the covers of two volumes and other covers are all by different painters. It is interesting to see that the individuality of each painter is well displayed in these pictures of the same kind of subject. All the landscape pictures we have here represent outstretching fields with moderate ups and downs. Some of them are no doubt views of meadows. Particularly interesting is the composition with many horses shown in Pls. I and II, a composition attained by combining the present front cover of the Kanemori Volume and the present back cover of the Tadami Volume. The author also discusses such ploblems as dates of the repairs, the supplements to the missing volumes, and the writers of the title labels attached to the front covers in relation to the reconstruction of the original condition of the covers. |
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書誌情報 |
美術研究 en : The bijutsu kenkyu : the journal of art studies 号 268, p. 1-38, 発行日 1970-09-15 |