WEKO3
アイテム
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Chêng-wei-shih-lun) is one of the important doctrinal scriptures of the Hossō Sect of Buddhism to which the Kōfukuji belongs. This scripture was compiled by Hsüanchuang (602–664) in T’ang China, and in Japan it was copied and printed chiefly by temples in the Nara area from the Nara Period on. From the end of the eleventh century in the Late Heian Period, it became popular among the people of the Fujiwara Clan to transcribe this scripture as a donation to Kasuga Shrine and the Kōfukuji. Kasuga Shrine and the Kōfukuji were the clan shrine and the clan temple of the Fujiwara Family, the most influential family in the political field during the Heian Period, and this temple and shrine formed one unified religious institution in those days. According to the contemporary records, Jōyuishikiron was transcribed and donated by the Fujiwara nobles particularly frequently around the period when Fujiwara no Tadazane was the regent-like figure and also the head of the clan. He served in the former capacity from 1105 to 1121 and as the latter from 1099 to 1121.\n The work which is introduced in this paper is most likely one of these productions of this period, according to the author\u0027s opinion. Of the ten scrolls which formed a set, each representing one of the ten volumes of Jōyuishikiron, nine scrolls now remain. And seven of them have the original cover part with painted decoration.\n Each text written in gold on dark blue paper is by a professional transcriber, while the name of the scripture and the volume number written at the beginning of the text of each scroll is by one person, different from the transcriber. It seems that ten people of the nobility class joined in this religious practice of producing a scripture and that each of them wrote the title and the volume number for one scroll at the beginning of the text. There are traces of the title of the scripture and the volume number in gold on the outside of the cover as well. But they are no longer clear, so we cannot distinguish individual hands.\n The ornamental painting which is the subject of the present paper is done both on the outside and the inside of the original covers. The outside of the cover is decorated with scattered patterns of twigs of various plants like pine, willow and maple, as well as birds, butterflies, flowers and the like. The frontispiece on the inside is the design of a view of water and sand spotted with several kinds of grasses, wild ducks and snipes. Both the outside and inside of the cover are painted with gold and another colour. This second colour seems to be a kind of dye containing gamboge and a slight amount of silver pigment in the glue. It is supposed that this was a bright, whitish gold at first, but now it appears to be a brownish ochre because of the blackening of the silver. The silver rotted the cloth and therefore the portions with this colour are often flaked off. The outside of the cover is a dark blue silk gauze and the inside is a blue silk twill. At the time of production the cover consisted of these two kinds of cloth, but it has been mended with new cloth in some places and reinforced by blue paper sandwiched between the two kinds of cloth.\n In the scattered-pattern design outside, the gamboge dye seems to have been used at such spots as the star-shaped middle part of the maple leaves, the tips of the pine needles and on some parts of the birds. In the frontispiece inside, it is used in such places as the water ripples, some of the sand, the flowers of kinds of water plantains, the upper parts of sedge-like grass leaves and certain spots of birds.\n This colour could not be caught by ordinary monochrome film because of its transparent character and the blackening of the silver contained in it. The portions painted with this colour appear in dark tone in the pictures of Pl. II-a and b photographed through a blue filter.\n In the case of the outside of the cover, this colour gave the patterns a sort of three-dimensionality and accent. In the case of the frontispiece, it was applied to white objects and to brighter objects, resulting in a feeling of light and shadow. It has not been pointed out before that painters of this stage had such a keen and comprehensive sense of light. But the author claims that the same sensibility and expression concerning natural light is seen among the ornamental paintings for the text pages of the so-called Honganji Version Anthology of Thirty-six Leading Poets which was made about 1110\u0027s.\n Not only that, there are many other common points of a stylistic, typological and technical nature between the paintings of these two works. The present author demonstrates a recognition of at least one painter who was involved in both of the works. According to the author\u0027s reconstruction of the original combination of the covers and the text paper of this Jōyuishikiron, this painter did the decorations of Vols. 2 and 7. And of additional interest is the feature that the other painters seem to have followed his design at least as far as the scattered patterns outside are concerned.\n From its stylistic characteristics and the historical background, this Jōyuishikiyon is considered to have been produced a little earlier than the Anthology of Thirty-six Leading Poets under the initiative of Fujiwara nobles with several court painters working on its decoration.\n Thus, this work may now be regarded as an important criterion for studying the stylistic advance of secular painting, particularly that by court painters, in the Heian Period.", "subitem_description_type": "Abstract"}]}, "item_creator": {"attribute_name": "著者", "attribute_type": "creator", "attribute_value_mlt": [{"creatorNames": [{"creatorName": "江上, 綏"}], "nameIdentifiers": [{"nameIdentifier": "27230", "nameIdentifierScheme": "WEKO"}]}, {"creatorNames": [{"creatorName": "Egami, Yasushi", "creatorNameLang": "en"}], "nameIdentifiers": [{"nameIdentifier": "27231", "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": "277_1_Egami_Redacted.pdf", "filesize": [{"value": "25.2 MB"}], "format": "application/pdf", "future_date_message": "", "is_thumbnail": false, "licensetype": "license_11", "mimetype": "application/pdf", "size": 25200000.0, "url": {"label": "277_1_Egami_Redacted.pdf", "url": "https://tobunken.repo.nii.ac.jp/record/6641/files/277_1_Egami_Redacted.pdf"}, "version_id": "adf0c3c8-f8f2-414c-9805-fd041fa0b375"}]}, "item_keyword": {"attribute_name": "キーワード", "attribute_value_mlt": [{"subitem_subject": "紺紙金字成唯識論見返(奈良 興福寺蔵)", "subitem_subject_scheme": "Other"}, {"subitem_subject": "Buddhist Scripture Joyuishikiron, the Kofukuji, Nara", "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": "興福寺蔵紺紙金字成唯識論の荘厳画", "item_titles": {"attribute_name": "タイトル", "attribute_value_mlt": [{"subitem_title": "興福寺蔵紺紙金字成唯識論の荘厳画"}, {"subitem_title": "Ornamental Painting of the Buddhist Scripture Joyuishikiron Owned by Kofukuji", "subitem_title_language": "en"}]}, "item_type_id": "10001", "owner": "3", "path": ["1111"], "permalink_uri": "https://tobunken.repo.nii.ac.jp/records/6641", "pubdate": {"attribute_name": "公開日", "attribute_value": "2017-10-05"}, "publish_date": "2017-10-05", "publish_status": "0", "recid": "6641", "relation": {}, "relation_version_is_last": true, "title": ["興福寺蔵紺紙金字成唯識論の荘厳画"], "weko_shared_id": 3}
興福寺蔵紺紙金字成唯識論の荘厳画
https://tobunken.repo.nii.ac.jp/records/6641
https://tobunken.repo.nii.ac.jp/records/664132efd9fd-40e8-491b-98ec-7dc0a4e3ea20
名前 / ファイル | ライセンス | アクション |
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277_1_Egami_Redacted.pdf (25.2 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 | 興福寺蔵紺紙金字成唯識論の荘厳画 | |||||
タイトル | ||||||
言語 | en | |||||
タイトル | Ornamental Painting of the Buddhist Scripture Joyuishikiron Owned by Kofukuji | |||||
言語 | ||||||
言語 | jpn | |||||
キーワード | ||||||
主題Scheme | Other | |||||
主題 | 紺紙金字成唯識論見返(奈良 興福寺蔵) | |||||
キーワード | ||||||
言語 | en | |||||
主題Scheme | Other | |||||
主題 | Buddhist Scripture Joyuishikiron, the Kofukuji, Nara | |||||
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 Jōyuishikiron (Ch. Chêng-wei-shih-lun) is one of the important doctrinal scriptures of the Hossō Sect of Buddhism to which the Kōfukuji belongs. This scripture was compiled by Hsüanchuang (602–664) in T’ang China, and in Japan it was copied and printed chiefly by temples in the Nara area from the Nara Period on. From the end of the eleventh century in the Late Heian Period, it became popular among the people of the Fujiwara Clan to transcribe this scripture as a donation to Kasuga Shrine and the Kōfukuji. Kasuga Shrine and the Kōfukuji were the clan shrine and the clan temple of the Fujiwara Family, the most influential family in the political field during the Heian Period, and this temple and shrine formed one unified religious institution in those days. According to the contemporary records, Jōyuishikiron was transcribed and donated by the Fujiwara nobles particularly frequently around the period when Fujiwara no Tadazane was the regent-like figure and also the head of the clan. He served in the former capacity from 1105 to 1121 and as the latter from 1099 to 1121. The work which is introduced in this paper is most likely one of these productions of this period, according to the author's opinion. Of the ten scrolls which formed a set, each representing one of the ten volumes of Jōyuishikiron, nine scrolls now remain. And seven of them have the original cover part with painted decoration. Each text written in gold on dark blue paper is by a professional transcriber, while the name of the scripture and the volume number written at the beginning of the text of each scroll is by one person, different from the transcriber. It seems that ten people of the nobility class joined in this religious practice of producing a scripture and that each of them wrote the title and the volume number for one scroll at the beginning of the text. There are traces of the title of the scripture and the volume number in gold on the outside of the cover as well. But they are no longer clear, so we cannot distinguish individual hands. The ornamental painting which is the subject of the present paper is done both on the outside and the inside of the original covers. The outside of the cover is decorated with scattered patterns of twigs of various plants like pine, willow and maple, as well as birds, butterflies, flowers and the like. The frontispiece on the inside is the design of a view of water and sand spotted with several kinds of grasses, wild ducks and snipes. Both the outside and inside of the cover are painted with gold and another colour. This second colour seems to be a kind of dye containing gamboge and a slight amount of silver pigment in the glue. It is supposed that this was a bright, whitish gold at first, but now it appears to be a brownish ochre because of the blackening of the silver. The silver rotted the cloth and therefore the portions with this colour are often flaked off. The outside of the cover is a dark blue silk gauze and the inside is a blue silk twill. At the time of production the cover consisted of these two kinds of cloth, but it has been mended with new cloth in some places and reinforced by blue paper sandwiched between the two kinds of cloth. In the scattered-pattern design outside, the gamboge dye seems to have been used at such spots as the star-shaped middle part of the maple leaves, the tips of the pine needles and on some parts of the birds. In the frontispiece inside, it is used in such places as the water ripples, some of the sand, the flowers of kinds of water plantains, the upper parts of sedge-like grass leaves and certain spots of birds. This colour could not be caught by ordinary monochrome film because of its transparent character and the blackening of the silver contained in it. The portions painted with this colour appear in dark tone in the pictures of Pl. II-a and b photographed through a blue filter. In the case of the outside of the cover, this colour gave the patterns a sort of three-dimensionality and accent. In the case of the frontispiece, it was applied to white objects and to brighter objects, resulting in a feeling of light and shadow. It has not been pointed out before that painters of this stage had such a keen and comprehensive sense of light. But the author claims that the same sensibility and expression concerning natural light is seen among the ornamental paintings for the text pages of the so-called Honganji Version Anthology of Thirty-six Leading Poets which was made about 1110's. Not only that, there are many other common points of a stylistic, typological and technical nature between the paintings of these two works. The present author demonstrates a recognition of at least one painter who was involved in both of the works. According to the author's reconstruction of the original combination of the covers and the text paper of this Jōyuishikiron, this painter did the decorations of Vols. 2 and 7. And of additional interest is the feature that the other painters seem to have followed his design at least as far as the scattered patterns outside are concerned. From its stylistic characteristics and the historical background, this Jōyuishikiyon is considered to have been produced a little earlier than the Anthology of Thirty-six Leading Poets under the initiative of Fujiwara nobles with several court painters working on its decoration. Thus, this work may now be regarded as an important criterion for studying the stylistic advance of secular painting, particularly that by court painters, in the Heian Period. |
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書誌情報 |
美術研究 en : The bijutsu kenkyu : the journal of art studies 号 277, p. 1-17, 発行日 1972-02-25 |