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The author considers it to be a work around the middle of the seventh century, toward the end of the Old Silla period. The basis of this idea is its stylistic similarity to the work of the Sui period of China. After comparing the main image of the triad with the main image of the Yao-fang-tung of Lun-mên and the attending Bodhisattva figures with a stone image of Bodhisattva in the Museum of Fine Arts, Boston, he reaches the conclusion that the triad in question is thirty or forty years later than these Sui images. \n In considering its art historical meaning, it is most important to draw comparisons with the Buddhist stone sculptures of Silla at Namsan, Kyŏngju. The author classifies the Namsan figures for this purpose as follows:\n 1) The trend which flourished in the first half of the seventh century and in which the Sui style was modified by the local colour of Silla.\n 2) The trend seen chiefly in the latter half of the same century and in which more definite Silla characteristics were given to the above\nBy MATSUBARA, Saburo mentioned.\n 3) The trend of Buddhist sculpture from the latter half of the seventh century to the first half of the eighth century, which shows direct influence from the southern school of China.\n The author in the present paper adds the investigation of literary records concerning the temples of Namsan to this study and finds that the third group of sculptures was made after the Great Silla was established, during which period there was a direct relationship with T\u0027ang China and many monks went to T\u0027ang for study. In other words, the relationship between the older sculptures and those of Paekche should be kept in mind.\n The Kunwi triad has no stylistic connection with the last trend of the three, while it has an intimate association with the first two. The Kunwi triad is however, more Chinese than these works with clear Silla characteristics, and it embodies more of the genuine Sui tradition. In other words, this work shoud be placed at the starting point of these two trends. Thus it occupies an important art historical turning point.\n The author adds his opinion that it is the stylistic prototype of the Maitreya figure in the . Taimadera, Nara prefecture.", "subitem_description_type": "Abstract"}]}, "item_creator": {"attribute_name": "著者", "attribute_type": "creator", "attribute_value_mlt": [{"creatorNames": [{"creatorName": "松原, 三郎"}], "nameIdentifiers": [{"nameIdentifier": "27346", "nameIdentifierScheme": "WEKO"}]}, {"creatorNames": [{"creatorName": "Matsubara, Saburo", "creatorNameLang": "en"}], "nameIdentifiers": [{"nameIdentifier": "27347", "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": "250_1_Matsubara_Redacted.pdf", "filesize": [{"value": "32.9 MB"}], "format": "application/pdf", "future_date_message": "", "is_thumbnail": false, "licensetype": "license_11", "mimetype": "application/pdf", "size": 32900000.0, "url": {"label": "250_1_Matsubara_Redacted.pdf", "url": "https://tobunken.repo.nii.ac.jp/record/6690/files/250_1_Matsubara_Redacted.pdf"}, "version_id": "07ce723b-0ab0-49c0-8b35-dc3936744dcf"}]}, "item_keyword": {"attribute_name": "キーワード", "attribute_value_mlt": [{"subitem_subject": "石造阿弥陀三尊(本尊・観音・勢至・韓国 慶尚北道軍威)", "subitem_subject_scheme": "Other"}, {"subitem_subject": "Amitabha Triad, Kunwi, Kyungsang-pukdo, Republic of Korea", "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": "新羅石仏の系譜―特に新発見の軍威石窟三尊仏を中心として―", "item_titles": {"attribute_name": "タイトル", "attribute_value_mlt": [{"subitem_title": "新羅石仏の系譜―特に新発見の軍威石窟三尊仏を中心として―"}, {"subitem_title": "Trends of Buddhist Stone Images of Silla, with Special Reference to the Triad Newly Found at Kunwi", "subitem_title_language": "en"}]}, "item_type_id": "10001", "owner": "3", "path": ["1125"], "permalink_uri": "https://tobunken.repo.nii.ac.jp/records/6690", "pubdate": {"attribute_name": "公開日", "attribute_value": "2017-10-05"}, "publish_date": "2017-10-05", "publish_status": "0", "recid": "6690", "relation": {}, "relation_version_is_last": true, "title": ["新羅石仏の系譜―特に新発見の軍威石窟三尊仏を中心として―"], "weko_shared_id": 3}
新羅石仏の系譜―特に新発見の軍威石窟三尊仏を中心として―
https://tobunken.repo.nii.ac.jp/records/6690
https://tobunken.repo.nii.ac.jp/records/669074d17e91-146b-4385-80c8-4c1f2f80e014
名前 / ファイル | ライセンス | アクション |
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250_1_Matsubara_Redacted.pdf (32.9 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 | 新羅石仏の系譜―特に新発見の軍威石窟三尊仏を中心として― | |||||
タイトル | ||||||
言語 | en | |||||
タイトル | Trends of Buddhist Stone Images of Silla, with Special Reference to the Triad Newly Found at Kunwi | |||||
言語 | ||||||
言語 | jpn | |||||
キーワード | ||||||
主題Scheme | Other | |||||
主題 | 石造阿弥陀三尊(本尊・観音・勢至・韓国 慶尚北道軍威) | |||||
キーワード | ||||||
言語 | en | |||||
主題Scheme | Other | |||||
主題 | Amitabha Triad, Kunwi, Kyungsang-pukdo, Republic of Korea | |||||
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 |
松原, 三郎
× 松原, 三郎× Matsubara, Saburo |
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抄録 | ||||||
内容記述タイプ | Abstract | |||||
内容記述 | The Buddhist stone images found in the Kunwi district, Kyungsang-pukdo province, Korea, in 1961, are composed of a seated Amitābha triad carved in a rock-cut caye at the side of a cliff scores of meters high. The author considers it to be a work around the middle of the seventh century, toward the end of the Old Silla period. The basis of this idea is its stylistic similarity to the work of the Sui period of China. After comparing the main image of the triad with the main image of the Yao-fang-tung of Lun-mên and the attending Bodhisattva figures with a stone image of Bodhisattva in the Museum of Fine Arts, Boston, he reaches the conclusion that the triad in question is thirty or forty years later than these Sui images. In considering its art historical meaning, it is most important to draw comparisons with the Buddhist stone sculptures of Silla at Namsan, Kyŏngju. The author classifies the Namsan figures for this purpose as follows: 1) The trend which flourished in the first half of the seventh century and in which the Sui style was modified by the local colour of Silla. 2) The trend seen chiefly in the latter half of the same century and in which more definite Silla characteristics were given to the above By MATSUBARA, Saburo mentioned. 3) The trend of Buddhist sculpture from the latter half of the seventh century to the first half of the eighth century, which shows direct influence from the southern school of China. The author in the present paper adds the investigation of literary records concerning the temples of Namsan to this study and finds that the third group of sculptures was made after the Great Silla was established, during which period there was a direct relationship with T'ang China and many monks went to T'ang for study. In other words, the relationship between the older sculptures and those of Paekche should be kept in mind. The Kunwi triad has no stylistic connection with the last trend of the three, while it has an intimate association with the first two. The Kunwi triad is however, more Chinese than these works with clear Silla characteristics, and it embodies more of the genuine Sui tradition. In other words, this work shoud be placed at the starting point of these two trends. Thus it occupies an important art historical turning point. The author adds his opinion that it is the stylistic prototype of the Maitreya figure in the . Taimadera, Nara prefecture. |
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書誌情報 |
美術研究 en : The bijutsu kenkyu : the journal of art studies 号 250, p. 1-21, 発行日 1967-12-27 |