WEKO3
アイテム
{"_buckets": {"deposit": "e028ca6b-fc5a-4cd7-b9d6-1ad168aae635"}, "_deposit": {"created_by": 3, "id": "6711", "owners": [3], "pid": {"revision_id": 0, "type": "depid", "value": "6711"}, "status": "published"}, "_oai": {"id": "oai:tobunken.repo.nii.ac.jp:00006711", "sets": ["1131"]}, "author_link": ["27389", "27388"], "item_10001_biblio_info_7": {"attribute_name": "書誌情報", "attribute_value_mlt": [{"bibliographicIssueDates": {"bibliographicIssueDate": "1969-03-22", "bibliographicIssueDateType": "Issued"}, "bibliographicIssueNumber": "256", "bibliographicPageEnd": "9", "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": " Here, treating the design pattern of the lacquer- ed box for a sacred ball, in possession of the Ninnaji, the author discusses chiefly problems of the Japanization of handicrafts which is generally regarded to have taken place in the Heian Period. \n The core material of the box seems to be leather. The exterior surfaces of the square body and the telescoping lid are entirely covered with patterns of imaginary floral scrolls with birds of good omen, and the interior surfaces bear scattered patterns of floral scrolls, birds and butterflies. As for the application technique, the ground is prepared by evenly sprinkling gold dust on black lacquer, and gold and silver dust are used for the patterns. It is presumed that this is a work of the middle tenth century. \n If one compares the design of the sides of the exterior of the body and the lid, one would notice that they are about the same except for the fact that the arrangement of the two kinds of birds is different. Each side of both body and lid have a pattern complex consisting of four floral scroll units and birds. One interesting feature of this pattern complex is that, whereas the upper floral patterns have upward-turned flowers, the central flower of the lower pattern also turns upward while the other flowers on both sides of the same unit turn downward. In the case of Nara Period works in which symmetry was an important principle, usually the upper part and the lower part are arranged in opposing positions. At least they are not arranged with central flower turned upward and flowered brancheson both sides turned downward. The four units have delicate differences in form yet still have perfect harmony. This is a new trend in the stage in which handicraft design is moving away from the symmetrical composition of the Nara Period.\n The floral pattern, which is the main component of the design, is known in similar examples on fragments of a harp preserved in the Shōsōin Repository. The floral scroll of the harp includes flowers with berry-like things on top and leaflets alongside. It is a variation of the floral scroll invented in China based on western prototypes. In this variation, each scroll is close to the form of a branch, and the holders of the berries are modified and simplified into leaf-like shapes.\n The design of the work now in question is based on such a pattern. The difference is that the petals are rendered as leaves. And the stems are more curvilinear. We see another aspect of modification of the Nara style in the rendering of such details.", "subitem_description_type": "Abstract"}]}, "item_creator": {"attribute_name": "著者", "attribute_type": "creator", "attribute_value_mlt": [{"creatorNames": [{"creatorName": "中川, 千咲"}], "nameIdentifiers": [{"nameIdentifier": "27388", "nameIdentifierScheme": "WEKO"}]}, {"creatorNames": [{"creatorName": "Nakagawa, Sensaku", "creatorNameLang": "en"}], "nameIdentifiers": [{"nameIdentifier": "27389", "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": "256_1_Nakagawa_Redacted.pdf", "filesize": [{"value": "15.8 MB"}], "format": "application/pdf", "future_date_message": "", "is_thumbnail": false, "licensetype": "license_11", "mimetype": "application/pdf", "size": 15800000.0, "url": {"label": "256_1_Nakagawa_Redacted.pdf", "url": "https://tobunken.repo.nii.ac.jp/record/6711/files/256_1_Nakagawa_Redacted.pdf"}, "version_id": "7a3ffb53-f8c4-4e5a-be96-4d6107c21330"}]}, "item_keyword": {"attribute_name": "キーワード", "attribute_value_mlt": [{"subitem_subject": "宝相華蒔絵宝珠箱(京都 仁和寺蔵)", "subitem_subject_scheme": "Other"}, {"subitem_subject": "Sacred-ball Container, The Ninnaji, 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": "仁和寺蔵宝相華蒔絵宝珠箱の文様について", "item_titles": {"attribute_name": "タイトル", "attribute_value_mlt": [{"subitem_title": "仁和寺蔵宝相華蒔絵宝珠箱の文様について"}, {"subitem_title": "Patterns on the Lacquered Container for the Sacred Ball Owned by the Ninnaji", "subitem_title_language": "en"}]}, "item_type_id": "10001", "owner": "3", "path": ["1131"], "permalink_uri": "https://tobunken.repo.nii.ac.jp/records/6711", "pubdate": {"attribute_name": "公開日", "attribute_value": "2017-10-05"}, "publish_date": "2017-10-05", "publish_status": "0", "recid": "6711", "relation": {}, "relation_version_is_last": true, "title": ["仁和寺蔵宝相華蒔絵宝珠箱の文様について"], "weko_shared_id": 3}
仁和寺蔵宝相華蒔絵宝珠箱の文様について
https://tobunken.repo.nii.ac.jp/records/6711
https://tobunken.repo.nii.ac.jp/records/6711d2f35ddf-6770-4d1c-b457-ac892c7f4832
名前 / ファイル | ライセンス | アクション |
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256_1_Nakagawa_Redacted.pdf (15.8 MB)
|
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 | 仁和寺蔵宝相華蒔絵宝珠箱の文様について | |||||
タイトル | ||||||
言語 | en | |||||
タイトル | Patterns on the Lacquered Container for the Sacred Ball Owned by the Ninnaji | |||||
言語 | ||||||
言語 | jpn | |||||
キーワード | ||||||
主題Scheme | Other | |||||
主題 | 宝相華蒔絵宝珠箱(京都 仁和寺蔵) | |||||
キーワード | ||||||
言語 | en | |||||
主題Scheme | Other | |||||
主題 | Sacred-ball Container, The Ninnaji, 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 |
中川, 千咲
× 中川, 千咲× Nakagawa, Sensaku |
|||||
抄録 | ||||||
内容記述タイプ | Abstract | |||||
内容記述 | Here, treating the design pattern of the lacquer- ed box for a sacred ball, in possession of the Ninnaji, the author discusses chiefly problems of the Japanization of handicrafts which is generally regarded to have taken place in the Heian Period. The core material of the box seems to be leather. The exterior surfaces of the square body and the telescoping lid are entirely covered with patterns of imaginary floral scrolls with birds of good omen, and the interior surfaces bear scattered patterns of floral scrolls, birds and butterflies. As for the application technique, the ground is prepared by evenly sprinkling gold dust on black lacquer, and gold and silver dust are used for the patterns. It is presumed that this is a work of the middle tenth century. If one compares the design of the sides of the exterior of the body and the lid, one would notice that they are about the same except for the fact that the arrangement of the two kinds of birds is different. Each side of both body and lid have a pattern complex consisting of four floral scroll units and birds. One interesting feature of this pattern complex is that, whereas the upper floral patterns have upward-turned flowers, the central flower of the lower pattern also turns upward while the other flowers on both sides of the same unit turn downward. In the case of Nara Period works in which symmetry was an important principle, usually the upper part and the lower part are arranged in opposing positions. At least they are not arranged with central flower turned upward and flowered brancheson both sides turned downward. The four units have delicate differences in form yet still have perfect harmony. This is a new trend in the stage in which handicraft design is moving away from the symmetrical composition of the Nara Period. The floral pattern, which is the main component of the design, is known in similar examples on fragments of a harp preserved in the Shōsōin Repository. The floral scroll of the harp includes flowers with berry-like things on top and leaflets alongside. It is a variation of the floral scroll invented in China based on western prototypes. In this variation, each scroll is close to the form of a branch, and the holders of the berries are modified and simplified into leaf-like shapes. The design of the work now in question is based on such a pattern. The difference is that the petals are rendered as leaves. And the stems are more curvilinear. We see another aspect of modification of the Nara style in the rendering of such details. |
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書誌情報 |
美術研究 en : The bijutsu kenkyu : the journal of art studies 号 256, p. 1-9, 発行日 1969-03-22 |