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And further, the majority of these wooden statues are standing statues of Bodhisattva, with a few exceptional examples. But several seated images of stone, gilt bronze and lacquer with the date of the Five Dynasties and the Sung Period were found by recent excavations in China, which enables us to consider the stylistic development of Buddhist images of these periods through seated figures. \n The stylistic characteristics would roughly divide the seated images of these two periods into those of Chiang-nan (South of the Yangze River) and of Chiang-pei (North of the Yangtze Riever). And the difference is more remarkable in the Sung Period than in the Five Dynasties.\n The Five Dynasties, being a transitional period from the T’ang to the Sung Period, show more diversity typologically and stylistically. In the Chiang-pei area a conservative tendency toward keeping T’ang style is observed, while new trends are strong in the Chiang-nan area (P1. Ⅴ,Ⅵ). 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五代・宋造像考―特に如来、菩薩の坐像形式に就いて―
https://tobunken.repo.nii.ac.jp/records/6767
https://tobunken.repo.nii.ac.jp/records/6767f6868b35-eff5-43ee-8f61-eb84493430c3
名前 / ファイル | ライセンス | アクション |
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231_23_Matsubara_Redacted.pdf (19.2 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 | 五代・宋造像考―特に如来、菩薩の坐像形式に就いて― | |||||
タイトル | ||||||
言語 | en | |||||
タイトル | Buddhist Sculpture in the Five Dynasties Period and the Sung Period: With Special Reference to Seated Figures of Buddha and Bodhisattva | |||||
言語 | ||||||
言語 | jpn | |||||
キーワード | ||||||
主題Scheme | Other | |||||
主題 | 金銅菩薩坐像(東京 某氏蔵)・金銅菩薩坐像永隆元年銘(千葉 小倉武之助氏蔵) | |||||
キーワード | ||||||
言語 | en | |||||
主題Scheme | Other | |||||
主題 | Seated Bodhisattva, Private Collection, Tokyo / Seated Bodhisattva, Coll. Mr. Ogura Takenosuke, Chiba | |||||
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 |
|||||
抄録 | ||||||
内容記述タイプ | Abstract | |||||
内容記述 | Most of the Buddhist sculptures known heretofore to be of the Five Dynasties and of the Sung have been wooden ones, few examples of stone, gilt bronze and lacquer having, to our knowledge, exsited. And further, the majority of these wooden statues are standing statues of Bodhisattva, with a few exceptional examples. But several seated images of stone, gilt bronze and lacquer with the date of the Five Dynasties and the Sung Period were found by recent excavations in China, which enables us to consider the stylistic development of Buddhist images of these periods through seated figures. The stylistic characteristics would roughly divide the seated images of these two periods into those of Chiang-nan (South of the Yangze River) and of Chiang-pei (North of the Yangtze Riever). And the difference is more remarkable in the Sung Period than in the Five Dynasties. The Five Dynasties, being a transitional period from the T’ang to the Sung Period, show more diversity typologically and stylistically. In the Chiang-pei area a conservative tendency toward keeping T’ang style is observed, while new trends are strong in the Chiang-nan area (P1. Ⅴ,Ⅵ). Despite this difference there is one common Five Dynasties style. For example, the stone image excavated in Ning-cheng-h sien of Inner Mongolia dated 957 (fig. 2) and the stone image of the Five Dynasties excavated at the Hu-ch’iu Pagoda 虎丘塔 of Wu-hsien, Kiangsu Province (fig. 3) show the common characteristics, allowing for some local variation. In the Five Dynasties and the Northern Sung Period such materials as wood, iron, clay and lacquer were popular. Although we can still discuss the general trend of suclputure in the Five Dynasties as applying to stone images, it leaves the main current of sculpture in the Sung Period. And in the Northern Sung Period the stylistic difference between the Chiang-pei and Chiang-nan becomes greater. The wooden and iron Buddhas made in Shanai Province at the beginning of the twelfth century and the lacquer image excavated at a Northern Sung pagoda in Kiangsu Province, both illustrated in this paper, show the contrast. Further it is presumed that this local contrast becomes clearer in the concurrent period of Chin and Southern Sung. But we have not enough examples from this period to be certain. The stone relief at Munakata Shrine in Fukuoka Prefecture in Japan and statues of cave-tamples in Chekiang Province are the few stone examples made in this period. If we sarch for the main current of Buddhist sculpture of this age, we have to depend on lacquer and clay figures. |
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書誌情報 |
美術研究 en : The bijutsu kenkyu : the journal of art studies 号 231, p. 23-33, 発行日 1964-10-20 |