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Though small in scale this temple is significant in the classical period of Cambodian art history as the place where a unique type of art was developed. After the publication of the monograph “Le temple d’Īçvarapura” in 1926 there have been reconstruction of the original buildings of the temple and discovery of previously unknown sources of information, and studies on the age and style of Banteay Srei art have seen progress. But it is surprise to find a recently published book (written in English) on Indian art and architecture still including statements on the temple which are based upon out-of-date chronology. The author therefore introduces herein to Japanese students, through his own observation as well as through reference to previous studies by French scholars, the outline of the unique art at Banteay Srei illustrated by photographs taken by himself, focusing his discussion on the position which Banteay Srei art holds in ihe history of Cambodian art.\n The central and most important buildings of Banteay Srei were formerly considered, based upon the interpretation of numerous inscriptions that had been dicsovered, to have been constructed (or reconstructed) in 1304 A. D., but studies on other important inscriptions discovered thereafter have led to the theory, which is now generally accepted, that the temple was founded in 967 A. D. and that its buildings were all finished by about 1000 A. D. 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パンテアイ・スレイの女神―カンボジャ古典時代前期の異色ある一美術について―
https://tobunken.repo.nii.ac.jp/records/6830
https://tobunken.repo.nii.ac.jp/records/683095357960-6545-4d06-ba17-dd23864fc5c8
名前 / ファイル | ライセンス | アクション |
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207_1_Takata_Redacted.pdf (34.2 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 | パンテアイ・スレイの女神―カンボジャ古典時代前期の異色ある一美術について― | |||||
タイトル | ||||||
言語 | en | |||||
タイトル | On the Art of the Saiva Temple Banteay Srei: Its Stylistic Position in the Art History of Cambodia | |||||
言語 | ||||||
言語 | jpn | |||||
キーワード | ||||||
主題Scheme | Other | |||||
主題 | パンテアイ・スレイ寺北堂の女神像・中堂の楣の浮彫文様・男女神像・ガルダ像 | |||||
キーワード | ||||||
言語 | en | |||||
主題Scheme | Other | |||||
主題 | Devata, North Sanctuary / West Door Lintel of the Central Sanctuary / A Dvarapala and Two Devata / Devata, North Sanctuary / Dvarapala, Central Sanctuary / Devata, South Sanctuary / Garuda in Front of the North Sanctuary: Banteay Srei | |||||
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 |
高田, 修
× 高田, 修× Takata, Osamu |
|||||
抄録 | ||||||
内容記述タイプ | Abstract | |||||
内容記述 | In March this year, on his way back from a research trip to India, the author had an opportunity of visiting Banteay Srei, a Śaiva temple situated alone in a jungle 21km. northeast of Angkor Thom. Though small in scale this temple is significant in the classical period of Cambodian art history as the place where a unique type of art was developed. After the publication of the monograph “Le temple d’Īçvarapura” in 1926 there have been reconstruction of the original buildings of the temple and discovery of previously unknown sources of information, and studies on the age and style of Banteay Srei art have seen progress. But it is surprise to find a recently published book (written in English) on Indian art and architecture still including statements on the temple which are based upon out-of-date chronology. The author therefore introduces herein to Japanese students, through his own observation as well as through reference to previous studies by French scholars, the outline of the unique art at Banteay Srei illustrated by photographs taken by himself, focusing his discussion on the position which Banteay Srei art holds in ihe history of Cambodian art. The central and most important buildings of Banteay Srei were formerly considered, based upon the interpretation of numerous inscriptions that had been dicsovered, to have been constructed (or reconstructed) in 1304 A. D., but studies on other important inscriptions discovered thereafter have led to the theory, which is now generally accepted, that the temple was founded in 967 A. D. and that its buildings were all finished by about 1000 A. D. However, as is suggested by the fact that Banteay Srei art was once misunderstood by a certain scholar to be a “Lococo phase” of the last part of the classical period, it gives, at a glance, an impression of stylistic floridness; it should therefore be carefully studied whether the above-mentioned dating is applicable, from a stylistic point of view, to all fields of its architecture, ornamentation and sculpture. French scholars—of whom M. H. Parmentier on architecture, Mme G. de Coral Rémusat on ornamentation as well as on the style of Banteay Srei art in general, and M. J. Boisselier on the stylistic analysis of sculpture, are worth special mention- have achieved notable progress in detailed analysis of the various styles of Khmer art, and they universally agree that the style of Banteay Srei should be dated to the late tenth century. The present author, in support of their theory, discusses that Banteay Srei art contains much of stylistic tradition carried on from ninth-century art, and is rich especially in “archaisant” elements; and he emphasizes that it does not show any tendency for “degeneration” of style indicative of the last period of classical age, but in stead is full of fresh, vivid effect; and that it reveals a new creation of artistic representation. After discussing on the disposition of the buildings and on the motifs and style of their brilliant decoration, the author gives descriptions of the bas-reliefs illustrating stories, the relief images of gods and goddesses (dvārapāla and devatā) and the full-sculptured images. He emphasizes especially the fascinating harmonious portrayal of the goddesses (devatā), and the unique new style of Banteay Srei art represented by it. The author takes this opportunity to express his sincerest gratitude to M. Louis Content and M. Henry Dufour of the Conservation who kindly guided him at his visit to Banteay Srei as well as to the sites in and around Angkor Thom. |
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書誌情報 |
美術研究 en : The bijutsu kenkyu : the journal of art studies 号 207, p. 1-24, 発行日 1960-06-06 |