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{"_buckets": {"deposit": "12e1828c-6c13-42e2-aa14-e1bd399e955d"}, "_deposit": {"created_by": 3, "id": "6846", "owners": [3], "pid": {"revision_id": 0, "type": "depid", "value": "6846"}, "status": "published"}, "_oai": {"id": "oai:tobunken.repo.nii.ac.jp:00006846", "sets": ["1167"]}, "author_link": ["27656", "27657"], "item_10001_biblio_info_7": {"attribute_name": "書誌情報", "attribute_value_mlt": [{"bibliographicIssueDates": {"bibliographicIssueDate": "1960-09-15", "bibliographicIssueDateType": "Issued"}, "bibliographicIssueNumber": "210", "bibliographicPageEnd": "47", "bibliographicPageStart": "19", "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": " Worship of the Buddhist goddess Kichijō Ten (Mahāśrī or Śrīdevī), which arose in Japan during the Nara Period based upon the tenets of the scripture Konkōyō Saishōō-kyo (Suvarna-prabhāsa-uttamarāja Sūtra), became gradually prevalent due to the frequent observance of rituals performed for this goddess. It is known from both literary sources and existing examples that images of Kichijō Ten, both in painting and in sculpture, were produced and worshipped in various great temples in Nara. Statues of the goddess from the Nara Period are mostly in temples in Nara, and literary records of the Nara Period concerning Kichijō Ten statues are also fairly numerous. The present writer therefore begins her discussion with those in temples in Nara. She also discusses on the statues of Kichijō Ten in and after the Heian Period and lists literary records concerning worship of the goddess. Among these a few remarkable examples are as follows. \n The wooden statue of Kichijō Ten in the Golden Hall of the Hōryū-ji, dated the year Jōryaku 2 (A. D. 1078), is paired with that of Bishamon Ten (Vaiśravaṇa). It is unknown when this exceptional way of grouping began, and the example just mentioned has heretofore been considered to be the oldest. According to a record of the Tōdai-ji, however, statues of the two deities were donated to the temple as early as the second year of Ninju (852), proving that this combination existed already in the ninth century. Another interesting fact is that it was not infrequent in the Heian Period, as is stated in a few literary sources, to replace pictures of the goddess with her statues for use as objects of devotion at rituals.\n The existing statues of Kichijō Ten, as far as the writer knows to date, are three from the Nara Period, thirty odd from the Heian, and something over ten from the Kamakura, on each of which she gives a brief description. Her attempt to classify them by the characteristics of their costumes, brought the following result : Statues of the Nara Period show two styles : lady\u0027s full dress and informal dress, both of the T‘ang Dynasty. These therefore have distinct characteristics of their age. Those of the Heian Period, however, are represented in what appear to be peculiarly Buddhist clothing, and it is hard to trace the evolution of the styles of their costumes. The Kichijō Ten in the Jōruri-ji Temple, with a date of the year Kenryaku 2 (1212) in the Kamakura Period, wears on the shoulders capes shaped like leaves or bird\u0027s feathers. This is a characteristic that appeared on Kichijō Ten statues of the Kamakura Period and is not found on any of the Nara or Heian. 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吉祥天彫像
https://tobunken.repo.nii.ac.jp/records/6846
https://tobunken.repo.nii.ac.jp/records/6846c01c52b8-addb-4004-9646-db487b05bc41
Item type | 学術雑誌論文 / Journal Article(1) | |||||
---|---|---|---|---|---|---|
公開日 | 2017-10-05 | |||||
タイトル | ||||||
タイトル | 吉祥天彫像 | |||||
タイトル | ||||||
言語 | en | |||||
タイトル | Statues of Kichijo Ten | |||||
言語 | ||||||
言語 | jpn | |||||
キーワード | ||||||
主題Scheme | Other | |||||
主題 | 吉祥天像(奈良 法隆寺蔵)・吉祥天像(広島 古保利薬師堂蔵)・吉祥天像(奈良 当麻寺蔵)・吉祥天像(奈良 東明寺蔵)・吉祥天像(滋賀 櫟野寺蔵)・吉祥天像(京都 鞍馬寺蔵) | |||||
キーワード | ||||||
言語 | en | |||||
主題Scheme | Other | |||||
主題 | Kichijo Ten, Owned by Horyu-ji, Nara / Kichijo Ten, Owned by Kori Yakushi-do, Hiroshima / Kichijo Ten, Owned by Taima-dera, Nara / Kichijo Ten, Owned by Tomyo-ji, Nara / Kichijo Ten, Owned by Ichiino-dera, Shiga / Kichijo Ten, Owned by Kurama-dera, 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 | |||||
アクセス権 | ||||||
アクセス権 | metadata only access | |||||
アクセス権URI | http://purl.org/coar/access_right/c_14cb | |||||
著者 |
猪川, 和子
× 猪川, 和子× Ikawa, Kazuko |
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抄録 | ||||||
内容記述タイプ | Abstract | |||||
内容記述 | Worship of the Buddhist goddess Kichijō Ten (Mahāśrī or Śrīdevī), which arose in Japan during the Nara Period based upon the tenets of the scripture Konkōyō Saishōō-kyo (Suvarna-prabhāsa-uttamarāja Sūtra), became gradually prevalent due to the frequent observance of rituals performed for this goddess. It is known from both literary sources and existing examples that images of Kichijō Ten, both in painting and in sculpture, were produced and worshipped in various great temples in Nara. Statues of the goddess from the Nara Period are mostly in temples in Nara, and literary records of the Nara Period concerning Kichijō Ten statues are also fairly numerous. The present writer therefore begins her discussion with those in temples in Nara. She also discusses on the statues of Kichijō Ten in and after the Heian Period and lists literary records concerning worship of the goddess. Among these a few remarkable examples are as follows. The wooden statue of Kichijō Ten in the Golden Hall of the Hōryū-ji, dated the year Jōryaku 2 (A. D. 1078), is paired with that of Bishamon Ten (Vaiśravaṇa). It is unknown when this exceptional way of grouping began, and the example just mentioned has heretofore been considered to be the oldest. According to a record of the Tōdai-ji, however, statues of the two deities were donated to the temple as early as the second year of Ninju (852), proving that this combination existed already in the ninth century. Another interesting fact is that it was not infrequent in the Heian Period, as is stated in a few literary sources, to replace pictures of the goddess with her statues for use as objects of devotion at rituals. The existing statues of Kichijō Ten, as far as the writer knows to date, are three from the Nara Period, thirty odd from the Heian, and something over ten from the Kamakura, on each of which she gives a brief description. Her attempt to classify them by the characteristics of their costumes, brought the following result : Statues of the Nara Period show two styles : lady's full dress and informal dress, both of the T‘ang Dynasty. These therefore have distinct characteristics of their age. Those of the Heian Period, however, are represented in what appear to be peculiarly Buddhist clothing, and it is hard to trace the evolution of the styles of their costumes. The Kichijō Ten in the Jōruri-ji Temple, with a date of the year Kenryaku 2 (1212) in the Kamakura Period, wears on the shoulders capes shaped like leaves or bird's feathers. This is a characteristic that appeared on Kichijō Ten statues of the Kamakura Period and is not found on any of the Nara or Heian. In painting such capes are found in Chinese examples of as early as the T‘ang Dynasty, but in Japanese sculpture they are probably illustrative of a new type of Kichijō Ten imagery introduced to Japan during the Kamakura Period. |
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書誌情報 |
美術研究 en : The bijutsu kenkyu : the journal of art studies 号 210, p. 19-47, 発行日 1960-09-15 |