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{"_buckets": {"deposit": "e62d830d-029b-4fcc-8b7d-86e180912faf"}, "_deposit": {"created_by": 3, "id": "6876", "owners": [3], "pid": {"revision_id": 0, "type": "depid", "value": "6876"}, "status": "published"}, "_oai": {"id": "oai:tobunken.repo.nii.ac.jp:00006876", "sets": ["1175"]}, "author_link": ["27717", "27716"], "item_10001_biblio_info_7": {"attribute_name": "書誌情報", "attribute_value_mlt": [{"bibliographicIssueDates": {"bibliographicIssueDate": "1962-03-30", "bibliographicIssueDateType": "Issued"}, "bibliographicIssueNumber": "218", "bibliographicPageEnd": "26", "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": " The murals collected at Turfan by the second and third Ōtani Missions include many fragments which correspond to parts of what German scholars call Praṇidhi-bild. A typical example of Praṇidhi-bild was introduced by Le Coq who brought it back from the corridor of Cave 9, Bäzäklik. Descriptions in the report of Grünwedel\u0027s investigation tell that there existed fifteen themes which were almost exactly similar both in location and in composition to that in Cave 9. Furthermore, some murals in Cave 4 were brought back by Stein and were published by Andrews. Based upon these three examples, the present writer reported that the figure of a monk holding offerings, situated at lower right in Theme 13 in Cave 4, is found in the Ōtani collection (The Bijutsu Kenkyu, No. 170). In the present article he reports that the Ōtani collection contains considerably many more fragments of Pranidhi-bild from Cave 4. It is evident from Grünwedel\u0027s statement that besides Stein and the Ōtani Missions, Le Coq also collected similar examples at Cave 4. \n The lower right part of Theme 1 at Cave 4 exists in the Ōtani collection preserved in the former Museum attached to the Japanese Government-General of Korea (the Ōtani collection in that museum will hereinafter be referred to as Seoul). It portrays two standing figures holding offerings to the central standing Buddha (fig. 1 shows the head of the front one of the two). Seoul includes a part of a Devatā\u0027s arm holding a flower (fig. 3) like the one seen in upper right of Theme 1, but where it is from is hard to tell as similar segments exist also in Themes 4 and 6. However, we can hardly believe that it is from Cave 37 (fig. 2) or any of other caves where similar scenes apparently existed. \n The overall appearance of Theme 3 can be told by adding a fragment brought back by Le Coq (fig. 5) to the lower left of one brought back by Stein (fig. 4). Le Coq believes that the former is from Cave 2 but evidently it belongs to this wall. (The murals brought back by Le Coq and Stein will be referred to hereinafter as Le Coq and Stein respectively.)\n Theme 5 is found in Stein (Wall Paintings, PI. XVII), and its lower left part in Seoul (fig. 5). The latter shows a Brahmin (head missing) sitting on the ground in front of a thatched cottage.\n A lower left part of Theme 7 is found in Seoul. It shows a boy walking with a bowl in arms and looking back at a Brahmin (whose legs alone remain) who walks behind.\n The Ōtani collection pieces relating to Theme 8 are the Devatā holding a canopy in the leftside part (PI. II) now possessed by Mr. Kimura Teizō (hereinafter referred to as Kimura), and the Devatā kneeling with hands clasped in the right-side part (fig 9) in Seoul.\n Parts of Theme 9 exist in Stein (fig. 13) and Le Coq (fig. 14) from which the overall composition can be restored. Le Coq described this, too, to be from Cave 2.\n Themes 10 and 11 are found in Stein (Wall Paintings, PI. XV). The right-side part of Theme 11 (fig. 15) is missing but the existence of long locks of hair near the feet of the central Buddha proves that it is a scene from Dīpankara Jātaka. The Ōtani collection in Seoul has a fragment which is a part of the missing portion, showing the back of Sumedha kneeling with his long hair spread on the ground and a standing Devatā (fig. 16, showing the face) extending his arm backward in the attitude of inviting someone.\n A composition extending over Themes 13 and 14 exists in Stein (Wall Paintings, PI. XIV). The lower right portion of 13 has been mentioned above.\n Portions of Themes 14 and 15 are found in Stein (fig. 19). According to descriptions by Grünwedel, the only other painting showing a scene of tonsuring on the right and a standing Brahmin on the left, is in Cave 12. The fragment in the Ōtani collection Kimura (PI. IV), showing the same composition, must obviously be from Cave 12.\n Seoul includes the figure of a Brahmin sitting in front of a thatched cottage and holding forth offerings (fig. 20) which corresponds in composition to the lower right part of Theme 15. Its background however is vermilion while that of a similar painting in Cave 4 is bluish green. According to Grünwedel there is another painting of this composition in Cave 10, which, having been copied from that of Cave 4, shows figures with disproportionately large heads. The fragment in Seoul can be judged to be from Cave 10. \n The faces of the kneeling Devatā at the lower right of Theme 8 (fig. 10) and of the standing Devatā with a canopy above it (fig. 10) in Seoul are contoured with double lines in red and black, this manner of contouring being identical with that of a similar example in Stein (fig. 11). These fragments, in comparison with Stein, are judged to be from Cave 25 or what Stein calls Bez. ix. Another fragment in Seoul (fig. 12), though badly damaged and not clearly identifiable, may possibly be also from Cave 25.\n There are two fragments in the Otani collection showing kneeling Devatā with incense burners (fig. 17, in the former Port Arthur Museum and PI. III, Kimura) which correspond to the lower right part of Theme 12. From Grünwedel\u0027s descriptions we see that these scenes are in Cave 19 (Stein\u0027s Bez. xii) and Cave 20. Because the arabesque border of the latter (fig. 18) is identical with that in Cave 20, we can assert that the former is from Cave 19 and the latter from Cave 20.\n Concerning the Praṇidhi-bild from Cave 20 the present writer has already discussed in the Bijutsu Kenkyu, No. 126.", "subitem_description_type": "Abstract"}]}, "item_creator": {"attribute_name": "著者", "attribute_type": "creator", "attribute_value_mlt": [{"creatorNames": [{"creatorName": "熊谷, 宣夫"}], "nameIdentifiers": [{"nameIdentifier": "27716", "nameIdentifierScheme": "WEKO"}]}, {"creatorNames": [{"creatorName": "Kumagai, Nobuo", "creatorNameLang": "en"}], "nameIdentifiers": [{"nameIdentifier": "27717", "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": "2017-10-05"}], "displaytype": "detail", "download_preview_message": "", "file_order": 0, "filename": "218_1_Kumagai_Redacted.pdf", "filesize": [{"value": "34.9 MB"}], "format": "application/pdf", "future_date_message": "", "is_thumbnail": false, "licensetype": "license_11", "mimetype": "application/pdf", "size": 34900000.0, "url": {"label": "218_1_Kumagai_Redacted.pdf", "url": "https://tobunken.repo.nii.ac.jp/record/6876/files/218_1_Kumagai_Redacted.pdf"}, "version_id": "ed516434-a17c-4f95-a5de-24298af8b7d0"}]}, "item_keyword": {"attribute_name": "キーワード", "attribute_value_mlt": [{"subitem_subject": "ベゼクリク第4号窟寺第8主題壁画断片・ベゼクリク第20号窟寺壁画断片・ベゼクリク第12号窟寺壁画断(東京 木村貞造氏蔵)トルファン", "subitem_subject_scheme": "Other"}, {"subitem_subject": "Fragment of Mural on Theme 8 from Cave 4, Bazaklik / Fragment of Mural from Cave 20, Bazaklik / Fragment of Mural from Cave 12, Bazaklik: Owned by Mr. Kimura Teizo, Tokyo", "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": "大谷コレクションの誓願画資料", "item_titles": {"attribute_name": "タイトル", "attribute_value_mlt": [{"subitem_title": "大谷コレクションの誓願画資料"}, {"subitem_title": "Paintings of Pranidhi Scenes in the Otani Collection", "subitem_title_language": "en"}]}, "item_type_id": "10001", "owner": "3", "path": ["1175"], "permalink_uri": "https://tobunken.repo.nii.ac.jp/records/6876", "pubdate": {"attribute_name": "公開日", "attribute_value": "2017-10-05"}, "publish_date": "2017-10-05", "publish_status": "0", "recid": "6876", "relation": {}, "relation_version_is_last": true, "title": ["大谷コレクションの誓願画資料"], "weko_shared_id": 3}
大谷コレクションの誓願画資料
https://tobunken.repo.nii.ac.jp/records/6876
https://tobunken.repo.nii.ac.jp/records/68760cd529aa-9cc1-4b16-9b7b-aeb13dc87ebc
名前 / ファイル | ライセンス | アクション |
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218_1_Kumagai_Redacted.pdf (34.9 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 | 大谷コレクションの誓願画資料 | |||||
タイトル | ||||||
言語 | en | |||||
タイトル | Paintings of Pranidhi Scenes in the Otani Collection | |||||
言語 | ||||||
言語 | jpn | |||||
キーワード | ||||||
主題Scheme | Other | |||||
主題 | ベゼクリク第4号窟寺第8主題壁画断片・ベゼクリク第20号窟寺壁画断片・ベゼクリク第12号窟寺壁画断(東京 木村貞造氏蔵)トルファン | |||||
キーワード | ||||||
言語 | en | |||||
主題Scheme | Other | |||||
主題 | Fragment of Mural on Theme 8 from Cave 4, Bazaklik / Fragment of Mural from Cave 20, Bazaklik / Fragment of Mural from Cave 12, Bazaklik: Owned by Mr. Kimura Teizo, Tokyo | |||||
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 |
熊谷, 宣夫
× 熊谷, 宣夫× Kumagai, Nobuo |
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抄録 | ||||||
内容記述タイプ | Abstract | |||||
内容記述 | The murals collected at Turfan by the second and third Ōtani Missions include many fragments which correspond to parts of what German scholars call Praṇidhi-bild. A typical example of Praṇidhi-bild was introduced by Le Coq who brought it back from the corridor of Cave 9, Bäzäklik. Descriptions in the report of Grünwedel's investigation tell that there existed fifteen themes which were almost exactly similar both in location and in composition to that in Cave 9. Furthermore, some murals in Cave 4 were brought back by Stein and were published by Andrews. Based upon these three examples, the present writer reported that the figure of a monk holding offerings, situated at lower right in Theme 13 in Cave 4, is found in the Ōtani collection (The Bijutsu Kenkyu, No. 170). In the present article he reports that the Ōtani collection contains considerably many more fragments of Pranidhi-bild from Cave 4. It is evident from Grünwedel's statement that besides Stein and the Ōtani Missions, Le Coq also collected similar examples at Cave 4. The lower right part of Theme 1 at Cave 4 exists in the Ōtani collection preserved in the former Museum attached to the Japanese Government-General of Korea (the Ōtani collection in that museum will hereinafter be referred to as Seoul). It portrays two standing figures holding offerings to the central standing Buddha (fig. 1 shows the head of the front one of the two). Seoul includes a part of a Devatā's arm holding a flower (fig. 3) like the one seen in upper right of Theme 1, but where it is from is hard to tell as similar segments exist also in Themes 4 and 6. However, we can hardly believe that it is from Cave 37 (fig. 2) or any of other caves where similar scenes apparently existed. The overall appearance of Theme 3 can be told by adding a fragment brought back by Le Coq (fig. 5) to the lower left of one brought back by Stein (fig. 4). Le Coq believes that the former is from Cave 2 but evidently it belongs to this wall. (The murals brought back by Le Coq and Stein will be referred to hereinafter as Le Coq and Stein respectively.) Theme 5 is found in Stein (Wall Paintings, PI. XVII), and its lower left part in Seoul (fig. 5). The latter shows a Brahmin (head missing) sitting on the ground in front of a thatched cottage. A lower left part of Theme 7 is found in Seoul. It shows a boy walking with a bowl in arms and looking back at a Brahmin (whose legs alone remain) who walks behind. The Ōtani collection pieces relating to Theme 8 are the Devatā holding a canopy in the leftside part (PI. II) now possessed by Mr. Kimura Teizō (hereinafter referred to as Kimura), and the Devatā kneeling with hands clasped in the right-side part (fig 9) in Seoul. Parts of Theme 9 exist in Stein (fig. 13) and Le Coq (fig. 14) from which the overall composition can be restored. Le Coq described this, too, to be from Cave 2. Themes 10 and 11 are found in Stein (Wall Paintings, PI. XV). The right-side part of Theme 11 (fig. 15) is missing but the existence of long locks of hair near the feet of the central Buddha proves that it is a scene from Dīpankara Jātaka. The Ōtani collection in Seoul has a fragment which is a part of the missing portion, showing the back of Sumedha kneeling with his long hair spread on the ground and a standing Devatā (fig. 16, showing the face) extending his arm backward in the attitude of inviting someone. A composition extending over Themes 13 and 14 exists in Stein (Wall Paintings, PI. XIV). The lower right portion of 13 has been mentioned above. Portions of Themes 14 and 15 are found in Stein (fig. 19). According to descriptions by Grünwedel, the only other painting showing a scene of tonsuring on the right and a standing Brahmin on the left, is in Cave 12. The fragment in the Ōtani collection Kimura (PI. IV), showing the same composition, must obviously be from Cave 12. Seoul includes the figure of a Brahmin sitting in front of a thatched cottage and holding forth offerings (fig. 20) which corresponds in composition to the lower right part of Theme 15. Its background however is vermilion while that of a similar painting in Cave 4 is bluish green. According to Grünwedel there is another painting of this composition in Cave 10, which, having been copied from that of Cave 4, shows figures with disproportionately large heads. The fragment in Seoul can be judged to be from Cave 10. The faces of the kneeling Devatā at the lower right of Theme 8 (fig. 10) and of the standing Devatā with a canopy above it (fig. 10) in Seoul are contoured with double lines in red and black, this manner of contouring being identical with that of a similar example in Stein (fig. 11). These fragments, in comparison with Stein, are judged to be from Cave 25 or what Stein calls Bez. ix. Another fragment in Seoul (fig. 12), though badly damaged and not clearly identifiable, may possibly be also from Cave 25. There are two fragments in the Otani collection showing kneeling Devatā with incense burners (fig. 17, in the former Port Arthur Museum and PI. III, Kimura) which correspond to the lower right part of Theme 12. From Grünwedel's descriptions we see that these scenes are in Cave 19 (Stein's Bez. xii) and Cave 20. Because the arabesque border of the latter (fig. 18) is identical with that in Cave 20, we can assert that the former is from Cave 19 and the latter from Cave 20. Concerning the Praṇidhi-bild from Cave 20 the present writer has already discussed in the Bijutsu Kenkyu, No. 126. |
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書誌情報 |
美術研究 en : The bijutsu kenkyu : the journal of art studies 号 218, p. 1-26, 発行日 1962-03-30 |