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However, the statements in these records regarding the form of the stūpa are not necessarily accurate. The author considers that it is possible to restore the elevation of the stūpa to a certain extent by comparing it with the ruined stūpa at Tōp-i-Rustam near Balkh, which, according to the author, presumably was built in imitation of the former. He emphasizes that the considerably advanced form of this stūpa does not evidence an evolution of architectural style paralleling that of Gandhāra art, but that it illustrates the oldness of the history of stūpa architecture in northwest India.\n From the viewpoint of the chronology of Gandhāra art, the stucco images and other architectural ornaments, still remaining on the sides of the base of this Great Stūpas, are important subjects of study. The author agrees with B. Rowland that these date from the time of King Kanişka. After comparing their stylistic characteristics with those of a group of stone carvings excavated at Taxila, he believes that their possible age, which Sir John Marshall places between late first to early second centuries A.D., should be allowed a wider range of time; that the period in which this style of stucco ornaments was in use, considered side by side with the manner of masonry employed for the base of the Great Stūpa (Figs. 4 \u0026 5), should contain at least the first part of the reign of Kaniska. He thinks that the evolution from Proto-Gandhāra to Gandhāra arts took place in the early Kushan period, or around 100 A. D. In this respect his theory differs somewhat with that of Marshall (Cf. Kōkogaku Zasshi, XXXVIII, 1952, pp. 36–9). \n The author also made close studies on the famous Kaniska\u0027s Reliquary excavated at the site of the Great Stūpa. He discusses, among others, about the two contradictory characteristics of this relipuary: the skilfull compositon and depiction of decorative designs, especially of figures, on it, and the rough, crude workmanship of the piece as a metal work. His interpretation of this fact is as follows: the reliquary having been the container of the Buddha\u0027s sacred relics dedicated by the then dynast to be placed in the holy Great Stūpa, the best of artistic skill available was devoted to its making, but creative arts at that time had not yet achieved technical perfection. It is presumed. that, owing to the trade with the Roman West which had become especially frequent since the time of V’ima Kadphises, art objects from the western world had begun to be brought to India, but western techniques of arts had not yet been introduced. The reliquary under discussion was one of the results of Indian imitation of western objects, made in India by an Indian craftsman. 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カニシュカ大塔及び舍利容器の再検討―ガンダーラ美術の展開における様式的指標として―
https://tobunken.repo.nii.ac.jp/records/6886
https://tobunken.repo.nii.ac.jp/records/6886f3bb8912-5764-4904-9e53-79c9f35516f4
名前 / ファイル | ライセンス | アクション |
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181_1_Takada_Redacted.pdf (29.7 MB)
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Item type | 学術雑誌論文 / Journal Article(1) | |||||
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公開日 | 2016-12-27 | |||||
タイトル | ||||||
タイトル | カニシュカ大塔及び舍利容器の再検討―ガンダーラ美術の展開における様式的指標として― | |||||
タイトル | ||||||
言語 | en | |||||
タイトル | Kaniska's Great Stupa and Reliquary as Stylistic Criteria in the Development of the Gandhara Art | |||||
言語 | ||||||
言語 | jpn | |||||
キーワード | ||||||
言語 | en | |||||
主題Scheme | Other | |||||
主題 | Kaniska's Great Stupa and Reliquary as Stylistic Criteria in the Development of the Gandhara Art | |||||
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 |
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抄録 | ||||||
内容記述タイプ | Abstract | |||||
内容記述 | Based upon his theory that the reign of King Kaniṣka covered the second quarter or the middle of the second century A.D., the author has made renewed studies from all possible viewpoints on the Great Stūpa believed to have been built during the time of the king, as well as on the reliquary unearthed from the site, in order to examine what position these relics hold in the development of the Gandhāra art. Judging from the records by old Chinese pilgrims, the foundation of a huge stūpa located at the Shah-ji-ki Dheri site near Peshawar is evidently the remains of Kaniska's Great Stūpa. However, the statements in these records regarding the form of the stūpa are not necessarily accurate. The author considers that it is possible to restore the elevation of the stūpa to a certain extent by comparing it with the ruined stūpa at Tōp-i-Rustam near Balkh, which, according to the author, presumably was built in imitation of the former. He emphasizes that the considerably advanced form of this stūpa does not evidence an evolution of architectural style paralleling that of Gandhāra art, but that it illustrates the oldness of the history of stūpa architecture in northwest India. From the viewpoint of the chronology of Gandhāra art, the stucco images and other architectural ornaments, still remaining on the sides of the base of this Great Stūpas, are important subjects of study. The author agrees with B. Rowland that these date from the time of King Kanişka. After comparing their stylistic characteristics with those of a group of stone carvings excavated at Taxila, he believes that their possible age, which Sir John Marshall places between late first to early second centuries A.D., should be allowed a wider range of time; that the period in which this style of stucco ornaments was in use, considered side by side with the manner of masonry employed for the base of the Great Stūpa (Figs. 4 & 5), should contain at least the first part of the reign of Kaniska. He thinks that the evolution from Proto-Gandhāra to Gandhāra arts took place in the early Kushan period, or around 100 A. D. In this respect his theory differs somewhat with that of Marshall (Cf. Kōkogaku Zasshi, XXXVIII, 1952, pp. 36–9). The author also made close studies on the famous Kaniska's Reliquary excavated at the site of the Great Stūpa. He discusses, among others, about the two contradictory characteristics of this relipuary: the skilfull compositon and depiction of decorative designs, especially of figures, on it, and the rough, crude workmanship of the piece as a metal work. His interpretation of this fact is as follows: the reliquary having been the container of the Buddha's sacred relics dedicated by the then dynast to be placed in the holy Great Stūpa, the best of artistic skill available was devoted to its making, but creative arts at that time had not yet achieved technical perfection. It is presumed. that, owing to the trade with the Roman West which had become especially frequent since the time of V’ima Kadphises, art objects from the western world had begun to be brought to India, but western techniques of arts had not yet been introduced. The reliquary under discussion was one of the results of Indian imitation of western objects, made in India by an Indian craftsman. It is perhaps to be regarded as a product of the period transitional from Proto-Gandhāra to Gandhāra. It can not be a work in the late Gandhāra period, the period in which the Gandhāra art after experiencing its prime characterized by beautiful flowing drapery, was on its decline. Finally, the author is fully aware of the danger in extending his stylistic interpretaton of this reliquary to the contemporary art of northwest India in general, but he is convinced that this piece still remains a valuable stylistic criterion of Gandhāra art. The present article represents the author's basic concept regarding the art of the Kushan period in his plan of making a series of synthetic researches on Buddhist sculpture and other Buddhist arts of the period. |
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書誌情報 |
美術研究 en : The bijutsu kenkyu : the journal of art studies 号 181, p. 1-24, 発行日 1955-08-15 |