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Ornamented tombs are one of such examples.\n In about the middle of the fifth century A. D., under the influence of continental funerary custom, cave-form stone burial chambers made their appearance in Kyūshū, and from this period till the sixth century it was frequently a practice to decorate the stone coffins and walls therein with paintings. Tombs with such paintings are called ornamented tombs or wall-painting tombs. It is considered that the purpose of these paintings was to keep away evil spirits from the burial chambers, and to serve as magical means of keeping the same dignity and comfort in the grave as enjoyed by the buried during lifetime.\n The ornamented tombs in Kyūshū are found mostly in the northern half of the island, notably in the southern part of Fukuoka and northern part of Kumamoto Prefectures occupying the central part of Kyūshū. As for the kinds of their ornaments, the earliest ones have (1) carved geometric patterns ; the second ones have (2) graphic paintings; the third ones, (3) pictures of figures of the kinds similar to those of haniwa (terra-cotta tombs figures); and ones of the last and most developed type, (4) figures of humans and animals in motion.\n It is hard to associate the origin of Japanese ornamented tombs directly with the wall-painting tombs in the continent, but it is possible to think that the idea of painting pictures in tombs, together with the system of burial involved, was an influence from the continent. It should be noted, however, that some of the group (5) show elements which suggest direct connection with Korean tomb murals of the Koguryo Dynasty. The paintings in the tomb at Takehara here discussed are unique examples manifesting obvious connection with figure pictures along the line of the arts of the period of Six Dynasties in China, especially with murals in tombs of Koguryo.\n The tomb under discussion is located on a low hill at the northwest end of the beautiful small valley about 10 kilometers southwest of Naokata-machi, the town of coal mining and iron industry in northern Kyūshū. The wall-paintings in it were discovered in March 1956. The tomb is under a mound about 5 meters in height. It appears to have originally been a tomb of the “square-front roundback” type (more easily understandable as keyhole-shaped tomb), but now it retains only half of the rear round. The burial chamber inside the mound remains intact. Measuring 6.7 m. in total lentgh, the chamber consists of two rooms, fore and rear, and a short passageway connecting them.\n The paintings are found on the rear (innermost) wall of the rear room, and on the rear walls of the fore room flanking the passageway. They are painted in red and black in highly skilled brushwork. It is notable that the painting in the rear room seems to have been so designed as to be looked at from this side of the fore room. This painting, about one meter square, has the appearance of a panel fitted in the open space of the passageway, presenting an interesting effect of three-dimensionality.\n The decorative patterns on the sashiba (umbrellas with long poles) in the rear room mural appear to be of woodbine arabesque motif on the line of the Chinese Six Dynasties. The wave patterns on its lower end are the same as those for relief ornaments at the Yün-kang Cave Temple in China. The figure of a man driving a horse is also found in China in the Han and Northern Wei Dynasties as well as in the wall-painting tomb of the Koguryo Dynasty at Baisan-ri, Korea. The monstrous animal like a horse, together with the phoenix on one of the rear walls of the fore room, is a derivation from the Chinese “four deities” (east, dragon, blue; west, tiger, white; south, phoenix, red; and north, tortoise, black). This animal is found in wall-paintings at tombs of the Koguryo Dynasty; the present specimen has close resemblance especially to the figure of a mounted dragon in the mural at the Four Deities Mound of Koguryo at Chi-an in what was formerly Manchuria. Besides these, the mural in the rear room shows two boats and a streamer. The left one of the two walls in the fore room, opposite the one with the picture of the phoenix, is badly defaced. The figure on this wall is hardly discernible, but it may possibly be the tortoise.\n The fact that the wall-painting at Takehara have many figure subjects in common with tomb murals of Koguryo evidenty attest to the latter\u0027s influence at work here. Furthermore, the ornamental design with a pair of sashiba and wave motif, serving as a sort of altar decoration, has its kin in the design of wheels with paired legs under the light stand in the mural at the Ōzuka Tumulus in Fukuoka Prefecture; on the pottery coffin found at Hirafuku, Okayama Prefecture, from a period slightly later than the Takehara tumulus, the sashiba are represented by a pair of posts with globular tops on both sides of a figure driving horses. These are probably reflections of influence of Buddhist art. 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福岡県鞍手郡若宮町竹原古墳の壁画
https://tobunken.repo.nii.ac.jp/records/6949
https://tobunken.repo.nii.ac.jp/records/6949305e5144-6a34-4f28-b364-0ea93a8f52d0
名前 / ファイル | ライセンス | アクション |
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194_1_Mori_Redacted.pdf (20.9 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 | 福岡県鞍手郡若宮町竹原古墳の壁画 | |||||
タイトル | ||||||
言語 | en | |||||
タイトル | Wall-painting in the tomb at Takehara, Wakamiya-machi, Kurate-gun, Fukuoka-ken | |||||
言語 | ||||||
言語 | jpn | |||||
キーワード | ||||||
主題Scheme | Other | |||||
主題 | 竹原古墳奥室壁画及見取図・前室壁画及見取図(福岡 鞍手郡若宮町竹原所在) | |||||
キーワード | ||||||
言語 | en | |||||
主題Scheme | Other | |||||
主題 | Wall-painting in the tomb at Takehara, Wakamiya-machi, Kurate-gun, Fukuoka-ken | |||||
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 |
森, 貞次郎
× 森, 貞次郎× Mori, Teijiro |
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抄録 | ||||||
内容記述タイプ | Abstract | |||||
内容記述 | Because of its location near the Chinese continent, Kyūshū was ready to receive influence of Continental culture in eary times, and frequently developed its distinctive local colour. Ornamented tombs are one of such examples. In about the middle of the fifth century A. D., under the influence of continental funerary custom, cave-form stone burial chambers made their appearance in Kyūshū, and from this period till the sixth century it was frequently a practice to decorate the stone coffins and walls therein with paintings. Tombs with such paintings are called ornamented tombs or wall-painting tombs. It is considered that the purpose of these paintings was to keep away evil spirits from the burial chambers, and to serve as magical means of keeping the same dignity and comfort in the grave as enjoyed by the buried during lifetime. The ornamented tombs in Kyūshū are found mostly in the northern half of the island, notably in the southern part of Fukuoka and northern part of Kumamoto Prefectures occupying the central part of Kyūshū. As for the kinds of their ornaments, the earliest ones have (1) carved geometric patterns ; the second ones have (2) graphic paintings; the third ones, (3) pictures of figures of the kinds similar to those of haniwa (terra-cotta tombs figures); and ones of the last and most developed type, (4) figures of humans and animals in motion. It is hard to associate the origin of Japanese ornamented tombs directly with the wall-painting tombs in the continent, but it is possible to think that the idea of painting pictures in tombs, together with the system of burial involved, was an influence from the continent. It should be noted, however, that some of the group (5) show elements which suggest direct connection with Korean tomb murals of the Koguryo Dynasty. The paintings in the tomb at Takehara here discussed are unique examples manifesting obvious connection with figure pictures along the line of the arts of the period of Six Dynasties in China, especially with murals in tombs of Koguryo. The tomb under discussion is located on a low hill at the northwest end of the beautiful small valley about 10 kilometers southwest of Naokata-machi, the town of coal mining and iron industry in northern Kyūshū. The wall-paintings in it were discovered in March 1956. The tomb is under a mound about 5 meters in height. It appears to have originally been a tomb of the “square-front roundback” type (more easily understandable as keyhole-shaped tomb), but now it retains only half of the rear round. The burial chamber inside the mound remains intact. Measuring 6.7 m. in total lentgh, the chamber consists of two rooms, fore and rear, and a short passageway connecting them. The paintings are found on the rear (innermost) wall of the rear room, and on the rear walls of the fore room flanking the passageway. They are painted in red and black in highly skilled brushwork. It is notable that the painting in the rear room seems to have been so designed as to be looked at from this side of the fore room. This painting, about one meter square, has the appearance of a panel fitted in the open space of the passageway, presenting an interesting effect of three-dimensionality. The decorative patterns on the sashiba (umbrellas with long poles) in the rear room mural appear to be of woodbine arabesque motif on the line of the Chinese Six Dynasties. The wave patterns on its lower end are the same as those for relief ornaments at the Yün-kang Cave Temple in China. The figure of a man driving a horse is also found in China in the Han and Northern Wei Dynasties as well as in the wall-painting tomb of the Koguryo Dynasty at Baisan-ri, Korea. The monstrous animal like a horse, together with the phoenix on one of the rear walls of the fore room, is a derivation from the Chinese “four deities” (east, dragon, blue; west, tiger, white; south, phoenix, red; and north, tortoise, black). This animal is found in wall-paintings at tombs of the Koguryo Dynasty; the present specimen has close resemblance especially to the figure of a mounted dragon in the mural at the Four Deities Mound of Koguryo at Chi-an in what was formerly Manchuria. Besides these, the mural in the rear room shows two boats and a streamer. The left one of the two walls in the fore room, opposite the one with the picture of the phoenix, is badly defaced. The figure on this wall is hardly discernible, but it may possibly be the tortoise. The fact that the wall-painting at Takehara have many figure subjects in common with tomb murals of Koguryo evidenty attest to the latter's influence at work here. Furthermore, the ornamental design with a pair of sashiba and wave motif, serving as a sort of altar decoration, has its kin in the design of wheels with paired legs under the light stand in the mural at the Ōzuka Tumulus in Fukuoka Prefecture; on the pottery coffin found at Hirafuku, Okayama Prefecture, from a period slightly later than the Takehara tumulus, the sashiba are represented by a pair of posts with globular tops on both sides of a figure driving horses. These are probably reflections of influence of Buddhist art. The age of the Takehara Tumulus is considered to be in the second half of the sixth century. |
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書誌情報 |
美術研究 en : The bijutsu kenkyu : the journal of art studies 号 194, p. 1-18, 発行日 1957-12-10 |