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{"_buckets": {"deposit": "4053a42a-8c2f-4a29-a3ef-8f85df079e1a"}, "_deposit": {"created_by": 3, "id": "7020", "owners": [3], "pid": {"revision_id": 0, "type": "depid", "value": "7020"}, "status": "published"}, "_oai": {"id": "oai:tobunken.repo.nii.ac.jp:00007020", "sets": ["1211"]}, "author_link": ["28280", "28281"], "item_10001_biblio_info_7": {"attribute_name": "書誌情報", "attribute_value_mlt": [{"bibliographicIssueDates": {"bibliographicIssueDate": "1953-11-30", "bibliographicIssueDateType": "Issued"}, "bibliographicIssueNumber": "171", "bibliographicPageEnd": "18", "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": " There were two kinds of techniques in dry-lacquer (Kanshitsu) sculpture which flourished in the Nara Period, namely hollow dry-lacquer (Dakkanshitsu or Dakkatsu Kanshitsu) and wood-core dry-lacquer (Mokushin Kanshitsu). The technique of the former method has been made clear for the most part, as the interior constructions of statues of this sort have been thoroughly studied in the course of their repairs and other such occasions. The technique of the latter method, and the constructions of the insides of statues in this manner, have been almost entirely unknown. The present writer has been making researches on the construction of wood-core dry-lacquer statues for four yesrs by X-ray experiments, the results of which seem to tell that the techniques of wood-core dry-lacquer statuary can be classified into four, as follows.\n1. Wood-skeleton wood-core\n The core is composed of two wood blocks for the front and back halves, the inside engraved to make a large cavity in which a wooden skeleton, or simple framework, like that of a hollow dry-lacquer statue is placed for reinforcing the core. This core is then covered with dry-lacquer (lacquer-cemented layers of hemp cloth). The statue of Amitabha (Amida Nyorai) in the East Room of the Dempō-dō Hall of the Hōryū-ji is a specimen of this kind. (Pl. III a) \n2. Assembled-blocks-style wood-core\n This is similar in the main to the preceding method, but it is without the wood skeleton, and the wood is thicker and the cavity inside is smaller. A specimen of this method is the statue of Bhaisajya-guru (Yakushi Nyorai) in the Kōzan-ji. (Pl. III b ) \n3. Single-block-style wood-core\n A statue in this method has the head, body and legs of the core carved in one piece out of a single wood block as in the “Single-block” (Ichiboku) method of wood sculpture, excepting for such minor or projecting portions as the forearms. The core is similarly covered with dry-lacquer. The statue of Ekadasamukha (Jūichimen Kannon) in the Shōrin-ji is an example of this sort. \n4. Piled-blocks wood-core\n The desired shape is composed of many small wood blocks assembled together, and is covered with dry-lacquer. Specimens of this technique are found in the statues of Four Deva Kings (Shi Tennō) in the Hoku-en-dō Hall of the Kōfuku-ji (P1.V b) and other works.\n The above-mentioned results appear to offer some suggestions regarding the age of dry-lacquer statuary. The wood-skeleton wood-core method has a wood skeleton which may be considered to have been derived from that of the hollow dry-lacquer mathod. The Amitabha statue in the Dempō-dō, in particular, although having the head and the body made in the wood-core dry-lacquer method, has the knees probably made in hollow dry-lacquer. These facts prove that the wood-core dry-lacquer statuary developed from the hollow dry-lacquer method. In other words, the wood-core dry-lacquer method, as has been unanimously believed, began later than the Period. The piled-blocks wood-core method among these seem to have been fashionably used till as late as the ninth century.\n We can consider the interrelation between dry-lacquer sculpture and wooden sculpture of the following Jōgan (Early Heian) Period, as follows. The dry-lacquer coating of the former became gradually thinner and thinner, until wood-core dry-lacquer statues, or in this case more appropriately to be called dry-lacquerd wooden statues, practically became all but similar to wooden statues. The assembled-blocks-style wood-core method was still used in the statues in the Kyō-ō-gokoku-ji, which are believed to have been made in about 839, that is, in the beginning of the Jōgan Period. The single-block wood-core method lost the original characteristics of dry-lacquer statuary, and came to produce such works almost like wooden statues as the Four Buddhas in the Saidai-ji. The piled-blocks wood-core method, too, developed into wooden sculpture as is illustrated by the statue of Vimalakirti (Yuima) in the Hokke-ji, and became one of the most important factors to bring the flourshing vogue of wooden sculpture in the ninth century. ", "subitem_description_type": "Abstract"}]}, "item_creator": {"attribute_name": "著者", "attribute_type": "creator", "attribute_value_mlt": [{"creatorNames": [{"creatorName": "久野, 健"}], "nameIdentifiers": [{"nameIdentifier": "28280", "nameIdentifierScheme": "WEKO"}]}, {"creatorNames": [{"creatorName": "Kuno, Takeshi", "creatorNameLang": "en"}], "nameIdentifiers": [{"nameIdentifier": "28281", "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": "2016-12-27"}], "displaytype": "detail", "download_preview_message": "", "file_order": 0, "filename": "171_1_Kuno_Redacted.pdf", "filesize": [{"value": "18.1 MB"}], "format": "application/pdf", "future_date_message": "", "is_thumbnail": false, "licensetype": "license_11", "mimetype": "application/pdf", "size": 18100000.0, "url": {"label": "171_1_Kuno_Redacted.pdf", "url": "https://tobunken.repo.nii.ac.jp/record/7020/files/171_1_Kuno_Redacted.pdf"}, "version_id": "c9cc8e65-cd85-418e-9ac9-aca279a8edd5"}]}, "item_keyword": {"attribute_name": "キーワード", "attribute_value_mlt": [{"subitem_subject": "伝法堂東ノ間阿弥陀如来像(奈良 法隆寺蔵)・薬師如来像(京都 高山寺蔵)・十一面観音像(京都 観音寺蔵)・義淵僧正像(奈良 岡寺蔵)・五菩薩ノ中 東南方菩薩(京都 教王護国寺蔵)東寺・北円堂四天王像ノ中 増長天(奈良 興福寺蔵)", "subitem_subject_scheme": "Other"}, {"subitem_subject": "On Wood-core Dry-lacquer Statues: From a Series of Studies on Art Objects Through Optical Methods", "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": "木心乾漆像について―光学的方法による古美術品の研究―", "item_titles": {"attribute_name": "タイトル", "attribute_value_mlt": [{"subitem_title": "木心乾漆像について―光学的方法による古美術品の研究―"}, {"subitem_title": "On Wood-core Dry-lacquer Statues: From a Series of Studies on Art Objects Through Optical Methods", "subitem_title_language": "en"}]}, "item_type_id": "10001", "owner": "3", "path": ["1211"], "permalink_uri": "https://tobunken.repo.nii.ac.jp/records/7020", "pubdate": {"attribute_name": "公開日", "attribute_value": "2016-12-27"}, "publish_date": "2016-12-27", "publish_status": "0", "recid": "7020", "relation": {}, "relation_version_is_last": true, "title": ["木心乾漆像について―光学的方法による古美術品の研究―"], "weko_shared_id": 3}
木心乾漆像について―光学的方法による古美術品の研究―
https://tobunken.repo.nii.ac.jp/records/7020
https://tobunken.repo.nii.ac.jp/records/7020314838e3-1a87-4c09-9bcc-2d6e6e3f79e2
名前 / ファイル | ライセンス | アクション |
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171_1_Kuno_Redacted.pdf (18.1 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 | 木心乾漆像について―光学的方法による古美術品の研究― | |||||
タイトル | ||||||
言語 | en | |||||
タイトル | On Wood-core Dry-lacquer Statues: From a Series of Studies on Art Objects Through Optical Methods | |||||
言語 | ||||||
言語 | jpn | |||||
キーワード | ||||||
主題Scheme | Other | |||||
主題 | 伝法堂東ノ間阿弥陀如来像(奈良 法隆寺蔵)・薬師如来像(京都 高山寺蔵)・十一面観音像(京都 観音寺蔵)・義淵僧正像(奈良 岡寺蔵)・五菩薩ノ中 東南方菩薩(京都 教王護国寺蔵)東寺・北円堂四天王像ノ中 増長天(奈良 興福寺蔵) | |||||
キーワード | ||||||
言語 | en | |||||
主題Scheme | Other | |||||
主題 | On Wood-core Dry-lacquer Statues: From a Series of Studies on Art Objects Through Optical Methods | |||||
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 |
久野, 健
× 久野, 健× Kuno, Takeshi |
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抄録 | ||||||
内容記述タイプ | Abstract | |||||
内容記述 | There were two kinds of techniques in dry-lacquer (Kanshitsu) sculpture which flourished in the Nara Period, namely hollow dry-lacquer (Dakkanshitsu or Dakkatsu Kanshitsu) and wood-core dry-lacquer (Mokushin Kanshitsu). The technique of the former method has been made clear for the most part, as the interior constructions of statues of this sort have been thoroughly studied in the course of their repairs and other such occasions. The technique of the latter method, and the constructions of the insides of statues in this manner, have been almost entirely unknown. The present writer has been making researches on the construction of wood-core dry-lacquer statues for four yesrs by X-ray experiments, the results of which seem to tell that the techniques of wood-core dry-lacquer statuary can be classified into four, as follows. 1. Wood-skeleton wood-core The core is composed of two wood blocks for the front and back halves, the inside engraved to make a large cavity in which a wooden skeleton, or simple framework, like that of a hollow dry-lacquer statue is placed for reinforcing the core. This core is then covered with dry-lacquer (lacquer-cemented layers of hemp cloth). The statue of Amitabha (Amida Nyorai) in the East Room of the Dempō-dō Hall of the Hōryū-ji is a specimen of this kind. (Pl. III a) 2. Assembled-blocks-style wood-core This is similar in the main to the preceding method, but it is without the wood skeleton, and the wood is thicker and the cavity inside is smaller. A specimen of this method is the statue of Bhaisajya-guru (Yakushi Nyorai) in the Kōzan-ji. (Pl. III b ) 3. Single-block-style wood-core A statue in this method has the head, body and legs of the core carved in one piece out of a single wood block as in the “Single-block” (Ichiboku) method of wood sculpture, excepting for such minor or projecting portions as the forearms. The core is similarly covered with dry-lacquer. The statue of Ekadasamukha (Jūichimen Kannon) in the Shōrin-ji is an example of this sort. 4. Piled-blocks wood-core The desired shape is composed of many small wood blocks assembled together, and is covered with dry-lacquer. Specimens of this technique are found in the statues of Four Deva Kings (Shi Tennō) in the Hoku-en-dō Hall of the Kōfuku-ji (P1.V b) and other works. The above-mentioned results appear to offer some suggestions regarding the age of dry-lacquer statuary. The wood-skeleton wood-core method has a wood skeleton which may be considered to have been derived from that of the hollow dry-lacquer mathod. The Amitabha statue in the Dempō-dō, in particular, although having the head and the body made in the wood-core dry-lacquer method, has the knees probably made in hollow dry-lacquer. These facts prove that the wood-core dry-lacquer statuary developed from the hollow dry-lacquer method. In other words, the wood-core dry-lacquer method, as has been unanimously believed, began later than the Period. The piled-blocks wood-core method among these seem to have been fashionably used till as late as the ninth century. We can consider the interrelation between dry-lacquer sculpture and wooden sculpture of the following Jōgan (Early Heian) Period, as follows. The dry-lacquer coating of the former became gradually thinner and thinner, until wood-core dry-lacquer statues, or in this case more appropriately to be called dry-lacquerd wooden statues, practically became all but similar to wooden statues. The assembled-blocks-style wood-core method was still used in the statues in the Kyō-ō-gokoku-ji, which are believed to have been made in about 839, that is, in the beginning of the Jōgan Period. The single-block wood-core method lost the original characteristics of dry-lacquer statuary, and came to produce such works almost like wooden statues as the Four Buddhas in the Saidai-ji. The piled-blocks wood-core method, too, developed into wooden sculpture as is illustrated by the statue of Vimalakirti (Yuima) in the Hokke-ji, and became one of the most important factors to bring the flourshing vogue of wooden sculpture in the ninth century. |
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書誌情報 |
美術研究 en : The bijutsu kenkyu : the journal of art studies 号 171, p. 1-18, 発行日 1953-11-30 |