WEKO3
アイテム
{"_buckets": {"deposit": "a6091ba0-3d56-46de-a441-e65e2ab0c397"}, "_deposit": {"created_by": 3, "id": "7023", "owners": [3], "pid": {"revision_id": 0, "type": "depid", "value": "7023"}, "status": "published"}, "_oai": {"id": "oai:tobunken.repo.nii.ac.jp:00007023", "sets": ["1212"]}, "author_link": ["28287", "28286"], "item_10001_biblio_info_7": {"attribute_name": "書誌情報", "attribute_value_mlt": [{"bibliographicIssueDates": {"bibliographicIssueDate": "1954-02-28", "bibliographicIssueDateType": "Issued"}, "bibliographicIssueNumber": "172", "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": " The beautiful little island of Itsukushima in the Inland Sea is noted for the architectural beauty of its shrine which harmonizes with the nature around it. The shrine whose origine goes back at least to the IX century is dedicated to the goddess of the sea. It was reconstructed and embellished in the second half of the XII century thanks to the generosity and veneration of the Taira family. It consequently preserves many rich treasures offered by the princes and the nobles of the time offerings which evoke the lattermost brilliance of the aristocratic culture of the Heian period.\n Among these treasures are four fans made of hinoki wood (lat. Chamaecyparis obtuna Endl., a kind of thuya), illuminated on both sides by remarkable paintings. One of these fans, of ordinary size, is already known for its lovely paintings. (cf. “Bijutsu Kenkyû”, No.125). Until the present time the three other small-size fans have been almost completely neglected by specialists. However their historic as well as artistic value is of no less importance than that of the ordinary-sized fan mentioned above. We are publishing, therefore, reproductions of all the paintings of the three fans (PL. I-VI) as well as the results of our research carried out during 1953 on these valuable documents.\n It is evident that these three fans, of the same size and technique, are the products of the same workshop. One of them, to which we assign the numeral I, is composed of thirty-six very thin, wooden blades (0.6 mm. thick), each blade measuring 16.2 cm. in length by 1.7 cm. in width ―― this final measurement being taken at the extremity farthest from the axis of the fan. Fan no. II has already lost one blade and fan no. III now has only thirty-two blades. These missing blades are indicated by means of white arrows on PI. II-VI and fig. 3. Moreover, we have tried to reconstruct the original composition and at the same time correct the mistaken arrange ment of several blades which was due to unskillful repair work executed at the beginning of this century.\n Despite the missing parts and the partially incorrect arrangement, these three fans are in truly excellent condition. The colours are still surprisingly fresh. On a layer of white preparatory background the surface of which is silvered, charming scenes are represented in brilliant tones of red, pink, ocre, yellow, blue, green and gold. Subtle contour lines in encre de Chine emphasize the outlines. All six paintings (both sides of each fan) show countrysides in spring. The verdant hills are dotted with blooming plum and cherry trees which cluster around tranquil lakes. With the exception of the back of Fan III, there are depicted, here and there, miniature personages strolling about enjoying the beauty of the season. Since these personages have been executed with fine technique as well as an exact knowledge of the protocol of the time, a detailed examination of their costume permits us to know who they are and what they are doing. On the back of each fan the main scene represents a picnic, each different, but all organized by two courtiers of high nobility, a youth in a pink jacket and an adult dressed in blue. Other courtiers of lesser rank and servants are present. On Fan I they are amusing themselves by composing poems inspired by the landscape covered with blossoming trees (PL. II); on Fan II there is an open-air concert (PL. I). Then on Fan III we notice little pine trees in the hands of the nobles. They have come to the fields to find young pines, symbols of longevity (PL. V and fig. 5). These were all New Year\u0027s customs much in vogue among the nobles of the period. Other scenes of no lesser interest are also placed in the landesapes : courtiers astride horses; a young noble leaving his villa (fig. 4), a lady travelling with her suite (fig. 2), carriages drawn by oxen, etc. Against the misty sky one can see cranes or wild geese. In this microcosm everything is elated with the joy of springtime.\n\n For a long time these fans were preserved as part of a group of miniature objects: a brocade vest, a red under-garment, a belt in the Chinese style, a scepter, a sword with a pendant, a quiver with eleven arrows. According to a shrine tradition which goes back to at least the XVII century these different objects, formerly kept together in two lacquer boxes (fig. 6), were considered as “accessories of the princely dress” or possibly as playthings of the young Emperor Antoku, tragic ruler who, patronized by the Taira family, was forced to cast himself into the sea at the tender age of eight when the Taira were defeatd in 1185. An inventory, edited probably in the XIV century in this shrine and recently found among its archives, already mentions the existance of an analogous series of accessories, a little more numerous, but kept also in two lacquer boxes. This coincidence would lead us to consider these little objects and the boxes as belonging together and thus permit us to establish an approximate date for the three fans.\n On the exterior bottom side of each box is found an inscription written in red lacquer. It may be deciphered in the following fashion (fig. 7): “Dedicated to the second sanctuary (or to the fourth sanctuary in the inscription on the other box) by Saeki Kagehiro, governor of the province of Aki, on the 20 day of the 3rd month of the 2nd year of Juei (i.e., April 14, 1183 ―― Julian Calender), at the time of his official visit as new governor to the first shrine of the province”. The name of Saeki Kagehiro is already known to us being that of the chief priest of this same shrine of Itsukushima. Since the chief priest had allied himself to the Taira family the shrine prospered under the patronage of Taira-no-Kiyomori. However in order to establish definitely the date of the objects according to these inscriptions we must still maintain certain doubts for an attentive examination which permitted us to discover several discrepancies of formula as well as of content, has made it difficult to accept the inscriptions as original dedications.\n Moreover, the fact that the small size characteristic of these fans was especially suited ―― according to the custom of the time ―― to noble children as well as the fact that a certain deterioration has been noted around the axis of each blade, would suggest to us that these fans, originally meant for a young noble, were dedicated around 1175-1185 as a homage to the shrine of Itsukushima. It was Kagehiro himself who served as intermediary for this offering. One might risk the supposition that these three excellently decorated fans were part of an official, vestiary offering for the imperial ceremony of hakamagi (doning official dress for the first time).\n This ceremony was celebrated for the Emperor Antoku in the spring of 1180.\n\n In conclusion, the archaeological and artistic importance of these fans may be summed up as follows:\n 1) Not only do the fans constitute survivals of the illuminated fans prized by the nobles of the Heian period but they permit us as well to evaluate an extraordinary technique, until now but little known. This is the technique of “miniature” which must have been one of the characteristics of secular painting of the period.\n 2) What interests us most of all is the fact that the different scenes and the different subjects, mentioned above, are analogous to those mentioned in the literature of the time as being conventional subjects for spring landscapes on the “four seasons” screens highly esteemed in this period. Moreover the composition of the paintings on the fans, which is characterized by the arrangement of several scenes in a single landscape, corresponds exactally to what we suppose to be a general tendency in screen painting and in the painting of interior sliding-doors (fusuma). This observation permits us to imagine ―― we may use the fans as a point of departure — what the magnificient secular paintings of large size must have been. Although they have disappeared, with very few exceptions, they constitute one of the glories of the Heian period.\n 3) The approximately fixed date of these works serves as a basis for comparison for a stylistic study of the painting of this transitional period. It may also serve for the historical study of costume.", "subitem_description_type": "Abstract"}]}, "item_creator": {"attribute_name": "著者", "attribute_type": "creator", "attribute_value_mlt": [{"creatorNames": [{"creatorName": "秋山, 光和"}], "nameIdentifiers": [{"nameIdentifier": "28286", "nameIdentifierScheme": "WEKO"}]}, {"creatorNames": [{"creatorName": "Akiyama, Terukazu", "creatorNameLang": "en"}], "nameIdentifiers": [{"nameIdentifier": "28287", "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": "172_1_Akiyama_Redacted.pdf", "filesize": [{"value": "27.8 MB"}], "format": "application/pdf", "future_date_message": "", "is_thumbnail": false, "licensetype": "license_11", "mimetype": "application/pdf", "size": 27800000.0, "url": {"label": "172_1_Akiyama_Redacted.pdf", "url": "https://tobunken.repo.nii.ac.jp/record/7023/files/172_1_Akiyama_Redacted.pdf"}, "version_id": "28d8d7b3-44bc-4343-875c-a9f60c865d76"}]}, "item_keyword": {"attribute_name": "キーワード", "attribute_value_mlt": [{"subitem_subject": "小形檜扇(広島 厳島神社蔵)", "subitem_subject_scheme": "Other"}, {"subitem_subject": "Concerning the Paintings Appearing on the Three Small-size Fans Preserved in the Itsukushima Shrine", "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": "厳島神社所蔵小形檜扇絵について", "item_titles": {"attribute_name": "タイトル", "attribute_value_mlt": [{"subitem_title": "厳島神社所蔵小形檜扇絵について"}, {"subitem_title": "Concerning the Paintings Appearing on the Three Small-size Fans Preserved in the Itsukushima Shrine", "subitem_title_language": "en"}]}, "item_type_id": "10001", "owner": "3", "path": ["1212"], "permalink_uri": "https://tobunken.repo.nii.ac.jp/records/7023", "pubdate": {"attribute_name": "公開日", "attribute_value": "2016-12-27"}, "publish_date": "2016-12-27", "publish_status": "0", "recid": "7023", "relation": {}, "relation_version_is_last": true, "title": ["厳島神社所蔵小形檜扇絵について"], "weko_shared_id": 3}
厳島神社所蔵小形檜扇絵について
https://tobunken.repo.nii.ac.jp/records/7023
https://tobunken.repo.nii.ac.jp/records/702381408238-6150-455c-b386-039a3581b6ea
名前 / ファイル | ライセンス | アクション |
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172_1_Akiyama_Redacted.pdf (27.8 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 | 厳島神社所蔵小形檜扇絵について | |||||
タイトル | ||||||
言語 | en | |||||
タイトル | Concerning the Paintings Appearing on the Three Small-size Fans Preserved in the Itsukushima Shrine | |||||
言語 | ||||||
言語 | jpn | |||||
キーワード | ||||||
主題Scheme | Other | |||||
主題 | 小形檜扇(広島 厳島神社蔵) | |||||
キーワード | ||||||
言語 | en | |||||
主題Scheme | Other | |||||
主題 | Concerning the Paintings Appearing on the Three Small-size Fans Preserved in the Itsukushima Shrine | |||||
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 |
秋山, 光和
× 秋山, 光和× Akiyama, Terukazu |
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抄録 | ||||||
内容記述タイプ | Abstract | |||||
内容記述 | The beautiful little island of Itsukushima in the Inland Sea is noted for the architectural beauty of its shrine which harmonizes with the nature around it. The shrine whose origine goes back at least to the IX century is dedicated to the goddess of the sea. It was reconstructed and embellished in the second half of the XII century thanks to the generosity and veneration of the Taira family. It consequently preserves many rich treasures offered by the princes and the nobles of the time offerings which evoke the lattermost brilliance of the aristocratic culture of the Heian period. Among these treasures are four fans made of hinoki wood (lat. Chamaecyparis obtuna Endl., a kind of thuya), illuminated on both sides by remarkable paintings. One of these fans, of ordinary size, is already known for its lovely paintings. (cf. “Bijutsu Kenkyû”, No.125). Until the present time the three other small-size fans have been almost completely neglected by specialists. However their historic as well as artistic value is of no less importance than that of the ordinary-sized fan mentioned above. We are publishing, therefore, reproductions of all the paintings of the three fans (PL. I-VI) as well as the results of our research carried out during 1953 on these valuable documents. It is evident that these three fans, of the same size and technique, are the products of the same workshop. One of them, to which we assign the numeral I, is composed of thirty-six very thin, wooden blades (0.6 mm. thick), each blade measuring 16.2 cm. in length by 1.7 cm. in width ―― this final measurement being taken at the extremity farthest from the axis of the fan. Fan no. II has already lost one blade and fan no. III now has only thirty-two blades. These missing blades are indicated by means of white arrows on PI. II-VI and fig. 3. Moreover, we have tried to reconstruct the original composition and at the same time correct the mistaken arrange ment of several blades which was due to unskillful repair work executed at the beginning of this century. Despite the missing parts and the partially incorrect arrangement, these three fans are in truly excellent condition. The colours are still surprisingly fresh. On a layer of white preparatory background the surface of which is silvered, charming scenes are represented in brilliant tones of red, pink, ocre, yellow, blue, green and gold. Subtle contour lines in encre de Chine emphasize the outlines. All six paintings (both sides of each fan) show countrysides in spring. The verdant hills are dotted with blooming plum and cherry trees which cluster around tranquil lakes. With the exception of the back of Fan III, there are depicted, here and there, miniature personages strolling about enjoying the beauty of the season. Since these personages have been executed with fine technique as well as an exact knowledge of the protocol of the time, a detailed examination of their costume permits us to know who they are and what they are doing. On the back of each fan the main scene represents a picnic, each different, but all organized by two courtiers of high nobility, a youth in a pink jacket and an adult dressed in blue. Other courtiers of lesser rank and servants are present. On Fan I they are amusing themselves by composing poems inspired by the landscape covered with blossoming trees (PL. II); on Fan II there is an open-air concert (PL. I). Then on Fan III we notice little pine trees in the hands of the nobles. They have come to the fields to find young pines, symbols of longevity (PL. V and fig. 5). These were all New Year's customs much in vogue among the nobles of the period. Other scenes of no lesser interest are also placed in the landesapes : courtiers astride horses; a young noble leaving his villa (fig. 4), a lady travelling with her suite (fig. 2), carriages drawn by oxen, etc. Against the misty sky one can see cranes or wild geese. In this microcosm everything is elated with the joy of springtime. For a long time these fans were preserved as part of a group of miniature objects: a brocade vest, a red under-garment, a belt in the Chinese style, a scepter, a sword with a pendant, a quiver with eleven arrows. According to a shrine tradition which goes back to at least the XVII century these different objects, formerly kept together in two lacquer boxes (fig. 6), were considered as “accessories of the princely dress” or possibly as playthings of the young Emperor Antoku, tragic ruler who, patronized by the Taira family, was forced to cast himself into the sea at the tender age of eight when the Taira were defeatd in 1185. An inventory, edited probably in the XIV century in this shrine and recently found among its archives, already mentions the existance of an analogous series of accessories, a little more numerous, but kept also in two lacquer boxes. This coincidence would lead us to consider these little objects and the boxes as belonging together and thus permit us to establish an approximate date for the three fans. On the exterior bottom side of each box is found an inscription written in red lacquer. It may be deciphered in the following fashion (fig. 7): “Dedicated to the second sanctuary (or to the fourth sanctuary in the inscription on the other box) by Saeki Kagehiro, governor of the province of Aki, on the 20 day of the 3rd month of the 2nd year of Juei (i.e., April 14, 1183 ―― Julian Calender), at the time of his official visit as new governor to the first shrine of the province”. The name of Saeki Kagehiro is already known to us being that of the chief priest of this same shrine of Itsukushima. Since the chief priest had allied himself to the Taira family the shrine prospered under the patronage of Taira-no-Kiyomori. However in order to establish definitely the date of the objects according to these inscriptions we must still maintain certain doubts for an attentive examination which permitted us to discover several discrepancies of formula as well as of content, has made it difficult to accept the inscriptions as original dedications. Moreover, the fact that the small size characteristic of these fans was especially suited ―― according to the custom of the time ―― to noble children as well as the fact that a certain deterioration has been noted around the axis of each blade, would suggest to us that these fans, originally meant for a young noble, were dedicated around 1175-1185 as a homage to the shrine of Itsukushima. It was Kagehiro himself who served as intermediary for this offering. One might risk the supposition that these three excellently decorated fans were part of an official, vestiary offering for the imperial ceremony of hakamagi (doning official dress for the first time). This ceremony was celebrated for the Emperor Antoku in the spring of 1180. In conclusion, the archaeological and artistic importance of these fans may be summed up as follows: 1) Not only do the fans constitute survivals of the illuminated fans prized by the nobles of the Heian period but they permit us as well to evaluate an extraordinary technique, until now but little known. This is the technique of “miniature” which must have been one of the characteristics of secular painting of the period. 2) What interests us most of all is the fact that the different scenes and the different subjects, mentioned above, are analogous to those mentioned in the literature of the time as being conventional subjects for spring landscapes on the “four seasons” screens highly esteemed in this period. Moreover the composition of the paintings on the fans, which is characterized by the arrangement of several scenes in a single landscape, corresponds exactally to what we suppose to be a general tendency in screen painting and in the painting of interior sliding-doors (fusuma). This observation permits us to imagine ―― we may use the fans as a point of departure — what the magnificient secular paintings of large size must have been. Although they have disappeared, with very few exceptions, they constitute one of the glories of the Heian period. 3) The approximately fixed date of these works serves as a basis for comparison for a stylistic study of the painting of this transitional period. It may also serve for the historical study of costume. |
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書誌情報 |
美術研究 en : The bijutsu kenkyu : the journal of art studies 号 172, p. 1-18, 発行日 1954-02-28 |