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Shigisan) : namely, “The Text of the Shigisan Engi” (Kokka, Nos. 731-732), “Legends Associated with the Shigisan Engi” (Bijutsu Kenkyu, No. 170), and “A New Interpretation on Some Scenes of the Shigisan Engi” (Kokka, Nos. 738–740). The present article is a sequel to these three, together with which it forms an “Introduction to the Studies of the Shigisan Engi.”\n The article consists of two chapters. The first chapter deals with the age of the scroll-painting, and four new subjects to be considered in association with it. The second chapter discusses about the artist and the motive of the making of this work, and about the historical backgrounds in which the scroll-painting was produced.\n In the first chapter, the author refers to several problems relating to the age of the Shigisan Engi as discussed in the previous three articles, as well as to studies on the same subject by other scholars, and puts up a temporary conclusion that this scroll-painting was made in the late 1160\u0027s or in 1170\u0027s. He further points out that :\n 1) the secret of magic power to send alms-bowls in flight through the air had been transmitted among high priests of the Tendai Buddhism prior to the making of this scroll-painting ; \n 2) there existed another legendary story about a flying bowl associated with the above-mentioned magic; this story was related with a priest other than the priest Myōren, the hero of the Shigisan Engi story; and \n 3) an anonymous priest exercised an exorcism when the emperor Nijō was about to die in 1165, at which occasion the historical fact that Myōren had healed the emperor Daigo from illness, illustrated in the scroll-painting, was cited as an antecedent; whereas history tells that at the funeral of the emperor Nijō there occurred a terrific strife between the Kōfuku-ji, the head monastery of the Hossō sect of Buddhism to which the temple at Shigisan belonged, and the Enryaku-ji, the head monastery of the Tendai sect.\n Based upon these facts, the author presumes that the making of the Shigisan Engi scrolls contained an intention to repute a similar story of a miracle relating to a priest of the Tendai group.\n In the second chapter, the author discusses about the political, religious and artistic circumstances concurrent with the suggested age of the Shigisan Engi, and puts up a theory that the scroll-painting was produced probably as a companion piece to a statue of the Buddhist god Bishamon-ten (Vaiśravaṇa), which is said to have been carved out of a wood block from the “flying granary” described in the Shigisan story. He further surmises that the scroll-painting was made to the order of Fujiwara Motofusa, the then head of the Fujiwara family, or perhaps some other member of the family, which was in those times the proprietor of the Kōfuku-ji and which, most likely, had a close connection with the Shigisan temple as well. He also hazards a conjecture that, if the above-mentioned assumption is right, the age of the Shigisan Engi scrolls can be placed within the range of 1177 or \u002778.\n According to the author\u0027s interpretation, the upper class society of Japan in the 1170\u0027s was divided into two opponent groups, one led by Taira-no-Kiyomori and the other represented by the emperor Goshirakawa. The characteristics of the formers\u0027 activity in matters of art can be imagined from the art objects(decorated sūtras, painted fans, etc.) preserved in the Itsukushima Shrine, while those of the latter can be imagined from a group of paintings termed “Hōzō-e” (pictures in treasure repository) in the Renge-ō-in Monastery in Kyoto. The Shigisan Engi, alike with the Kokawa-dera Engi (which the author imagined, in No. 171 of the Bijutsu Kenkyu, to have been presumably made in 1176 as a piece belonging to the Buddhist statue in the Shō-senju-do Hall at the Renge-ō-in Monastery), represents the artistic activity of the latter group, which was the “progressive” school in those days. 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信貴山縁起絵巻の成立をめぐる歴史的諸条件―同絵巻研究の序説として―
https://tobunken.repo.nii.ac.jp/records/7047
https://tobunken.repo.nii.ac.jp/records/7047f59d81bf-8865-45ae-93b1-afc95832fe36
名前 / ファイル | ライセンス | アクション |
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177_1_Ogushi_Redacted.pdf (23.9 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 | 信貴山縁起絵巻の成立をめぐる歴史的諸条件―同絵巻研究の序説として― | |||||
タイトル | ||||||
言語 | en | |||||
タイトル | The Historical Backgrounds of the Scroll-painting “Shigisan Engi”: An Introduction to the Studies of the Same Scroll-painting | |||||
言語 | ||||||
言語 | jpn | |||||
キーワード | ||||||
主題Scheme | Other | |||||
主題 | 信貴山縁起(奈良 朝護孫子寺蔵) | |||||
キーワード | ||||||
言語 | en | |||||
主題Scheme | Other | |||||
主題 | The Historical Backgrounds of the Scroll-painting “Shigisan Engi”: An Introduction to the Studies of the Same Scroll-painting | |||||
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 |
大串, 純夫
× 大串, 純夫× Ogushi, Sumio |
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抄録 | ||||||
内容記述タイプ | Abstract | |||||
内容記述 | The author published last year three articles dealing with the scroll-painting “Shigisan Engi” (legends about the origin of the temple at Mt. Shigisan) : namely, “The Text of the Shigisan Engi” (Kokka, Nos. 731-732), “Legends Associated with the Shigisan Engi” (Bijutsu Kenkyu, No. 170), and “A New Interpretation on Some Scenes of the Shigisan Engi” (Kokka, Nos. 738–740). The present article is a sequel to these three, together with which it forms an “Introduction to the Studies of the Shigisan Engi.” The article consists of two chapters. The first chapter deals with the age of the scroll-painting, and four new subjects to be considered in association with it. The second chapter discusses about the artist and the motive of the making of this work, and about the historical backgrounds in which the scroll-painting was produced. In the first chapter, the author refers to several problems relating to the age of the Shigisan Engi as discussed in the previous three articles, as well as to studies on the same subject by other scholars, and puts up a temporary conclusion that this scroll-painting was made in the late 1160's or in 1170's. He further points out that : 1) the secret of magic power to send alms-bowls in flight through the air had been transmitted among high priests of the Tendai Buddhism prior to the making of this scroll-painting ; 2) there existed another legendary story about a flying bowl associated with the above-mentioned magic; this story was related with a priest other than the priest Myōren, the hero of the Shigisan Engi story; and 3) an anonymous priest exercised an exorcism when the emperor Nijō was about to die in 1165, at which occasion the historical fact that Myōren had healed the emperor Daigo from illness, illustrated in the scroll-painting, was cited as an antecedent; whereas history tells that at the funeral of the emperor Nijō there occurred a terrific strife between the Kōfuku-ji, the head monastery of the Hossō sect of Buddhism to which the temple at Shigisan belonged, and the Enryaku-ji, the head monastery of the Tendai sect. Based upon these facts, the author presumes that the making of the Shigisan Engi scrolls contained an intention to repute a similar story of a miracle relating to a priest of the Tendai group. In the second chapter, the author discusses about the political, religious and artistic circumstances concurrent with the suggested age of the Shigisan Engi, and puts up a theory that the scroll-painting was produced probably as a companion piece to a statue of the Buddhist god Bishamon-ten (Vaiśravaṇa), which is said to have been carved out of a wood block from the “flying granary” described in the Shigisan story. He further surmises that the scroll-painting was made to the order of Fujiwara Motofusa, the then head of the Fujiwara family, or perhaps some other member of the family, which was in those times the proprietor of the Kōfuku-ji and which, most likely, had a close connection with the Shigisan temple as well. He also hazards a conjecture that, if the above-mentioned assumption is right, the age of the Shigisan Engi scrolls can be placed within the range of 1177 or '78. According to the author's interpretation, the upper class society of Japan in the 1170's was divided into two opponent groups, one led by Taira-no-Kiyomori and the other represented by the emperor Goshirakawa. The characteristics of the formers' activity in matters of art can be imagined from the art objects(decorated sūtras, painted fans, etc.) preserved in the Itsukushima Shrine, while those of the latter can be imagined from a group of paintings termed “Hōzō-e” (pictures in treasure repository) in the Renge-ō-in Monastery in Kyoto. The Shigisan Engi, alike with the Kokawa-dera Engi (which the author imagined, in No. 171 of the Bijutsu Kenkyu, to have been presumably made in 1176 as a piece belonging to the Buddhist statue in the Shō-senju-do Hall at the Renge-ō-in Monastery), represents the artistic activity of the latter group, which was the “progressive” school in those days. The author, thus, concludes that the study on the Shigisan Engi, from the viewpoint of art history, should make its restart with detailed comparative studies of existing art objects dating from the 1170's. |
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書誌情報 |
美術研究 en : The bijutsu kenkyu : the journal of art studies 号 177, p. 1-27, 発行日 1955-02-05 |