WEKO3
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{"_buckets": {"deposit": "8456beff-06f1-4dfe-b3d1-81cbb1cdfe2e"}, "_deposit": {"created_by": 3, "id": "7129", "owners": [3], "pid": {"revision_id": 0, "type": "depid", "value": "7129"}, "status": "published"}, "_oai": {"id": "oai:tobunken.repo.nii.ac.jp:00007129", "sets": ["1237"]}, "author_link": ["28376", "28377"], "item_10001_biblio_info_7": {"attribute_name": "書誌情報", "attribute_value_mlt": [{"bibliographicIssueDates": {"bibliographicIssueDate": "1950-09-30", "bibliographicIssueDateType": "Issued"}, "bibliographicIssueNumber": "156", "bibliographicPageEnd": "30", "bibliographicPageStart": "16", "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 murals in the Ötani Collection, now in the Korean National Museum, Seoul, include three fragments presumed to have been brought from the Cave Temple No. 11, Bäzäklik (numbered by Grünwedel). While the Ōtani Collection in general has not been highly estimated from the viewpoint of scientific research because the pieces in the collection lack accurate description of the locations of discovery, these three fragments are decidedly supposed to be from the 11th Bäzäklik temple, since they are identified with those described in the “Altbuddhistische Kultstätten in Chinesisch-Turkestan” by Grünwedel, in page 260 and afterwards: in particular, the lower part of the first fragment (see Plate III) and the second fragment (Plate IV-2) are the same with the picture in Fig. 543 of that book, and the third fragment (upper portion of Plate IV-1) is identical with that in Fig. 544.\n Professor Hackin, who visited there as a member of the Hardt-Citroën Expedition, introduced the first fragment, in his “Recherches Archéologiques en Asie Centrale,” Plate XV-a, as from the Cave Temple No. 40, Bäzäklik. This is probably because his opinion is based upon the photograph No. 96 of the “Album of Historical Monuments in Central Asia Collected by the Reverend Kōzui Ōtani,” which does not show the picture on the lower portion of the fragment, that is, the part corresponding to Fig. 543 of Grünwedel\u0027s book.\n It has been known, since Grünwedel\u0027s study, that the murals of the Cave Temples Nos. 11 and 40 have a common subject and composition. Also, the hemp-cloth painting excavated from the Kara-Khodscha Ruins, introduced by Grünwedel in his “Bericht uber archäologische Arbeiten in Idikutschari und Umgebung,” after page 68, has the subject closely associated with that of the above mentioned murals. The said hemp cloth painting has, on its lower part, a subject suggestive of some story quite similar to that on the lower part of the left-side mural in the Cave Temple No. 40, which Prof. Hackin photographed on the spot and gave in Plate XVI in his report.\n While suggesting the subject of the hemp-cloth painting to be relating to the Buddhist scripture Suddhamapundarika or Lotus Sutra, Grünwelel presumes that the mural of the 40th temple treats of a legend concerning the exodus from Kara Khodscha (a town of the Dakianus) or the “Seven Sages Asleep,” and his opinion is supported by Prof. Hackin. However, in view of the fact that the two principal Buddhas painted on the rear wall of the 40th temple, as was interpreted by Prof. Hackin, are Sakyamuni and Prabhutaratna, and that the 11th temple has traces of those two Buddhas of clay enshrined as its main objects of worship, it is evident that the murals treat of subjects taken from the Lotus Sutra. Plate XVI introduced by Prof. Hackin decidedly depicts the parable of the Burning House in the “Chapter of Parables” of the Lotus Sutra. And the story depicted in Fig. 543 of Grünwedeľs book, common with those of the first and second fragments from the 11th temple, can not be but the parable of the Illusion City expounded in the “Chapter of the Illusion City” of the Lotus Sutra. The third fragment must illustrate the “Chapter of the Universal Door” of the same sutra, probably depicting the harms that can be avoided by calling upon the Bodhisattva Avalokitesvara. Thus the writer\u0027s study on the three fragments in thē Ōtani Collection proves that the murals of the Cave Temple No. 11, Päzäklik, were done based upon the faith in the Lotus Sutra.", "subitem_description_type": "Abstract"}]}, "item_creator": {"attribute_name": "著者", "attribute_type": "creator", "attribute_value_mlt": [{"creatorNames": [{"creatorName": "熊谷, 宣夫"}], "nameIdentifiers": [{"nameIdentifier": "28376", "nameIdentifierScheme": "WEKO"}]}, {"creatorNames": [{"creatorName": "Kumagai, Nobuo", "creatorNameLang": "en"}], "nameIdentifiers": [{"nameIdentifier": "28377", "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": "156_16_Kumagai_Redacted.pdf", "filesize": [{"value": "16.1 MB"}], "format": "application/pdf", "future_date_message": "", "is_thumbnail": false, "licensetype": "license_11", "mimetype": "application/pdf", "size": 16100000.000000002, "url": {"label": "156_16_Kumagai_Redacted.pdf", "url": "https://tobunken.repo.nii.ac.jp/record/7129/files/156_16_Kumagai_Redacted.pdf"}, "version_id": "c0d399a6-afd4-447b-94d5-dcf8eeb7c2f2"}]}, "item_keyword": {"attribute_name": "キーワード", "attribute_value_mlt": [{"subitem_subject": "ベゼクリク第十一号窟寺右側壁画断片(韓国国立博物館蔵)大谷探検隊", "subitem_subject_scheme": "Other"}, {"subitem_subject": "The Murals from the Cave Temple No. 11, Bazaklik", "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": "ベゼクリク第十一号窟寺将来の壁画", "item_titles": {"attribute_name": "タイトル", "attribute_value_mlt": [{"subitem_title": "ベゼクリク第十一号窟寺将来の壁画"}, {"subitem_title": "The Murals from the Cave Temple No. 11, Bazaklik", "subitem_title_language": "en"}]}, "item_type_id": "10001", "owner": "3", "path": ["1237"], "permalink_uri": "https://tobunken.repo.nii.ac.jp/records/7129", "pubdate": {"attribute_name": "公開日", "attribute_value": "2016-12-27"}, "publish_date": "2016-12-27", "publish_status": "0", "recid": "7129", "relation": {}, "relation_version_is_last": true, "title": ["ベゼクリク第十一号窟寺将来の壁画"], "weko_shared_id": -1}
ベゼクリク第十一号窟寺将来の壁画
https://tobunken.repo.nii.ac.jp/records/7129
https://tobunken.repo.nii.ac.jp/records/7129fe3921e8-3543-4c4c-9f2a-8f2a043b54fd
名前 / ファイル | ライセンス | アクション |
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156_16_Kumagai_Redacted.pdf (16.1 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 | ベゼクリク第十一号窟寺将来の壁画 | |||||
タイトル | ||||||
言語 | en | |||||
タイトル | The Murals from the Cave Temple No. 11, Bazaklik | |||||
言語 | ||||||
言語 | jpn | |||||
キーワード | ||||||
主題Scheme | Other | |||||
主題 | ベゼクリク第十一号窟寺右側壁画断片(韓国国立博物館蔵)大谷探検隊 | |||||
キーワード | ||||||
言語 | en | |||||
主題Scheme | Other | |||||
主題 | The Murals from the Cave Temple No. 11, Bazaklik | |||||
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 |
熊谷, 宣夫
× 熊谷, 宣夫× Kumagai, Nobuo |
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抄録 | ||||||
内容記述タイプ | Abstract | |||||
内容記述 | The murals in the Ötani Collection, now in the Korean National Museum, Seoul, include three fragments presumed to have been brought from the Cave Temple No. 11, Bäzäklik (numbered by Grünwedel). While the Ōtani Collection in general has not been highly estimated from the viewpoint of scientific research because the pieces in the collection lack accurate description of the locations of discovery, these three fragments are decidedly supposed to be from the 11th Bäzäklik temple, since they are identified with those described in the “Altbuddhistische Kultstätten in Chinesisch-Turkestan” by Grünwedel, in page 260 and afterwards: in particular, the lower part of the first fragment (see Plate III) and the second fragment (Plate IV-2) are the same with the picture in Fig. 543 of that book, and the third fragment (upper portion of Plate IV-1) is identical with that in Fig. 544. Professor Hackin, who visited there as a member of the Hardt-Citroën Expedition, introduced the first fragment, in his “Recherches Archéologiques en Asie Centrale,” Plate XV-a, as from the Cave Temple No. 40, Bäzäklik. This is probably because his opinion is based upon the photograph No. 96 of the “Album of Historical Monuments in Central Asia Collected by the Reverend Kōzui Ōtani,” which does not show the picture on the lower portion of the fragment, that is, the part corresponding to Fig. 543 of Grünwedel's book. It has been known, since Grünwedel's study, that the murals of the Cave Temples Nos. 11 and 40 have a common subject and composition. Also, the hemp-cloth painting excavated from the Kara-Khodscha Ruins, introduced by Grünwedel in his “Bericht uber archäologische Arbeiten in Idikutschari und Umgebung,” after page 68, has the subject closely associated with that of the above mentioned murals. The said hemp cloth painting has, on its lower part, a subject suggestive of some story quite similar to that on the lower part of the left-side mural in the Cave Temple No. 40, which Prof. Hackin photographed on the spot and gave in Plate XVI in his report. While suggesting the subject of the hemp-cloth painting to be relating to the Buddhist scripture Suddhamapundarika or Lotus Sutra, Grünwelel presumes that the mural of the 40th temple treats of a legend concerning the exodus from Kara Khodscha (a town of the Dakianus) or the “Seven Sages Asleep,” and his opinion is supported by Prof. Hackin. However, in view of the fact that the two principal Buddhas painted on the rear wall of the 40th temple, as was interpreted by Prof. Hackin, are Sakyamuni and Prabhutaratna, and that the 11th temple has traces of those two Buddhas of clay enshrined as its main objects of worship, it is evident that the murals treat of subjects taken from the Lotus Sutra. Plate XVI introduced by Prof. Hackin decidedly depicts the parable of the Burning House in the “Chapter of Parables” of the Lotus Sutra. And the story depicted in Fig. 543 of Grünwedeľs book, common with those of the first and second fragments from the 11th temple, can not be but the parable of the Illusion City expounded in the “Chapter of the Illusion City” of the Lotus Sutra. The third fragment must illustrate the “Chapter of the Universal Door” of the same sutra, probably depicting the harms that can be avoided by calling upon the Bodhisattva Avalokitesvara. Thus the writer's study on the three fragments in thē Ōtani Collection proves that the murals of the Cave Temple No. 11, Päzäklik, were done based upon the faith in the Lotus Sutra. |
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書誌情報 |
美術研究 en : The bijutsu kenkyu : the journal of art studies 号 156, p. 16-30, 発行日 1950-09-30 |