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中世真宗の祖師先徳彫像の制作をめぐって
https://tobunken.repo.nii.ac.jp/records/6038
https://tobunken.repo.nii.ac.jp/records/60383e4be253-e7cb-4b7a-883b-2238bdb22c77
名前 / ファイル | ライセンス | アクション |
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406_27_Tsuda_Redacted.pdf (8.1 MB)
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Item type | 学術雑誌論文 / Journal Article(1) | |||||
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公開日 | 2017-10-05 | |||||
タイトル | ||||||
タイトル | 中世真宗の祖師先徳彫像の制作をめぐって | |||||
タイトル | ||||||
言語 | en | |||||
タイトル | The Production of Portrait Sculptures of Deceased Medieval Period | |||||
言語 | ||||||
言語 | jpn | |||||
キーワード | ||||||
主題Scheme | Other | |||||
主題 | 性信坐像(群馬・宝福寺蔵)・了源坐像(京都・佛光寺蔵)・同像内納入小首(同蔵)大谷廟堂安置親鸞木像・千葉常教寺像・東国真宗門徒 | |||||
キーワード | ||||||
言語 | en | |||||
主題Scheme | Other | |||||
主題 | Seated Priest Shoshin (Hofukuji, Gunma) / Head of Priest Ryogen (Bukkoji, Kyoto) / Seated Priest Ryogen (Bukkoji, Kyoto) | |||||
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 |
津田, 徹英
× 津田, 徹英× Tsuda, Tetsuei |
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抄録 | ||||||
内容記述タイプ | Abstract | |||||
内容記述 | Interest in and research about Japanese medieval portrait sculpture has focused on portraits made in the Zen and Jishů (Ippen school) sects. Conversely, there has been little scholarly attention paid to the portrait sculpture of the Shinshû (Shinran school) sect. However, as it has become known that quite a few of these Shinshû sect sculptures remain extant, it is clear that they constitute one aspect of medieval portrait sculpture. Thus, as a person interested in medieval Shinshû sect portrait sculpture, I present an overview and outline of medieval Shinshû sect portrait sculpture with the hope that it will become the starting point for future discussion of this subject. The following two points were clarified. First, examples of the production of portrait paintings during the life of the sitter can be confirmed from the time of the foundingpatriarch Shinran (1173–1262), but portrait sculpture production all occurred after the death of the subject. This differs from the portrait sculptures created by the Zen and Jishû sects, which were juzó, or “from life” portraits. Further, there are many instances of the enshrinement of the crematory remains of the subjects inside the sculptures, and it is thought that such a purpose was the impetus for the creation of the sculptures. Second, the trend towards the creation of portrait sculpture amongst the Shinshû faithful did not spread from Kyoto to regional parts of Japan, rather, Kantô-based worshippers supervised Kyoto-based sculptors in the creation of their images. This is a noteworthy exception to the general rule that cultural phenomena spread from Kyoto to regional areas. |
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書誌情報 |
美術研究 en : The bijutsu kenkyu : the journal of art studies 号 406, p. 27-47, 発行日 2012-03-28 |