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図版解説 高麗時代の地蔵十王図[山形 華蔵院蔵・京都 知恩院蔵]
https://tobunken.repo.nii.ac.jp/records/6337
https://tobunken.repo.nii.ac.jp/records/6337e44488bd-a16c-4c4a-b4d2-14951a9c31a7
名前 / ファイル | ライセンス | アクション |
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356_38_Nakano_Redacted.pdf (5.4 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 | 図版解説 高麗時代の地蔵十王図[山形 華蔵院蔵・京都 知恩院蔵] | |||||
タイトル | ||||||
言語 | en | |||||
タイトル | Explanation of the Plates: On Two “Ksitigarbha with the Ten Kings of Hell” Paintings | |||||
言語 | ||||||
言語 | jpn | |||||
キーワード | ||||||
主題Scheme | Other | |||||
主題 | ラマ教・元 | |||||
キーワード | ||||||
言語 | en | |||||
主題Scheme | Other | |||||
主題 | Ksitigarbha with the Ten Kings of Hell, Chion-in, Kyoto / Ksitigarbha with the Ten Kings of Hell, Kezoin, Yamagata | |||||
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 |
中野, 照男
× 中野, 照男× Nakano, Teruo |
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抄録 | ||||||
内容記述タイプ | Abstract | |||||
内容記述 | Two “Kṣitigarbha with the Ten Kings of Hell” Paintings, owned by Chion-in Temple of Kyoto City and by Kezō-in Temple of Sagae City in Yamagata Prefecture respectively, date back to the same Koryo Period and are very similar to each other iconographically. Because of this, even though the top portion which amounts to more or less two fifth of the original surface of the former painting underwent later retouch considerably, the latter helps the reconstruction of that portion without much difficulty. The Kezō-in painting is devoid of inscription but it must have been executed during the first half of the 14th century, somewhat later than the Chion-in painting which bears a dated inscription of 1320. Their several iconographical peculiarities are noted as follows: 1) Kșitigarbha wears a veil which covers both ears, 2) his hand gesture and attribute are different from other paintings of the same subject, 3) he sits on the throne with his legs crossed, 4) the body is almost completely covered with underclothes, Kesa and dress, 5) his throne has the high back with dragon-head decorations and 6) he is surrounded by many attendants. These points are foreign to other Kșitigarbha with the Ten Kings of Hell paintings nor to Kșitigarbha paintings of contemporary Koryo Period; the auther concludes that these two rare paintings clearly denote some influence of the Chinese Yuan culture, namely Lamaist elements. |
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書誌情報 |
美術研究 en : The bijutsu kenkyu : the journal of art studies 号 356, p. 38-41, 発行日 1993-03-29 |