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企画情報部報（平成二十二年度）
https://tobunken.repo.nii.ac.jp/records/6020
https://tobunken.repo.nii.ac.jp/records/602097d5d9b0-1598-4795-b735-e7000635d0b7
| 名前 / ファイル | ライセンス | アクション |
|---|---|---|
404_106_Henshubu_Redacted.pdf (500.7 kB)
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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 | 企画情報部報（平成二十二年度） | |||||||||
| タイトル | ||||||||||
| タイトル | Report of the Department of Art Research, Archives and Information Systems | |||||||||
| 言語 | en | |||||||||
| 言語 | ||||||||||
| 言語 | jpn | |||||||||
| キーワード | ||||||||||
| 主題Scheme | Other | |||||||||
| 主題 | 異動・オープンレクチャー・黒田清輝共催展・特集陳列・研究会・日韓共同シンポジウム・刊行物 | |||||||||
| 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 |
［編集部］
× ［編集部］
× [Editor]
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| 抄録 | ||||||||||
| 内容記述タイプ | Abstract | |||||||||
| 内容記述 | The Northern Song dynasty, which established Kaifeng as their capital, collected a large number of calligraphies, paintings, books and rarities from throughout the land and kept them primarily in the Sanguan mige imperial archives. These objects were not simply art works, they were also cultural properties that functioned as part of the new political order created by the new emperor, and were thus part of the court rituals, or li. This article terms these items imperial cultural properties and considers their meaning within the context of the cultural properties of the early Northern Song dynasty capital. These important imperial cultural properties assembled in Kaifeng by the early period Northern Song dynasty are related to Buddhism. In particular, two structures, the Kaibaosita pagoda and the Qishengchanyuan mausoleum were built in Kaifeng to enshrine, respectively, King Asoka relics from Ayuwangshan, Wuyue, Jiangnan and the wooden image of Sakyamuni from the Southern Tang dynasty temple Zhanggansi. This article considers the Qishengchanyuan and reconstructs the architectural plans of the mausoleum's structures. The Japanese priest Chônen recognized this Sakyamuni image as a doctrinally authentic image that could be traced back to Kumarajiva in India via West Asia. During the Northern Song dynasty, this image was revered as an image brought from India by the Southern Dynasties Liang emperor Wudi, and thus was placed in the same rank as the mummified image of Baozhi, a priest who served Wudi, and the image of the Song emperor Taizong. Thus the Qishengchanyuan was constructed as a space symbolizing the close relationship between Buddhism and the emperor. Further, in parallel with this type of giving new meaning to cultural properties brought from Jiangnan, another important issue is how the Maitreya image from Daxiangguosi, which had existed as a sacred image from the Tang dynasty, was reinterpreted as a new imperial cultural property in Kaifeng. After Taizong founded the dynasty, the Daxiangguosi was restored and paintings symbolizing the emperor and Buddhism were ordered for the corridors, including the tales and accomplishments of Buddhism and past emperors. During the succeeding reigns of Zhenzong and Renzong, the writings of the emperor, pictures of Chinese traditional acupuncture and herbal medicine, and lifesize copper figurines with needle holes at acupuncture meridians were placed in the forecourt, as symbols of the reigning emperor and current medicinal technology. These embellishments thus made the plan of the Daxiangguosi overall a place where large numbers of commoners could come and view a display of the emperor's compassion. While the Sanguan mige imperial archives in the imperial palace were governed by the shidafu elite and were places where cultural properties appreciation was a special privilege of the elite, conversely, the Daxiangguosi, a facility that displayed the imperial cultural properties to all classes, from commoner to landed gentry elite, can be considered to have been a window on the world of imperial cultural properties. Further, mention should be also made of the staff related to these cultural operations of early period Kaifeng. The succession of wall paintings in Daxiangguosi were done by a group of painters from Shu, and the printed version of the Maitreya image of Qingliangsi was drawn by the Shu painter Gao Wenjin, with blocks carved by the Wuyue priest Zhili and was inscribed by the Wuyue priest Zhongxiu. This stands as an example of the human component of the cultural affairs in early Northern Song dynasty Kaifeng. This human component created the cultural properties spaces of the new emperor in early period Kaifeng through their operation of the facilities in and out of the imperial palace, namely the Sanguan mige imperial archives and the nonpalace facilities of the Qishengchanyuan and Daxiangguosi. |
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| 書誌情報 |
美術研究 en : The bijutsu kenkyu : the journal of art studies 号 404, p. 106-107, 発行日 2011-08-30 |
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