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Images are not simply art works to be appreciated visually, but rather are cultural history materials that await discovery and interpretation. The historical and material meaning of these images is no different from that of textual materials.\n More than 30 examples of the Retrieval of the Tripod subject carvings from the Han dynasty discussed in this article are extant today. The majority of these works are concentrated in the Sishui River plain, in the southwestern section of the Lu region (present-day Shandong province). Previously Retrieval of the Tripod carvings have been seen as images of the oft-told episode of the Qin emperor Shihuangdi attempting to retrieve a tripod lost in the Shishui River, an attempt that met with failure. Then, we might ask, whywas this imagery depicted on Han dynasty tomb walls, shrines and stone outer sarcophagi?\n In order to understand the appearance of Retrieval of the Tripod carvings on stone outer sarcophagi in the southwest Lu region during the middle to late Former Han dynasty, we must understand society’s mood in the Former Han dynasty after Emperor Wudi. Following the Warring States period, a trend spread amongst the rulers of the various states in which they sought immortality and ascension to Taoist heaven, and Emperor Shihuangdi of the Qin and Emperor Wudi of the Former Han dynasty were no exception to this trend. It is essential to remember that during the mid to late Former Han dynasty, regardless of noble or commoner status, everyone sought these exact same goals. In Retrieval of the Tripod carvings of this period, the tripod is placed near the center of the composition, with the head of a dragon appearing in the middle of the tripod, a feature not found in the Shihuangdi tale, whilea figure thought to be the deceased from the tomb appears at the top of the composition. These works show a lessening of the presence of Shihuangdi, who was the protagonist in the original tale.\n The stone outer sarcophagi in the southwestern region of Lu that have Retrieval of the Tripod carvings also have images of Kongzi and Laozi on their other side panel. These figures are depicted as residents of the Taoist heaven, and surely a connection must be recognized between the images of these figures and the Tripod scene. If we think that eventually the tripod shifted from being a symbol of earthly power to a tool used to obtain the dragon that is a symbol of ascension to Taoist heaven, then we can see that these Retrieval of the Tripod carvings are not based on the Shihuangdi tale of the Retrieval of the Tripod from the Shishui River, but rather are images based on the concept of the tomb resident gaining an opportunity to ascend to Taoist heaven.\n While this interpretation is appropriate for Retrieval of the Tripod carvings found on stone outer sarcophagi dating from the mid to late Former Han dynasty through the end of the Later Han dynasty that are located in Shandong, Henan and northern Jiangsu provinces, it does not appear to be appropriate for such imagery on sarcophagi from the Sichuan region. This is because the Han dynasty stone carvings and tile reliefs excavated at Bashu are from independent lineages, both in terms of style and content, and thus differ from those of Shandong, Henan and Jiangsu. An investigation of the meaning of this difference must be pursued elsewhere. In addition, in the interpretation of the Retrieval of the Tripod carvings discussed in this article, there is both this type of regional distinction and the limitation of the currently confirmed historical materials. It is distinctly possible that future discoveries will include works from yet earlier periods. In such an instance, adjustments to interpretations will naturally follow. In addition, the process of the transformation of the Retrieval of the Tripod carvings from the original tale undoubtedly contains context and layers of meanings that are lost to us today. Thus this article concludes that it is simply a regional case study and we must await the accumulation of further materials and research on this subject.", "subitem_description_type": "Abstract"}]}, "item_creator": {"attribute_name": "著者", "attribute_type": "creator", "attribute_value_mlt": [{"creatorNames": [{"creatorName": "[編集部]"}], "nameIdentifiers": [{"nameIdentifier": "27806", "nameIdentifierScheme": "WEKO"}]}, {"creatorNames": [{"creatorName": "[Editor]", "creatorNameLang": "en"}], "nameIdentifiers": [{"nameIdentifier": "27807", "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": "2017-10-05"}], "displaytype": "detail", "download_preview_message": "", "file_order": 0, "filename": "407_75_Henshubu_Redacted.pdf", "filesize": [{"value": "1.1 MB"}], "format": "application/pdf", "future_date_message": "", "is_thumbnail": false, "licensetype": "license_11", "mimetype": "application/pdf", "size": 1100000.0, "url": {"label": "407_75_Henshubu_Redacted.pdf", "url": "https://tobunken.repo.nii.ac.jp/record/6040/files/407_75_Henshubu_Redacted.pdf"}, "version_id": "1e4c8312-3f9b-42c2-8d7e-c4600237f4d8"}]}, "item_keyword": {"attribute_name": "キーワード", "attribute_value_mlt": [{"subitem_subject": "異動・オープンレクチャー・黒田清輝共催展・研究会・科研中間報告会・国際シンポジウムに向けての研究会・刊行物", "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": "企画情報部報(平成二十三年度)", "item_titles": {"attribute_name": "タイトル", "attribute_value_mlt": [{"subitem_title": "企画情報部報(平成二十三年度)"}, {"subitem_title": "Report of the Department of Art Research, Archives and Information Systems", "subitem_title_language": "en"}]}, "item_type_id": "10001", "owner": "3", "path": ["953"], "permalink_uri": "https://tobunken.repo.nii.ac.jp/records/6040", "pubdate": {"attribute_name": "公開日", "attribute_value": "2017-10-05"}, "publish_date": "2017-10-05", "publish_status": "0", "recid": "6040", "relation": {}, "relation_version_is_last": true, "title": ["企画情報部報(平成二十三年度)"], "weko_shared_id": 3}
企画情報部報(平成二十三年度)
https://tobunken.repo.nii.ac.jp/records/6040
https://tobunken.repo.nii.ac.jp/records/6040b59b8143-79db-4a98-a961-b56457257c25
名前 / ファイル | ライセンス | アクション |
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407_75_Henshubu_Redacted.pdf (1.1 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 | 企画情報部報(平成二十三年度) | |||||
タイトル | ||||||
言語 | en | |||||
タイトル | Report of the Department of Art Research, Archives and Information Systems | |||||
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・研究会・科研中間報告会・国際シンポジウムに向けての研究会・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 | This study aims to interpret the philosophical, economic, societal and cultural aspects behind visual imagery. Images are not simply art works to be appreciated visually, but rather are cultural history materials that await discovery and interpretation. The historical and material meaning of these images is no different from that of textual materials. More than 30 examples of the Retrieval of the Tripod subject carvings from the Han dynasty discussed in this article are extant today. The majority of these works are concentrated in the Sishui River plain, in the southwestern section of the Lu region (present-day Shandong province). Previously Retrieval of the Tripod carvings have been seen as images of the oft-told episode of the Qin emperor Shihuangdi attempting to retrieve a tripod lost in the Shishui River, an attempt that met with failure. Then, we might ask, whywas this imagery depicted on Han dynasty tomb walls, shrines and stone outer sarcophagi? In order to understand the appearance of Retrieval of the Tripod carvings on stone outer sarcophagi in the southwest Lu region during the middle to late Former Han dynasty, we must understand society’s mood in the Former Han dynasty after Emperor Wudi. Following the Warring States period, a trend spread amongst the rulers of the various states in which they sought immortality and ascension to Taoist heaven, and Emperor Shihuangdi of the Qin and Emperor Wudi of the Former Han dynasty were no exception to this trend. It is essential to remember that during the mid to late Former Han dynasty, regardless of noble or commoner status, everyone sought these exact same goals. In Retrieval of the Tripod carvings of this period, the tripod is placed near the center of the composition, with the head of a dragon appearing in the middle of the tripod, a feature not found in the Shihuangdi tale, whilea figure thought to be the deceased from the tomb appears at the top of the composition. These works show a lessening of the presence of Shihuangdi, who was the protagonist in the original tale. The stone outer sarcophagi in the southwestern region of Lu that have Retrieval of the Tripod carvings also have images of Kongzi and Laozi on their other side panel. These figures are depicted as residents of the Taoist heaven, and surely a connection must be recognized between the images of these figures and the Tripod scene. If we think that eventually the tripod shifted from being a symbol of earthly power to a tool used to obtain the dragon that is a symbol of ascension to Taoist heaven, then we can see that these Retrieval of the Tripod carvings are not based on the Shihuangdi tale of the Retrieval of the Tripod from the Shishui River, but rather are images based on the concept of the tomb resident gaining an opportunity to ascend to Taoist heaven. While this interpretation is appropriate for Retrieval of the Tripod carvings found on stone outer sarcophagi dating from the mid to late Former Han dynasty through the end of the Later Han dynasty that are located in Shandong, Henan and northern Jiangsu provinces, it does not appear to be appropriate for such imagery on sarcophagi from the Sichuan region. This is because the Han dynasty stone carvings and tile reliefs excavated at Bashu are from independent lineages, both in terms of style and content, and thus differ from those of Shandong, Henan and Jiangsu. An investigation of the meaning of this difference must be pursued elsewhere. In addition, in the interpretation of the Retrieval of the Tripod carvings discussed in this article, there is both this type of regional distinction and the limitation of the currently confirmed historical materials. It is distinctly possible that future discoveries will include works from yet earlier periods. In such an instance, adjustments to interpretations will naturally follow. In addition, the process of the transformation of the Retrieval of the Tripod carvings from the original tale undoubtedly contains context and layers of meanings that are lost to us today. Thus this article concludes that it is simply a regional case study and we must await the accumulation of further materials and research on this subject. |
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書誌情報 |
美術研究 en : The bijutsu kenkyu : the journal of art studies 号 407, p. 75-76, 発行日 2012-09-14 |