{"created":"2023-05-15T13:34:52.433542+00:00","id":6051,"links":{},"metadata":{"_buckets":{"deposit":"6a788868-28ff-4968-b78a-bd55358ece73"},"_deposit":{"created_by":3,"id":"6051","owners":[3],"pid":{"revision_id":0,"type":"depid","value":"6051"},"status":"published"},"_oai":{"id":"oai:tobunken.repo.nii.ac.jp:00006051","sets":["20:946:956"]},"author_link":["28649","28646","28647","28648"],"item_10001_biblio_info_7":{"attribute_name":"書誌情報","attribute_value_mlt":[{"bibliographicIssueDates":{"bibliographicIssueDate":"2013-09-13","bibliographicIssueDateType":"Issued"},"bibliographicIssueNumber":"410","bibliographicPageEnd":"14","bibliographicPageStart":"1","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 furen qimen 婦人啓門image of a woman seen in half figure, either entering or departing a gate, in tombs of the Song, Liao and Jin dynasties has long attracted scholarly interest, but its meaning remains puzzling and elusive.\n     A further difficulty in its understanding is the presence of jiamen 假門, faux gate towers that imitated wooden structures in either relief or painting images, all closely linked to this image. This type of gate tower normally appears on the back wall of a tomb chamber.\n     The furen qimen iconography is widely distributed in tomb decoration of the Song, Liao and Jin dynasties. Regardless of period or locale, it usually maintains a set style and formal depiction. Thus with this image there must also have been a set formal code identifiable by everyone of the period. The author believes that an understanding of this iconography can be found in an understanding of why gate tower decoration imitating wooden architecture was popular in tomb chamber interiors during the period in question.\n     Up until now the study of the furen qimen motifs of the Song, Liao and Jin dynasties has not fully explained the symbolism of the motif in a tomb chamber interior or the formal code inherent within.\n     This article, through its analysis of this expressive motif will explore the spatial logic in Song, Liao and Jin dynasties tomb chamber adornment. In addition, the article will discuss how the iconographic expression of the furen qimen motif developed in the tomb decorations of these periods.\n     The motif vaguely described above as furen qimen can actually be divided into three types, furen jinmen 婦人進門, furen guanmen 婦人関門 and furen qimen. Of these three, although there are few known extant examples of furen jinmen and furen guanmen, the settings for these two motifs can be divided into a scene of a woman at her morning toilet after waking, and a scene of a woman lighting a fire. Thus these two can be thought to be separately depicted in either opening the gate scenes in the morning or closing the gate scenes at dusk. These two opening gate/shutting gate motifs are important compositional elements related to the activities of servants associated with the passing of time each day as would be carried out in a normal residence. These two motifs, opening gate and shutting gate, can thus be included under the furen qimen subject. However, this article focuses its investigation on the furen qimen as defined as the woman who appears with half her body concealed, behind the door of a gate tower, as depicted on the back wall of a tomb chamber.\n     This image is the most frequently used motif in Song, Liao and Jin tomb chamber decoration. It is characterized by the fact that it is unrelated to the content of the other wall paintings on the other tomb chamber walls. This motif is normally positioned opposite the entrance to the tomb chamber, and at the most visible, central position on the tomb chamber wall surface. Further, in all cases the figure of the woman is seen with one hand on the gate door, and half of her body hidden behind the gate, looking out through the gate. This suggests that another important space exists on the opposite side of the gate from the viewer, the side where the woman stands.\n     In the majority of Song, Liao and Jin tombs, the tomb is divided into a front and back tomb chamber, with the stand for the coffin, the guanchuang, or funerary couch, normally placed in the back chamber. Close examination of the wall paintings in the back tomb chamber indicates that they depict activities of normal life. Thus the back tomb chamber is made to resemble a living space for the normal everyday activities of the soul of the deceased. The gate on the back wall of that tomb chamber then could symbolize and suggest that the soul of the deceased rests behind that wall.\n     In the summer of 2000, the author was involved in an on-site survey of a Liao dynasty tomb in Xuanhua, and was able to confirm the traces of one wall painting in the already discovered No. 10 tomb that had not been previously published. Namely, there was one guanchuang (funerary couch) that measured less than 50 cm tall with one small gate depicted on the north face of the couch. The two small doors of that gate were opened inwards. It was fascinating to note that the funerary couch’s small gate and the gate doors on the bottom of the gate tower that appears on the back wall of the chamber are opposite each other. It as if they were positioned there for the deceased, as a passageway connection to a bedchamber. In other words, it is extremely easy to understand that this arrangement suggests that, as when he was alive spending his time in his home’s living room receiving the services of his various attendants, the person in the tomb would be seated on the guanchuang in the tomb, and then at night, would retire to his sleeping chamber to sleep.\n     More fascinating is that there is a clue to the nature of the “sleeping chamber” that can be imagined on the far side of the back wall of the tomb chamber, as suggested by the gate depiction. This is in a Liao dynasty tomb chamber discovered in Neimenggu Aohanqi Xiawanzi, where a gate door is depicted on the north wall, with both of its doors open and a woman looking out from inside the gate. It is not hard to imagine that a private space, a sleeping chamber, lies on the far side of that gate. Indeed, this depiction suggests that the private space on the far side of the gate is the “sleeping chamber” specifically prepared for the married couple that are the residents of the tomb.\n     The furen qimen image is one of the traditional iconographic motifs in tomb chamber art, and was originally one type of singular spatial expression. The appearance of this woman’s form on the back wall of Song, Liao and Jin tomb chambers is clearly linked to the gate tower which appears in the reliefs or paintings in that tomb chamber interior, thus creating a visual spatial logic that differs from that of earlier tomb chamber decoration. Based on this new visual spatial logic, the back chamber of the tomb is decorated, the deceased provided with everyday lifestyle items, and an interior living space complete with the services of various types of female attendants is conveyed. The presence of a “sleeping chamber” simply contrasts with this everyday living space as enlarged and developed within the surroundings of the furen qimen motif that appears on the back wall of the tomb interior. Its addition to the painted or relief decoration elements, such as a gate tower, clearly hints at the “sleeping chamber” that lies beyond the gate.\n      The artisans who created these Song, Liao and Jin tomb chambers, perhaps even all the painters who created wall painting decorations, employed these aids of visual expression and thus revolutionized the limited space of tomb chamber architecture. Indeed, the traditional furen qimen motif can be seen as the most appropriate symbol of that revolution.","subitem_description_type":"Abstract"}]},"item_creator":{"attribute_name":"著者","attribute_type":"creator","attribute_value_mlt":[{"creatorNames":[{"creatorName":"李, 清泉"}],"nameIdentifiers":[{}]},{"creatorNames":[{"creatorName":"西林, 孝浩"}],"nameIdentifiers":[{}]},{"creatorNames":[{"creatorName":"Li, Qing-quan","creatorNameLang":"en"}],"nameIdentifiers":[{}]},{"creatorNames":[{"creatorName":"Nishibayashi, Takahiro","creatorNameLang":"en"}],"nameIdentifiers":[{}]}]},"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","filename":"410_1_Li_Redacted.pdf","filesize":[{"value":"1.4 MB"}],"format":"application/pdf","licensetype":"license_11","mimetype":"application/pdf","url":{"label":"410_1_Li_Redacted.pdf","url":"https://tobunken.repo.nii.ac.jp/record/6051/files/410_1_Li_Redacted.pdf"},"version_id":"c624f3ac-afef-4ced-b972-a2110b84ba14"}]},"item_keyword":{"attribute_name":"キーワード","attribute_value_mlt":[{"subitem_subject":"［墓葬装飾・仮門・堂・寝］","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":"空間論理と資格意味（上）―宋梁金墓「婦人啓門」図新論―","item_titles":{"attribute_name":"タイトル","attribute_value_mlt":[{"subitem_title":"空間論理と資格意味（上）―宋梁金墓「婦人啓門」図新論―"},{"subitem_title":"Spatial Logic and Visual Meaning (Part I): A New Theory on the Furen Qimen Images in Song, Liao and Jin Dynasties Tomb Chambers","subitem_title_language":"en"}]},"item_type_id":"10001","owner":"3","path":["956"],"pubdate":{"attribute_name":"公開日","attribute_value":"2017-10-05"},"publish_date":"2017-10-05","publish_status":"0","recid":"6051","relation_version_is_last":true,"title":["空間論理と資格意味（上）―宋梁金墓「婦人啓門」図新論―"],"weko_creator_id":"3","weko_shared_id":3},"updated":"2023-05-15T14:47:22.460851+00:00"}