{"created":"2023-05-15T13:34:53.613756+00:00","id":6074,"links":{},"metadata":{"_buckets":{"deposit":"314c9ca8-45d6-42e0-8ffb-e1f5b4b62041"},"_deposit":{"created_by":3,"id":"6074","owners":[3],"pid":{"revision_id":0,"type":"depid","value":"6074"},"status":"published"},"_oai":{"id":"oai:tobunken.repo.nii.ac.jp:00006074","sets":["20:946:960"]},"author_link":["27905","27904"],"item_10001_biblio_info_7":{"attribute_name":"書誌情報","attribute_value_mlt":[{"bibliographicIssueDates":{"bibliographicIssueDate":"2015-02-20","bibliographicIssueDateType":"Issued"},"bibliographicIssueNumber":"414","bibliographicPageEnd":"26","bibliographicPageStart":"19","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":"     Recent research has reconfirmed that the Standing Eleven-Headed Ekādaśmukha (Jûichimen-Kannon) sculpture (fig. h. 102.2 cm), handed down at Kanzanji in Shiga prefecture, is a wooden core, dry lacquer figure dating back to the Nara period.\n     In the intervening almost 1,200 years, most repairs have been done on the surface areas of the work, and thus surfaceonly examinations have meant that the details of its internal construct remained unknown. As part of basic research on the ancient and medieval statues of Shiga prefecture, Inuzuka Masahide of the Center for Conservation Science and Restoration Techniques and Japanese sculpture scholars connected to Shiga prefecture conducted a detailed examination of the work including X-ray photography. This article reports on those activities along with presenting the X-ray imagery taken during the investigations, with the hope that it will provide material for the future study of extant examples of Nara period wooden core, dry lacquer sculptures.\n     As shown in the X-ray images, the sculpture was made of a conifer wood that lacked a core and had growth rings. A single block of this wood was used for the section extending from the top of the hair to the tips of the tenons protruding from both feet, and on the right arm up to the wrist, and the elbow of the left arm. Separate pieces of wood were attached to the core head/body form to create the right hand, left forearm and hand, and the front of both feet. All of the extant attached sections are later additions.\n     According to the X-ray images, we can confirm that there were metal pins attached in two places to each ear, somewhat below the middle of the ear. These were used to attach ears made of separate wooden material. Other examples of Nara period wooden core, dry-lacquer sculptures that have attached ears made of other wooden materials include the Seated Ākāśagarbba (Kokuzô; Kakuanji) and the Standing Bodhisattva (Tôshôdaiji), both in Nara.\n     Inner carving was carried out on the back of the head, neck, back and waist areas, creating an almost square hollow, while rectangular carved windows were also opened in the buttocks and in the back of the legs. Each of those carved windows was used to do the inner carving, and the interior hollow pierces through the entire sculpture. Each of those carved windows was then fitted with a separate lid. The Amitabha Triad (Konbu’in, Nara) is another example of this type of Nara period wooden core, dry lacquer figure with a core head and body element fitted with rectangular carving windows in the back of the head and back, interior carving, and an interior hollow that pierces the entire sculpture, along with deep interior carving. This technique then continued and was used in the Seated Cintāman. icakra Avalokiteśvara (Nyoirin Kannon; Kanshinji) that is a representative example of early Heian period sculpture.\n     The X-ray imagery clarified that dry lacquer was used on this sculpture only in a light coating to fill in across the surface of the wooden sculpture. The important areas of dry lacquer filling are the hair on the head, the face, skin on the chest and torso, and the motif depiction on the garments. Of these, the X-ray images show that the cheeks, jaw and neck were all carved out and then only coated with a light application of dry lacquer. Flaking of the built-up dry lacquer has advanced on the surfaces of the hair, nose, chest and torso area, and the left leg, and has been partially reformed. In addition, the Buddha head on the top of the figure’s hair knot, all of the faces on the head, the nose, scarves hanging down the figure’s sides, the extant surface layer of metal leaf, the attributes (such as a rosary and a vase holding a lotus blossom) and the pedestal are all later additions.\n     Overall, the front view of this sculpture has been heavily repaired by later generations. However, the sides and back of the surface have been left predominantly as they were at the time of creation. Of those areas, the handling of the hair knot and the drapery motif seen on the right calf resemble those of the Standing Avalokiteśvara (Sho-Kannon; Renjôji, Nara), an extant example of a plain wooden Nara period figure. In addition, the Amitabha Triad at Konbu’in stands as an example of Nara period wooden core, dry lacquer sculptures that have the same type of above-noted separate square carving windows opened into the head and body areas, and have deep interior carving that pierces the entire figure. This similarity allows us to surmise that this work was created during the same period when this style was flourishing, namely ca. the 4th quarter of the 8th century, and that there is no reason to believe that the production date extends as late as the 9th century.\n     Kanzanji, where this sculpture has been handed down, is located in the far north of Shiga prefecture, close to Keisokuji, where three Nara period wooden core, dry lacquer Standing Guardian Figures have been handed down. Thus the four examples of wooden core, dry lacquer sculpture in Shiga prefecture confirmed today are all concentrated in this area. While the present sculpture is not well known today, it should be considered a noteworthy example of Nara period wooden core, dry lacquer sculpture.","subitem_description_type":"Abstract"}]},"item_creator":{"attribute_name":"著者","attribute_type":"creator","attribute_value_mlt":[{"creatorNames":[{"creatorName":"津田, 徹英"}],"nameIdentifiers":[{}]},{"creatorNames":[{"creatorName":"Tsuda, Tetsuei","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":"414_19_Tsuda_Redacted.pdf","filesize":[{"value":"1.7 MB"}],"format":"application/pdf","licensetype":"license_11","mimetype":"application/pdf","url":{"label":"414_19_Tsuda_Redacted.pdf","url":"https://tobunken.repo.nii.ac.jp/record/6074/files/414_19_Tsuda_Redacted.pdf"},"version_id":"4fc92bdd-3876-435e-b56d-bd2e100100ae"}]},"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":"研究資料　滋賀・菅山寺蔵 十一面観音菩薩立像","item_titles":{"attribute_name":"タイトル","attribute_value_mlt":[{"subitem_title":"研究資料　滋賀・菅山寺蔵 十一面観音菩薩立像"},{"subitem_title":"Material for Art Research,Wooden Core, Dry Lacquer Standing Eleven-Headed Ekādaśmukha (Jûichimen-Kannon), Kanzanji, Shiga Prefecture","subitem_title_language":"en"}]},"item_type_id":"10001","owner":"3","path":["960"],"pubdate":{"attribute_name":"公開日","attribute_value":"2017-10-05"},"publish_date":"2017-10-05","publish_status":"0","recid":"6074","relation_version_is_last":true,"title":["研究資料　滋賀・菅山寺蔵 十一面観音菩薩立像"],"weko_creator_id":"3","weko_shared_id":3},"updated":"2023-05-15T14:48:21.260110+00:00"}