WEKO3
アイテム
園城寺国宝金色不動明王画像（黄不動）に関する新知見―不動明王画像修理報告―
https://tobunken.repo.nii.ac.jp/records/6131
https://tobunken.repo.nii.ac.jp/records/61315c9e8b25-b72b-46ca-a09e-2b6e8a31c12c
| 名前 / ファイル | ライセンス | アクション |
|---|---|---|
385_1_Yanagisawa_Redacted.pdf (20.5 MB)
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| アイテムタイプ | 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 | 園城寺国宝金色不動明王画像（黄不動）に関する新知見―不動明王画像修理報告― | |||||||||
| タイトル | ||||||||||
| タイトル | New Information Regarding the Yellow Acalanatha (Ki-Fudo) Painting of Onjoji: Conservation Report | |||||||||
| 言語 | en | |||||||||
| 言語 | ||||||||||
| 言語 | jpn | |||||||||
| キーワード | ||||||||||
| 主題Scheme | Other | |||||||||
| 主題 | 円珍 | |||||||||
| 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 |
柳澤, 孝
× 柳澤, 孝
× Yanagisawa, Taka
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| 抄録 | ||||||||||
| 内容記述タイプ | Abstract | |||||||||
| 内容記述 | Onjôji in Shiga prefecture, popularly known as Miidera and founded by Enchin (814-891), is famous for the Wu-bu Xin-guan [Illustrated Iconography of Tendai Buddhist Deities] and the Ki-Fudô, or Yellow Acalanâtha painting, both owned by Enchin. This Ki-Fudô painting is the worship image revered since antiquity at the temple as Konjiki Fudômyőô (Golden Acalanâtha). Regarding the production date of this painting, the widely held view has long been that this work was commissioned by Enchin in 838 (Jôwa 5), as stated in the Enchin-den [Biography of Enchin] compiled by Miyoshi Kiyoyuki in 902 (Engi 2). However, in recent years there has arisen a convincing theory that the work was produced after 858 (Ten’an 2) when Enchin returned to Japan from his studies in Tang dynasty China. Conservators treated this Ki-Fudô painting from September 1996 through April 1998. During that time various detailed types of scientific analysis were carried out on the work. The majority of the information gathered from this analysis, and a study of the characteristics and techniques found in the various sections of the splendidly revived Ki-Fudô painting, reveal that the work displays characteristics absolutely not found on any other examples of Buddhist painting created in Japan. Clearly a superior painter working in the central painting circles of China created this painting. Written from the experience of a participant in the survey and conservation activities conducted on the painting, this article seeks to report on, and confirm, that this painting was not created in Japan, as has long been the accepted explanation, but rather was actually painted in China and brought to Japan by Enchin. An incident described in Enchin's own text Sasagemon [Some questions prepared by Enchin] stands as noteworthy collaborative evidence for this theory. Namely, Enchin saw a painted image of Acalanâtha, during a meeting with the âcârya Buddhist teacher Zhihuilun, the third generation disciple of the tripițaka master Bukong at the end of 855 (Dazhong )at Da Xing-shan Si. Enchin stated that there were no such images of the deity in Japan, and he asked Zhihuilun to give him the painting. Thus we can interpret that the Onjôji Ki-Fudô image is the painting discussed in Enchin's text and that Zhihuilun presented this work to Enchin. |
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| 書誌情報 |
美術研究 en : The bijutsu kenkyu : the journal of art studies 号 385, p. 1-16, 発行日 2005-02-04 |
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