WEKO3
アイテム
中峰明本自賛像をめぐって
https://tobunken.repo.nii.ac.jp/records/6286
https://tobunken.repo.nii.ac.jp/records/62867bcd1ca5-371c-439b-ac91-11a2332df43f
| 名前 / ファイル | ライセンス | アクション |
|---|---|---|
343_19_Ide_Redacted.pdf (22.7 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 | 中峰明本自賛像をめぐって | |||||||||
| タイトル | ||||||||||
| タイトル | Portraits of Chung-Feng Ming-Pen with Autograph Inscription | |||||||||
| 言語 | en | |||||||||
| 言語 | ||||||||||
| 言語 | jpn | |||||||||
| キーワード | ||||||||||
| 主題Scheme | Other | |||||||||
| 主題 | 一庵筆中峰明本像（遠谿祖雄将来・兵庫 高源寺蔵）・中峰明本像（傑山了偉将来・兵庫 個人蔵）選仏寺本・法雲寺本・肖像・頂相 | |||||||||
| キーワード | ||||||||||
| 言語 | en | |||||||||
| 主題Scheme | Other | |||||||||
| 主題 | “Portrait of Chung-Feng Ming-Pen” by I-an brought to Japan by Enkei Soyu, The Kogenji, Hyogo / Portrait of Chung-Feng Ming-Pen, brought to Japan by Kersuzan Ryoi, Private collection, Hyogo | |||||||||
| 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 |
井手, 誠之輔
× 井手, 誠之輔
× Ide, Seinosuke
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| 抄録 | ||||||||||
| 内容記述タイプ | Abstract | |||||||||
| 内容記述 | A number of portraits of Ch'an priests painted in Sung and Yüan Period China remain in Japan and they have often been discussed in the context of their influence to Japanese portraiture. Partly due to their impressiveness, they have tended to be regarded all homogeneous. The present author intends to elucidate diverse aspects of Chinese Ch'an portraiture of the time through the comparison between those with his autograph inscription and those without among the portraits of Chung-fêng Ming-pêng, a high Ch'an priest in the Yüan Period. 1) His portraits can be largely divided into two types, that is, the humble figure with rough hair and the figure in dignity with the head shaved. They correspond to the contrasting phases of his life whose shift took place in the fifth year of Yen-yu Era(1318). The former is the figure as a hermit who wandered around from place to place and the latter is the figure as a monk of a temple which was recognized to be equivalent to the state temples after the emperor came to have a high regard for him. 2) The iconographical common feature that he lacks the little finger of the left hand is based on the affair that he burnt the finger when he entered priesthood under K'ao-fêng Yüan-miao. 3) Whereas his portraits with autograph inscription are faithful to actuality, the influence of arhat paintings and Bodhidarma paintings is detectable. Such a double image is not merely an artistic creation of the painters but a reflection of the inclination of his contemporary followers to recognize him to be an entity close to Buddhahood. The lack of the burnt finger, therefore, is not a simple physical characteristic but is an implication of high enlightenment. 4) Judging from the common iconography shared by numerous works, the uniformity of the size of the face, and from records concerning his selfinscribed portraits, it is presumable that there was some kind of organ in charge of his self-inscribed portraits. If that is correct, I-an who painted the one owned by the Kōgenji must have been closely associated with that organ and it is likely that the organ provided the Buddhist painters with the iconography appropriate to each self-inscribed portrait. |
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| 書誌情報 |
美術研究 en : The bijutsu kenkyu : the journal of art studies 号 343, p. 19-36, 発行日 1989-02-28 |
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