{"created":"2023-05-15T13:35:09.053876+00:00","id":6362,"links":{},"metadata":{"_buckets":{"deposit":"82a51fb9-5337-43f9-826f-49acbef4c073"},"_deposit":{"created_by":3,"id":"6362","owners":[3],"pid":{"revision_id":0,"type":"depid","value":"6362"},"status":"published"},"_oai":{"id":"oai:tobunken.repo.nii.ac.jp:00006362","sets":["20:1031:1034"]},"author_link":["26669","26668"],"item_10001_biblio_info_7":{"attribute_name":"書誌情報","attribute_value_mlt":[{"bibliographicIssueDates":{"bibliographicIssueDate":"1983-03-30","bibliographicIssueDateType":"Issued"},"bibliographicIssueNumber":"323","bibliographicPageEnd":"25","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 Hokke-dō Kompon-mandara, preserved at the Boston Museum of Fine Arts since 1890, depicts Śākyamuni preaching to surrounding bodhisattvas and disciples on Vulture Peak (Pl. II). The orignal support is a single piece of fine-weave hemp with 22–23 warp threads and 14–15 weft strands per centimenter (fig. 1); the present dimensions are 107.0 X143.5cm. An inscription of 1148 by Kanshin (1084 -1153), the Abbot (bettō) of the temple Tōdai-ji, was affixed to the back of the painting, but is now kept separately (fig. 2). It states, in part, that this Kompon-mandara was the most important object of worship in painted form at the Hokke-dō of Tōdai-ji. Because of its great age, however, especially the lower part of the painting had suffered damage and losses. And thus the famous painter-monk of Tōdai-ji, Chinkai, was commissioned to make repairs. Thus this document besides indicating that major repairs occurred in the 12th century, gives some clues as to where and when the painting was produced. Many art historians have believed the bright colors of the flesh tones and robes of the Buddha and bodhisattvas, as well as their thrones, the canopy, and the Pure Land palace on the mountain at left, that all stand out from the darkened background, to be the repainted areas. However, I have since established that these areas, in particular the faces and bodies of the divinities, have never been repaired or repainted. My examination was facilitated and findings confirmed by a complete series of macro-color and infra-red photos, thanks to the kindness and help of the BMFA's director, Dr. Jan Fontein, and the staff of the Asiatic Art department.\n     The enlarged color photo (Plate I) shows how the artist first established the composition with fine ink-lines in an underpainting directly on the hemp. Over this he applied colored mineral pigments (such as, for the bodies, white lead, cinnabar, and a mixture of both for the pink shading). From the close adhesion of the pigments to the hemp threads it seems likely that a vegetable oil was added to the medium. Even where the color pigments have thinned to reveal the hemp support or ink underpainting (Pls. III-IV), no sign of repainting exists. Except for places on Śāyamuni's robe where losses of the hemp support have been patched with silk and repainted, none of the relatively bright colored areas of the painting show evidence of repairs.\n     The opposite must be said for the mountain landscape background. Originally the high points of the mountains were painted green with malachite (rokushō), while the lower slopes were rendered in a reddish brown. The distant area of water in upper right was a pale green (fine-grain malachite). Today hardly a grain remains of these mineral pigments. The chemical changes of the copper oxides in the rokushō caused the hemp support to decompose and darken to the extent that most of the landscape is unrecognizeable. In fact close inspection reveals that shorter, clumsier ink lines and more ink wash have been added to the landscape underpainting to make the features more visible (PI. II). Chinkai probabaly did this repainting. While Chinkai also probably repainted the lower part that had, according to the inscription, already been in need of repairs by 1148, this should not be confused with the present main figures grouped in the lower part of the painting, because examination shows 20～30 centimeters along the bottom of the painting has been lost. The main part of this article describes in detail my examination and reconstruction of the composition.\n     From the fact that iconographic tradition dictates a symmetrical grouping it is possible to ascertain what was depicted in many of the damaged or missing areas from the corresponding places on the opposite side. Thus on left and right of Śākyamuni along with the main seated bodhisattva four smaller bodhisattvas and a group of 5 disciples were arranged. Parts of the depictions of three halos, an arm, and a forked halberd that are still extant reveal the composition once included another group of bodhisattvas assembled below the thrones of the main triad, as well as four Deva Kings to the left and right. A close relationship exists between the triad and the three mountains in the background. The pair of trees that flanks Śākyamuni and the trees beside the two main bodhisattvas also serve to integrate the divinities into the natural setting (fig. 6).\n     This integrated balance epitomizes the “classical” nature of the composition. A comparison of the divinities and the landscape with the stylistic techniques employed in Chinese painting shows the Kompon-mandara is in the classic Tang painting style of the first quarter of the 8th century. The mandara is close to certain wall-paintings and paintings on silk found at Tun-huang. However, stylistic details, such as the serene features of the divinities and their air of approachability (and lack of individuation), and the stiffness of elements in the landscape are evidence that, while probably based on (an) imported T'ang model(s), this painting was produced in Japan. A comparison with other Japanese paintings of this period: (1) The Incised Lotus Petals of the Great Buddha at Tōdai-ji (preliminary drawings were completed by 752) (2) Door Paintings of a Portable-shrine Sutra-container at the Kaidan-in of Tōdai-ji (755, now extant in a copy) (3) Paintings on Pillars at Eizan-ji (763-4) and (4) The Kichijōten (Mahāśri) Painting of Yakushi-ji (771-2) suggests an atelier connected to Tōdai-ji produced the Kompon-mandala between 750 and 760 for the Hekke-dō. Two early documents support this conclusion by recording that large scale paintings of Śākyamuni preaching at Vulture Peak were in use before 761 at Hōryū-ji and around 760 at the Kami no Nyobō-in at Tōdai-ji.","subitem_description_type":"Abstract"}]},"item_creator":{"attribute_name":"著者","attribute_type":"creator","attribute_value_mlt":[{"creatorNames":[{"creatorName":"秋山, 光和"}],"nameIdentifiers":[{}]},{"creatorNames":[{"creatorName":"Akiyama, Terukazu","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":"2017-10-04"}],"displaytype":"detail","filename":"323_1_Akiyama_Redacted.pdf","filesize":[{"value":"40.5 MB"}],"format":"application/pdf","licensetype":"license_11","mimetype":"application/pdf","url":{"label":"323_1_Akiyama_Redacted.pdf","url":"https://tobunken.repo.nii.ac.jp/record/6362/files/323_1_Akiyama_Redacted.pdf"},"version_id":"421a0039-3667-4a76-ab98-a405172ccd76"}]},"item_keyword":{"attribute_name":"キーワード","attribute_value_mlt":[{"subitem_subject":"釈迦霊鷲山説法図（法華堂根本曼陀羅・ボストン　ボストン美術館蔵）","subitem_subject_scheme":"Other"},{"subitem_subject":"“Sakyamuni Preaching on Vulture Peak” (Hokke-do Kompon-mandara), Museum of Fine Arts, Boston","subitem_subject_language":"en","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":"法華堂根本曼陀羅の構成と表現","item_titles":{"attribute_name":"タイトル","attribute_value_mlt":[{"subitem_title":"法華堂根本曼陀羅の構成と表現"},{"subitem_title":"The Hokke-do Kompon-Mandara: An Examination of Its Composition and Stylistic Techniques","subitem_title_language":"en"}]},"item_type_id":"10001","owner":"3","path":["1034"],"pubdate":{"attribute_name":"公開日","attribute_value":"2017-10-05"},"publish_date":"2017-10-05","publish_status":"0","recid":"6362","relation_version_is_last":true,"title":["法華堂根本曼陀羅の構成と表現"],"weko_creator_id":"3","weko_shared_id":3},"updated":"2023-05-15T14:32:36.007786+00:00"}