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飛鳥大仏論(下)
https://tobunken.repo.nii.ac.jp/records/6434
https://tobunken.repo.nii.ac.jp/records/643441be9bb8-bf9c-46a2-98a1-f15516b147a3
名前 / ファイル | ライセンス | アクション |
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Item type | 学術雑誌論文 / Journal Article(1) | |||||||||
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公開日 | 2017-10-05 | |||||||||
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タイトル | 飛鳥大仏論(下) | |||||||||
タイトル | ||||||||||
タイトル | The Great Buddha of Asukadera (Part II) | |||||||||
言語 | en | |||||||||
言語 | ||||||||||
言語 | jpn | |||||||||
キーワード | ||||||||||
主題Scheme | Other | |||||||||
主題 | 釈迦如来像(奈良 飛鳥寺蔵)鞍作止利 | |||||||||
キーワード | ||||||||||
言語 | en | |||||||||
主題Scheme | Other | |||||||||
主題 | Sakyamuni Image, The Asukadera, Nara | |||||||||
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 |
久野, 健
× 久野, 健
× Kuno, Takeshi
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抄録 | ||||||||||
内容記述タイプ | Abstract | |||||||||
内容記述 | The Asukadera at the original site suffered from a fire in the seventh year of the Kenkyū Era (1196) at the beginning of the Kamakura Period and all the buildings were burnt down. The Great Buddha was then badly damaged and was repaired, taking its present form, after the fire. Heretofore it has been the prevalent theory that the upper part of the head from the nose and the right hand are the only extant original portions. However, the author who re-examined the image (Pls. V to VII) minutely found that those are not the only original parts. Such portions as the right knee are supplemented with clay and some parts of both hands and ears are wooden replacements. The back side of the image shows awkward repairs with copper plates. But, the left palm, which has been considered to be a later addition, has an original part, as are also a part of the sole and three toes of the left foot, which exhibit traces of fire. Those facts suggest that the image was mended to be as close to its original form as possible, by collecting and including scattered fragments. Therefore, the present body which was almost completely remade, must also retain the earlier form fairly faithfully. This idea of the author is reinforced by the similarity between the robe type of the present Great Buddha and certain Chinese stone images, which bear inscriptions of the Southern Dynasties Period, and similar Korean images. On the other hand, the Śākyamuni Triad of the Hōryūji which was made in 623 by KURATSUKURI no Tori and other examples attributable to the Tori school including some of the small gilt bronze images handed down by the Hōryūji, have robe forms which cannot be found in Chinese and Korean sculpture, although these images have a stylistic connection with Northern Wei Buddhist sculpture. There are many other typological differences between the Great Buddha and the Śākyamuni Triad of the Hōryūji and the author therefore suspects that the Great Buddha of the Asukadera must not be a work of Tori as is widely claimed. He further points out that the drapery fold remaining on the left foot of the Great Buddha is much rounder than the folds of the Hōryūji Śākyamuni Tirad. The author interprets this evidence as another clear implication of their not being by the same artist. Thus the Great Buddha is recognized as having closer connections with the style of the Chinese Southern Dynasties, introduced to Japan perhaps through Korea, than with the Korean styles based on the Nortern Wei trends. |
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書誌情報 |
美術研究 en : The bijutsu kenkyu : the journal of art studies 号 301, p. 16-26, 発行日 1976-02-25 |