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アスタナ出土の伏羲女媧図について(下)
https://tobunken.repo.nii.ac.jp/records/6560
https://tobunken.repo.nii.ac.jp/records/656090914dd6-7af2-45da-8cbf-f3758fcc1145
名前 / ファイル | ライセンス | アクション |
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293_1_Ueno_Redacted.pdf (25.3 MB)
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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 | |||||
タイトル | ||||||
タイトル | アスタナ出土の伏羲女媧図について(下) | |||||
タイトル | ||||||
タイトル | Paintings of Fu-hsi and Nu-wa from Astana (Part II) | |||||
言語 | en | |||||
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言語 | jpn | |||||
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 |
上野, アキ
× 上野, アキ× Ueno, Aki |
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抄録 | ||||||
内容記述タイプ | Abstract | |||||
内容記述 | In this number, the Astana paintings of Fuhsi and Nü-wa excavated by Chinese are first introduced. Their styles, techniques and the nature of the excavated sites are discussed and the author's opinion on their dates is given. Then the overall questions are discussed. In the Han Dynasty, it was already a traditional habit to paint the figures of Fu-hsi and Nü-wa on the walls of large halls. And they were copied in tomb chambers also when the Han tombs came to be richly decorated. There are many extant examples on relief stone-blocks used for tombs in Shantung, Chekiang and Hopei provinces. However, the relief stone-block tombs went out of vogue after the Han Dynasty. The only tomb decorations of this subject in sculptural form known from the periods after the Han Dynasty are the incised design on a sarcophagus lid from the Northern Chou Dynasty of the Six Dynasties Period and on a sarcophagus lid from the Sui Dynasty. On the other hand, painted examples are found in a Koguryo tomb in the Han tradition and also on the ceiling of Caye 285 of Tun-huang dating from 538 of the Western Wei Dynasty. It is interesting that likewise nonBuddhist subjects, Tung-fang-kung and Hsi-wangmu, too, are seen in Tun-huang Buddhist caye temples of the periods from the Northern Wei to the Sui. There is no example of this subject in the art of tombs after the Sui. Perhaps the new cultural influence from the western regions, which gradually became strong in the Sui Period and was more prominent in the T'ang Period, changed the taste of the people. The subjects based on the ancient traditions which remained in the tomb decorations in central China until Tang times were four animals associated with the four cardinal directions along with heavenly bodies. A tomb excavated in 1965 at Astana, which is named Tomb 38, has a mural painting of celestial bodies and figures under trees. The author presumes that this tomb is identical with the tomb of Chang Kuai-chi dated 694 which was reported in a paper by Wang Shu-nan. At any rate, the painting of celestial bodies (fig. 24) painted on the ceiling is the only reported Astana mural of this kind of subject. Turning back to the question of Fu-hsi and Nü-wa, the excavation reports imply that the Astana silk paintings of this motive were originally pasted on the tomb. At Astana, Where mural paintings were rare as tomb decoration, the paintings of Fu-hsi and Nü-wa accompanied by the sun, moon and stars were applied to the ceiling perhaps with the same significance as the celestial bedies painted directly on the ceiling. Some of these works are painted on blue-dyed silk pieces and some are on undyed plain silk. Since the blue-dyeing process made the silk fragile, there must have originally been a larger number of examples with the blue background. And the blue background might well have symbolized the colour of the sky. Broadly speaking, two of representation types are observed: A more or less Western type and a Chinese-like type. In the Western type, the round face and arms of the figure are accentuated with thick colour zones, and the joints between the palms and fingers are articulated by lines. These features often characterize the Kyzil mural paintings such as those of the “Cave of the Bodhisattva Dome”. The painting method of the “Cave of the Bodhisattva Dome”, which exemplifies the early style of Kyzil murals, has common characteristics not only with such specimens from the Turfan Region but also with the murals of such Northern Wei caves of Tun-huang as Cave 257, Cave 275 and Cave 272. The sixth century Western types include those which have radiant lines in the designs of the sun and moon. Around the middle of the seventh century when the Astana Region became a territory of T‘ang China, the Chinese types appeared. The faces do not have coloured zones and the figures wear Chinese costumes. The sun contains a three-legged crow and the moon often contains a pounding rabbit and/or a sort of toad. Some Chinese scholars hold that the three legs of the crow in the sun are the origin of the radiant lines in the Astana paintings of Fu-hsi and Nüwa. But, if the above mentioned chronology is right, this theory is not acceptable. The snakelike bodies of the figures are intertwined one or more times. Chinese scholars consider that the order moves from complex to simpler form, but this seems not to be the case. Turfan, which had a unique historical and geographycal situation, nourished complex folkloristic features. The popularity of the painting of Fu-hsi abd Nü-wa in this region must have been closely related to such local folklore. |
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書誌情報 |
美術研究 en : The bijutsu kenkyu : the journal of art studies 号 293, p. 1-17, 発行日 1974-11-05 |