{"created":"2023-05-15T13:35:26.836804+00:00","id":6703,"links":{},"metadata":{"_buckets":{"deposit":"7e418d1e-f68e-45fe-84e0-b0535816eef2"},"_deposit":{"created_by":3,"id":"6703","owners":[3],"pid":{"revision_id":0,"type":"depid","value":"6703"},"status":"published"},"_oai":{"id":"oai:tobunken.repo.nii.ac.jp:00006703","sets":["20:1115:1128"]},"author_link":["27372","27373"],"item_10001_biblio_info_7":{"attribute_name":"書誌情報","attribute_value_mlt":[{"bibliographicIssueDates":{"bibliographicIssueDate":"1968-03-30","bibliographicIssueDateType":"Issued"},"bibliographicIssueNumber":"253","bibliographicPageEnd":"74","bibliographicPageStart":"39","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":"     From around the seventh century, that is about one century after Buddhism was introduced into Japan, it became more of a wide-spread belief than merely a religion indulged in by the imperial family and the nobility class as had been the case earlier. And at the same time there emerge two different ways of adorning the interior of a temple : splendor and simplicity. This is presumed by the facts that the inside of many government-supported temples and the like were decorated gorgeously with large embroidered Buddhas and other deities, while, in the cace of the rather humble temples constructed either by a particular clan or with the co-operation of the common people, the inner faces of the walls were merely set with Buddhist terra-cotta plaques. \n     Then in the eighth century, when many temples were built under the enthusiastic encouragement of the emperors, it seems that the materials and probably even the sculptors were different for the temples built by the government and the temples built by private individuals. The Buddhist sculptures made in the workshops of the government-sponsored temples were gilt bronze, lacquer and clay figures, as is recorded in documents in the Shōsōin and the old catalogue of the property of the Saidaiji. On the other hand, most of the images of the other type of temples are wooden, as in the cases of the eleven-headed Avalokiteśvara, the main image of the Hasedera made by Priest Mangan, and the Buddhist images of private temples referred to in the literature called Nihon Ryōiki. It was natural to see some exceptions. There must have been case when gilt bronze images were placed in private temples and also when such an eclectic technique as wood-core dry lacquer was adopted by sculptors of workshops of the govermentsupported temples at the end of the Nara Period. However, these chief trends of gilt bronze, lacquer and clay figures of the governmental temples, and wooden figures of private temples were passed on as they were into the Heian Period intact.\n     After the official workshop of the Hokkeji was abolished in the first year of the Enryaku Era (782) and the official workshop of the Tōdaiji was closed in the eighth year of the same era (789), the organization of the sculptors belonging to the governmental temples, where many artists were engaged in single projects, was dismantled and the trend of wooden sculpture in the traditional line fostered by the abovementioned private temples rapidly formed its own clear current. According to the author, it is exemplified by such pure wooden sculptures as Bhaișajyaguru of the Jingoji and the same Buddha of the Shin-yakushiji, which are presumed to have been produced at the end of the eighth or at the beginning of the ninth century.\n     Here the important question is how the tradition of sculpture in the governmental temples developed after the Nara Period. The author considers that the tradition was continued at least partially in the works for the Tōji (Kyōōgokokuji) and the Saiji, the twin big governmental temples whose constructions were started just after the transfer of the capital to Kyoto in the thirteenth year of the Enryaku Era (794). Original sculptures of the Saiji are not extant at all and a Bhaişajyaguru and two attendants in the Golden Hall of the Tōji, which were made in its inauguration period, were also lost and were replaced by later statues. But, some extant contemporary works, which are regarded as having followed the style and the technique of dry lacquer of the Nara Period, for instance, the three Shinto images of the Tōji Hachimangū and the five Bodhisattvas, five Vidyārājas, Brahma and Indra of the Lecture Hall of the Tōji speaks eloquently of this fact. A comparative study of most of them with the remaining examples of the Nara Period is not easy. For instance, we do not have examples of Shinto images from Nara Period comparable to the three Shinto imges of the Tōji Hachimangū, and the statues in the Lecture Hall are of an Esoteric Buddhist type introduced to Japan by Kūkai, and have a different form than those of the Nara Period. Nevertheless, there is a distinctive similarity between these works and some sculptures of the Nara Peirod not only in the technique of dry lacquer, which was used partially by the former, but also in the expressions of their details. These similarities additionally suggest that the sculptures of the Tōji and the Tōji Hachimangū now in question are in the line of the sculptural tradition associated with the government's temples in the Nara Period. Thus, we can point to the treatment of the drapelly pleats around the knees of the goddess of the three Shinto images as close to the style of the Amitābha in the central room of the Dempodo Hall, Hōryūji, and that the treatment of the drapery and the graceful countenance of the Bodhisattvas of the Lecture Hall apparently have the orthodox dry lacquer tradition of the Nara Period as their background. \n     However, it is no use to say that they are not stereotyped copies of Nara Period sculpture. They embody severe spiritual profundity and the mysterious power peculiar to the Esoteric Buddhist sculpture which is not seen in graceful and familiar-looking works of the Nara Period. These works of the Tōji show a style based on the harmony of the excellent technical traditions of the Nara Period, the forceful guidance of high priests such as Kūkai, and the freshness of the iconography of Esoteric Buddhism newly introduced from China. This new-born style is followed by the artists of such images as five Ākāśagarbha of the Jingoji, Cintāmanicakra of the Kanshinji and the two images in the same temple said to be Ratnasambhava and Maitreya as Buddha. These works were all made by order of the disciples of Kūkai. From the middle of the ninth century, however, one can discern mutual technical and stylistic influences between this trend and the trend of pure wooden sculpture. For instance, the ripple-like drapery pleats which had been peculiar to the pure wooden sculptures was fused with the trend of the dry lacquer technique of the Nara Period. In the latter half of the ninth cetury, these two trends intermingled to form a complex development. ","subitem_description_type":"Abstract"}]},"item_creator":{"attribute_name":"著者","attribute_type":"creator","attribute_value_mlt":[{"creatorNames":[{"creatorName":"久野, 健"}],"nameIdentifiers":[{}]},{"creatorNames":[{"creatorName":"Kuno, Takeshi","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":"253_39_Kuno_Redacted.pdf","filesize":[{"value":"54.2 MB"}],"format":"application/pdf","licensetype":"license_11","mimetype":"application/pdf","url":{"label":"253_39_Kuno_Redacted.pdf","url":"https://tobunken.repo.nii.ac.jp/record/6703/files/253_39_Kuno_Redacted.pdf"},"version_id":"0fdc7bf1-8ac8-4ddc-a77f-1376f767b5d4"}]},"item_keyword":{"attribute_name":"キーワード","attribute_value_mlt":[{"subitem_subject":"女神像・持国天像・金剛宝像・金剛法像・不動明王像・軍荼利明王像・降三世明王像・梵天像・持国天像・増長天像・男神像・女神像（京都　教王護国寺蔵）","subitem_subject_scheme":"Other"},{"subitem_subject":"Shinto Goddess, Shinto God and Shinto Goddess (Three Shinto Images), Toji (Kyoogokokuji), Kyoto / Dhrtarastra, the East Guardian (One of Four Lokapalas) / Vajraratna (One of Five Vodhisattvas) / Vajradharma (One of the Five Bodhisattvas) / Acalanatha (One of Five Vidyarajas) / Kundalin (One of the Five Vidyarajas) / Trailokyavijaya (One of the Five Vidyarajas) / Brahma / Dhrtarastra, the East Guardian (One of the Four Lokapalas) / Virudhaka, the South Guardian (One of the Four Lokapalas): Lecture Hall, Toji, Kyoto","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":"東寺草創期の彫像","item_titles":{"attribute_name":"タイトル","attribute_value_mlt":[{"subitem_title":"東寺草創期の彫像"},{"subitem_title":"Sculpture of the Toji in Its Earliest Period","subitem_title_language":"en"}]},"item_type_id":"10001","owner":"3","path":["1128"],"pubdate":{"attribute_name":"公開日","attribute_value":"2017-10-05"},"publish_date":"2017-10-05","publish_status":"0","recid":"6703","relation_version_is_last":true,"title":["東寺草創期の彫像"],"weko_creator_id":"3","weko_shared_id":3},"updated":"2023-05-15T14:21:57.178274+00:00"}