{"created":"2023-05-15T13:35:33.873313+00:00","id":6849,"links":{},"metadata":{"_buckets":{"deposit":"c31d21da-b7a0-4f31-928b-c90a8523c509"},"_deposit":{"created_by":3,"id":"6849","owners":[3],"pid":{"revision_id":0,"type":"depid","value":"6849"},"status":"published"},"_oai":{"id":"oai:tobunken.repo.nii.ac.jp:00006849","sets":["20:1157:1168"]},"author_link":["27663","27662"],"item_10001_biblio_info_7":{"attribute_name":"書誌情報","attribute_value_mlt":[{"bibliographicIssueDates":{"bibliographicIssueDate":"1960-12-28","bibliographicIssueDateType":"Issued"},"bibliographicIssueNumber":"211","bibliographicPageEnd":"28","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":"     In No. 187 of this Journal I published a study of the scroll-painting of “Raudrāksa's fight with the saint” in the collection of La Bibliothèque Nationale in Paris where it is labelled as Manuscrit Chinois P. 4524. It illustrates a story about a magic competition between “heretics”(nonBuddhists), with Raudrākṣa as their representative, who try to prevent the construction of Jatavana by the Buddha, and Śāriputra who is one of the Buddha's disciples. It is an incomplete scroll retaining five of the six magic bouts. I noted in that study that the versified parts of the text of the story, written near the ends of respective scenes on the back side of the paper, have been derived from the Ching-mo Pien-wên, one of the Pien-wên (narrative stories) among the manuscripts from Tun-huang (Pl. III). It appears that when priests of the Tang Dynasty told legendary stories about Buddhism to visitors to their temples, they showed them the pictures and read the prose parts aloud, singing the versified parts at the ends of respective segments of the stories. I have discovered fifteen examples on similar subjects from among the murals in the three groups of cave-temples at Tun-huang, namely the Chien-lo-tung, Hsi (west) Chfien-fo-tung and Yu-lin-ku, and arranged them in chronological order. (The cave numbers are as follows, the numbers crowned with A being those of Ch‘ien-fo-tung according to the system of the Institute of Tun-huang Research. Hsi Ch‘ien-fo-tung9, A335, A9, A196, A146 A85, A72, Yü-lin-k'u C10, A98, A108; Yülin-k'u C12 A55, A25, A454; Yü-lin-k'u C22.) Concerning A146, in particular, based upon the investigation (unpublished) by Paul Pelliot in 1908, I pointed out that among the texts and inscrptions within cartouches in its mural there were more than ten examples which are the same as corresponding of the Ching-mo Pien-wên. These researches have established a link between pien-wên and Tun-huang murals which had earlier been a subject of discussions.\n     Thereafter I had another opportunity of studying ex- amples and reference materials concerning this problem in Europe. In China, Prof. Chin Wei-no of Peking Art College studied this subject and published a valuable article in Nos. 10 and 11, 1958 of the journal Wen-wu San-k'ao Tzu-liao. Based upon these new sources I should like to take up this subject again and discuss about the interre lation between pien-wên and wall-paintings.\n     The stories concerning “Rāudrakṣa's fight with the saint” found among the Tun-huang manuscripts are as listed below and can be roughly classified by their contents into two groups. Group A. (1) Collection of Mr. Hu Shih: When the missing first part of this copy is supplemented by Stein S5511, this forms a complete text of a pien-wên entitled Chiang-mo Pien-wên. This is judged by the calligraphic style to be a copy made during the tenth century. (2) S3498v: This is a segment of the first part of the same Ching-mo Pien-wên. From the date of the official letter on its recto this is known to date from a period a little later than AD949. (3) Collection of Mr. Lo Chên-yü: A segment corresponding to about the middle part of the same pien-wên. Recorded in the publication Tun-huang Ling-shih. Its age has not been identified. (4) P4615r (Fig. 1～3): A peculiar text consisting of extracts from four parts of the Ching-mo Pien-wên, with brief headings and arranged in an order disregarding that of the original text. The text of the epitaph for Li Ming-chên inscribed after it proves that this was copied in the end of the ninth century. Group B. This is not in the advanced form like pien-wên. consisting of alternation of prose and verse parts, and its contents are also simpler with only four of the magic bouts. It is in a construction even earlier than that of the Hsien-yü-ching, the sutra from which the Ching-mo Pien-wên was derived. There are two texts of this kind in La Bibliothèque Nationale in Paris, namely P 3784 (Figs. 5 & 6) and P 2344 (Fig. 4), both dating from about A. D. 900. The caption written in cinnabar at the beginning of P 3784 reads “Ch'i-yüan Yuyin-chi” (Origin of Jetavana), but the one at its end reads “Ch'i-yuan Tu-chi” (Illustrated Story about Jetavana), which leads us to believe that it was a text for explaining an illustrated story concerning the construction of the Jetavana.\n     Illustrations of “Raudrākṣa fighting the saint” among paintings from Tun-huang incluse, besides the scroll mentioned above (P4524), a segment of silk painting in the British Museum. This shows, as illustrated in Pls. I & II photographed by myself, a part of the magic competition, namely the white elephant (Śāriputra in disguise) drinking up the entire water of the pond created by Raudrākşa, and Raudrākṣa being blown down by the wind called forth by Śāriputra. Obviously it is a part of pictures shown to audience while telling the pien-wên story. This painting, finer in style and better than the afore-mentioned scroll, can be dated to as early as the eighth century. While these portable paintings are associable directly with pien-wên, the matter with murals in rock-cave temples is more delicate. To the fifteen examples which I listed in my previous article, Prof. Chin has added four more (A342, A53, A6 & A44) (cf. Table 1). The composition of the mural in Cave 9 (Cave 10 according to the new system) of Hsi Ch'ien-fo-tung, which is the oldest of Tun-huang wall paintings on this subject, has also been made clear for the first time by the illustration in his article, (Fig. 8). The painting just mentioned dates from the mid-sixth century (cf. Table 2) and illustrates the whole story based upon the Hsien-yü-ching in two parallel rows of scenes. The mural in the cave A335 (Figs. 9 & 10) with an inscription including a date somewhere around A. D. 685 is devoted to the scenes of magic competition alone, and appears to date also from a period antedating the establishment of pien-wên. Examples from the following period of about two centuries are lacking. Next in age are numerous specimens between the late ninth and tenth centuries, the oldest being the one in the cave A9 which was constructed in A. D. 890. They are all large-scale paintings showing Śāriputra and Raudrākṣa opposite to each other on the left and right sides respectively, with the scenes of competition between them and with stories before and after the competition illustrated in the borders. This type of composition is adopted in common among them, evidencing that murals in Tun-huang cave temples in the ninth and tenth centuries were controlled by a strong convention. The entire compositions of this kind of murals on “Raudrākṣa fighting with the saint” had not been clearly recognizable in Pelliot's photographs, but the actual-size handcopies made by the Institute of Tung-huang Research enable us to study in details the composition of the painting in A196 cave (Fig. 11 & 12). When we study it in comparison with the texts and inscriptions, made known through Pelliot and Prof. Chin Wei-no, in the cartouches in murals of A9, A98, A146 and A55, we become aware of the following facts. The murals are not faithful illustrations of the Ching-mo Pien-wên, although they may have possibly quoted some parts of its text. The events that take place prior to the beginning of the magic competition (notably the story that Suddata buys the garden from Prince Jeta, in order to donate it to the Buddha, by covering the ground there with gold), which are described so lengthily in the pien-wên, are represented in the borders in simplified small-size rendition, and the first five bouts of the competition are shown in parallel rows in the center. This composition is contrasted with those of pien-wên illustrations where Śāriputra's triumph over Raudrākṣa by means of wind, and miracles shown by Śāriputra after his triumph ―― which are no more than the last few paragraphs of the story-are enhanced with many episodes and occupy the greater part of the painted spaces. In the right-side half the camp of Raudrākṣa being molested by wind and the heretics trying to guard the camp, and in the left-side half the heretics surrendering to Śāriputra and being converted to Buddhist faith, are shown with a humorous tinge. Elements which are not contained in the text of the pien-wên are also represented in the scenes of magic bouts. These must have been contrived largely for the purpose of satisfying the requirements for effective compositions and decorativeness of wall paintings.\n     In considering about murals at Tun-huang, we have to take into account those in large monasteries, which at the time numbered sixteen or seventeen though none of them are extant. For while the rock-cave were places for religious contemplation (ch'an-k-u) or chapels where there was no monk living permanently, it was primarily in those large monasteries that pien-wên were narrated to visitors. The relation the cave-temple murals had with pien-wên was therefor rather indirect. Pien-wên was certainly instrumental partially in these murals, which however must have been intended more largely for decorative effect.","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":"2017-10-05"}],"displaytype":"detail","filename":"211_1_Akiyama_Redacted.pdf","filesize":[{"value":"30.3 MB"}],"format":"application/pdf","licensetype":"license_11","mimetype":"application/pdf","url":{"label":"211_1_Akiyama_Redacted.pdf","url":"https://tobunken.repo.nii.ac.jp/record/6849/files/211_1_Akiyama_Redacted.pdf"},"version_id":"c47d8148-74c1-44c1-93bf-388e8ab4df76"}]},"item_keyword":{"attribute_name":"キーワード","attribute_value_mlt":[{"subitem_subject":"牢度叉闘聖変（降魔変）幢画断片（英国　ブリティッシュ・ミューゼアム蔵）・牢度叉闘聖変（降魔変）画巻(P4524・パリ　国立図書館蔵）","subitem_subject_scheme":"Other"},{"subitem_subject":"Fragment of Silk Painting Illustrating “Magic Competition between Sariputra and Raudraksa (Chiang-mo-pien)” from Tung-huang, Coll. British Museum, London / Second and Third Sections of Scroll-painting (P 4524) Illustrating “Magic Competition between Sariputra and Raudraksa (Chiang-mo-pien)” from Tung-huang, Coll. La Bibliotheque Nationale, Paris","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":"敦煌における変文と絵画―再び牢度叉闘聖変（降魔変）を中心に―","item_titles":{"attribute_name":"タイトル","attribute_value_mlt":[{"subitem_title":"敦煌における変文と絵画―再び牢度叉闘聖変（降魔変）を中心に―"},{"subitem_title":"Pien-wen and Paintings at Tun-huang: Again with Special Reference to the “Magic Competition between Sariputra and Raudraksa (Chiang-mo-pien)”","subitem_title_language":"en"}]},"item_type_id":"10001","owner":"3","path":["1168"],"pubdate":{"attribute_name":"公開日","attribute_value":"2017-10-05"},"publish_date":"2017-10-05","publish_status":"0","recid":"6849","relation_version_is_last":true,"title":["敦煌における変文と絵画―再び牢度叉闘聖変（降魔変）を中心に―"],"weko_creator_id":"3","weko_shared_id":3},"updated":"2023-05-15T14:14:52.324807+00:00"}