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紀年銘あるクシャーナ時代のマトゥラー仏について
https://tobunken.repo.nii.ac.jp/records/6911
https://tobunken.repo.nii.ac.jp/records/69111dfea9c9-c273-4c60-913d-1d8f58869f3f
| 名前 / ファイル | ライセンス | アクション |
|---|---|---|
184_95_Takada_Redacted.pdf (19.9 MB)
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| アイテムタイプ | 学術雑誌論文 / Journal Article(1) | |||||||||
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| 公開日 | 2016-12-27 | |||||||||
| タイトル | ||||||||||
| タイトル | 紀年銘あるクシャーナ時代のマトゥラー仏について | |||||||||
| タイトル | ||||||||||
| タイトル | On the Dated Buddha Images in the Kushan Art of Mathura | |||||||||
| 言語 | en | |||||||||
| 言語 | ||||||||||
| 言語 | jpn | |||||||||
| キーワード | ||||||||||
| 言語 | en | |||||||||
| 主題Scheme | Other | |||||||||
| 主題 | On the Dated Buddha Images in the Kushan Art of Mathura | |||||||||
| 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 |
高田, 修
× 高田, 修
× Takata, Osamu
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| 抄録 | ||||||||||
| 内容記述タイプ | Abstract | |||||||||
| 内容記述 | After having shown the necessary informations and references at our diposal of all the dated Kushân Buddha-Bodhisattva images of Mathurâ which amount to twenty-two in number, arranged in chronological order in accordance with their dating, the present author has tried to examine several images among them that have been the objects of argument, specially referring to and criticizing on the new theory advanced by Mrs. J. E. van Lohuizen-de Leeuw. Of the dated Buddhas, the pedestal of a standing Buddha dated the year 14 (fig.1), deserves first mention, but because of its bad mutilation, it cannot be used for the stylistic study, though the inscription contains an interesting palaeographical problem. On the seated Buddha (Bodhisattva) of the year 64 from Bodhgayâ (fig. 2) and the standing Buddha from Maholi (fig. 3), in spite of their being in a good state of preservation, the author still hesitates to regard them as stylistic criteria of the Kushân art, for the former has been attributed by some scholars to a date as late as the early Gupta, and the date of the latter is still problematic as was doubted by van Lohuizen-de Leeuw. Then the author, commenting on the last-named scholar's theory that assumes in the Post-Kushân inscriptions the figure for 100 was generally omitted when dating without mentioning the name of the ruling monarch, has checked up whether the stylistic changes would correspond to the proposed dates, each a century later than the inscribed one. Observations on three examples, all Jina images dated in the years respectively 15, 22 and 33, which she could not utilize for her purpose owing to the unavailableness of their photographs (fig. 4, 5,.8), show that her hypothesis seems to be possibly acceptable. And the same argument would be applied to those two Buddhas, both dated in the year 22 (fig. 9, 10). But in the case of the seated Buddha from Anyor of the year 51 without ruler's name (fig, 11), it is difficult to give a real date to this image worked on the influence of the Gandhâra art. One may not be fully persuaded of her argument, in which, even admitting an exception of her:own theory and without referring to palaeography, she tried to show that this Buddha-type ought to belong to the middle of the first century of the Kaniṣka era, while the other type exemplified by the above-mentioned Buddha of the year 22 (fig. 9) could be dated a century later. According to her, all Buddhas of the same type fall in the same period, so naturally the seated Buddha in the Indian Museum (fig. 12) too, and its doubtful date may be restored to be the year 50, though the Buddha in question obviously indicates the later style than that of the year 51. In this way the author, after re-examining those debatable images, has underlined that only a very few works among the dated Buddhas deserve to be used as the chronological and stylistic criteria in the development of the Kushân Mathurâ art, and that the Buddha (Bodhisattva) of the year 3 from Sârnâth (fig. 13) and that of the year 39 in the Indian Museum (fig. 14) could be the representatives respectively among those of the standing and right-shoulder-bared type and the seated and right-shoulder-bared one. Lastly he has emphasized that the style-critical researches should be done carefully in treating the dated Buddha and Jina images. As an appendix, the author has published a colour-reproduction of the interesting relief representing the Bodhisattva and Worshippers owned by the Yamanakas, Kyoto, and discussing its stylistic position to be occupied among the Mathurâ sculptures, has proposed to date it in the late Kushân or the early Post-Kushân. |
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| 書誌情報 |
美術研究 en : The bijutsu kenkyu : the journal of art studies 号 184, p. 95-109, 発行日 1956-03-25 |
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