WEKO3
-
RootNode
アイテム
東寺の三副古本両界曼荼羅について―いわゆる「真言院曼荼羅」の検討―
https://tobunken.repo.nii.ac.jp/records/6931
https://tobunken.repo.nii.ac.jp/records/693155747d22-a0a6-49ca-b5cd-d1cbc0bad579
| 名前 / ファイル | ライセンス | アクション |
|---|---|---|
189_1_Takada_Redacted.pdf (40.0 MB)
|
.png)
|
| Item type | 学術雑誌論文 / Journal Article(1) | |||||||||
|---|---|---|---|---|---|---|---|---|---|---|
| 公開日 | 2016-12-27 | |||||||||
| タイトル | ||||||||||
| タイトル | 東寺の三副古本両界曼荼羅について―いわゆる「真言院曼荼羅」の検討― | |||||||||
| タイトル | ||||||||||
| タイトル | Researches on the So-called “Shingon-in Mandala,” an Old Ryokai Mandala of the Small Size, Owned by the Toji Monastery, Kyoto | |||||||||
| 言語 | en | |||||||||
| 言語 | ||||||||||
| 言語 | jpn | |||||||||
| キーワード | ||||||||||
| 主題Scheme | Other | |||||||||
| 主題 | 三副古本両界曼荼羅胎蔵界観音院・胎蔵界中台八葉院・金剛界理趣会・胎蔵界千手観音（京都 教王護国寺蔵）伝真言院曼荼羅 | |||||||||
| キーワード | ||||||||||
| 言語 | en | |||||||||
| 主題Scheme | Other | |||||||||
| 主題 | Researches on the So-called “Shingon-in Mandala,” an Old Ryokai Mandala of the Small Size, Owned by the Toji Monastery, Kyoto | |||||||||
| 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
|
|||||||||
| 抄録 | ||||||||||
| 内容記述タイプ | Abstract | |||||||||
| 内容記述 | Among the several pairs of Ryōkai Mandala (a set of two graphic hierarchic diagrams of Buddhist divinities, Taizōkai, Garbhadhātu and Kongōkai, Vajradhātu) owned by the Tōji (otherwise known as Kyōōgokokuji) in Kyoto, the subject pair, each consisting of three joined vertical sheets of silk and each measuring 183.5 cm. in height and 163 cm. in width, is the oldest as well as high in artistic value and in fine state of preservation. According to the tradition of the monastery, it was used in esoteric services at the Shingon-in Hall in the Imperial Palace; it therefore is known as “the Shingon-in Maṇḍala.” Because of its unique style and its old age, it is a very important specimen in the history of Japanese art, but thorough studies on it have not yet been made due to various difficult problems involved. The present writer, who has had the opportunity to study it in details, reports the result of his researches and discusses on the problems relating to it. 1) The Ryōkai Mandala Used at the Shingon-in : - The Shingon-in Hall in the Imperial court was established in the year 834 at the application of Priest Kūkai, imitating the T'ang system of maintaining a Buddhist ritual hall in the court. It was the place for the annual esoteric ritual performed during the second week (the eighth to tenth days) of the first month. The ritual was usually presided over by the head priest from the Tōji Monastery, and the object of worship in the ritual was a Ryōkai Maṇḍala. The first mandala used at this hall was a pair of large paintings, each consisting of nine joined sheets of silk, hung on the walls in the building; during the middle of the eleventh century, the mandala pictures were painted on wooden walls in the hall to serve as the setting of the ritual; and in the Nambokucho Period (1338-1392) a pair of silk paintings in the form of hanging scrolls began to be used again. As far as known to date, there is no historical evidence that the subject pair in the Tōji was used at the Shingon-in. 2) The history of the subject pair : - The writer has made detailed researches on literary sources concerning the mandala paintings owned by the Tōji, but has so far failed to find any mention of the subject pair. It appears that the one which is recorded to have originally been in the Sai-in (the building now called Miei-dō) at the Tōji bears the closest resemblance in size and age to the pair under discussion. It is said that the mandala in the Sai-in was loaned to the Ninnaji Monastery during the last quarter of the twelfth century, and had not been returned to the Tōji at least by the middle of the fourteenth century. Considering that the archives of the Tōji in and after the Muromachi Period (fourteenth to sixteenth centuries) are not always exhaustive, however, it is possible that it was given back during the Edo Period (seventeenth to nineteenth centuries), and that the present box for it was made at that time. If such a case is admissible, it is highly probable that the said maṇḍala in the Sai-in is identical with the subject paintings. 3) The inscription on the box : - The box containing the paintings under discussion dates from the Edo Period, but on the back of its cover is an inscription in cinnabar lacquer including a date of the year Shōtai 2 (A. D. 899). The inscription is written on an old wood tablet enbedded in the cover, and its first character appears to have been erased for purpose. This fact has never been noticed heretofore. The calligraphic style of the inscription, as judged by an expert in this field, points to the late eleventh to the twelfth century. It is hardly probable that the inscription found on the cover refers to the paintings contained in the box. Strangely enough, however, its date appears to correspond approximately to the stylistic age of the paintings. The inscription may have been written, or copied from a previous writing, in a later period, but it probably has some connection or other with the subject maṇḍala. 4) Iconographic researches: - The iconographic characteristics of the present maṇḍala are almost perfectly similar to those of other maṇḍalas and iconographic descriptions in scriptures which the writer has studied heretofore, while it contains various minor discrepancies such as, for example, the number of the deities depicted. Maṇḍalas used in the Shingon Sect of esoteric Buddhism (to which the Tōji belongs) can be roughly classified iconographically into three groups. The maṇḍala in our present concern does not belong to any of them, and show an independent type of its own. 5) Stylistic researches: - The present maṇḍdala is characterized by the rounded faces of the deities, their eyebrows in single continued curves, their limbs relatively short and thick, the rigid but powerful drawing in “wire lines” (fine lines of even breadth), the colouring emphasizing the primary colours and bright “shading” (bands of gradating colours along contouring lines), and the general effect of rich expressiveness. The pigments used are chiefly dark blue (azurite), green (malachite), vermilion (cinnabar), yellowish red (red lead), white (white lead), and purple (blending of certain organic substances). The paintings, remaining in good state of preservation, retain the original colours fairly well, but there are some retouched colours in detailed parts. The writer's exhaustive studies through X-ray radiography, infra-red photography and colour photography have brought to light various matters regarding the stylistic characteristics of the maṇḍala which had heretofore been unnoticed. 6) Stylistic and chronological problems: - The style of this mandala represented by the abovementioned characteristics is, briefly speaking, exotic. It is presumable that Indian paintings probably imported together with esoteric Buddhism, to the T'ang China, and Chinese paintings of the T'ang Dynasty during the eighth to ninth centuries which were flavoured with various foreign elements, including Indian as well as Central Asian ones, contained such “exotic” style different from what is generally termed the T'ang style; and that the influence of such Chinese paintings was at work in Japan in the Early Heian Period (ninth century). The subject maṇḍala is not a Chinese or foreign work. It shows a native Japanese flavour in style, proving that it dates from a period in which Japanization had considerably developed. Its manner of depiction as well as colouring, however, reveals a relatively old age among its kind. Evidently it antedates the maṇḍala pictures painted on the wooden panels inside the Five-storied Pagoda at the Daigoji Monastery in Kyoto (A.D. 951). Stylistically it is probably along the same line as the statue of Nyoirin Kannon (Cintāmanicakra) in the Kanshinji Monastery, Osaka. In age, too, it is approximately the same as the latter or perhaps slightly later; in other words, it seems reasonable to put its age in somewhere around 899, the date of the later inscription found on the back of the box-cover. |
|||||||||
| 書誌情報 |
美術研究 en : The bijutsu kenkyu : the journal of art studies 号 189, p. 1-32, 発行日 1957-03-20 |
|||||||||
