{"created":"2023-05-15T13:35:37.849655+00:00","id":6939,"links":{},"metadata":{"_buckets":{"deposit":"7c3f8fc4-af43-4174-8200-e5485bd08676"},"_deposit":{"created_by":3,"id":"6939","owners":[3],"pid":{"revision_id":0,"type":"depid","value":"6939"},"status":"published"},"_oai":{"id":"oai:tobunken.repo.nii.ac.jp:00006939","sets":["20:1178:1190"]},"author_link":["28108","28109"],"item_10001_biblio_info_7":{"attribute_name":"書誌情報","attribute_value_mlt":[{"bibliographicIssueDates":{"bibliographicIssueDate":"1957-03-30","bibliographicIssueDateType":"Issued"},"bibliographicIssueNumber":"191","bibliographicPageEnd":"49","bibliographicPageStart":"28","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":"     Taking the advantage of Mr. Kumagai's introduction of the interesting casket from Kucha brought back by the Ōtani Mission, I should like to present here, for reference, three caskets which the Pelliot Mission discovered in the same region and which are now in the Musée Guimet in Paris. Two of them, herein designated A and B, I was allowed by the authorities of the Musée Guimet to examine and photograph during my stay in Paris in 1951. The third one (C) was placed on public view for the first time in 1956 in the exhibition “Sculptures et Peintures de l'Asie Centrale-Inedits de la Mission Pelliot.” Mlle. Madeleine David of the same museum was kind enough to send me detailed photographs of it. I remain enormously indebted for all these kindnesses.\n     All three, like the one brought back by the Ōtani Mission (herein referred to as the Ōtani casket), were made by hollowing one wooden block on a turning wheel. Each has a cylindrical body (container) and a conical cover, so that its overall appearance is what may be described as a hat box or face-powder box shape. The shape is similar to that of the caskets frequently found in wall-paintings in the Cave-temples at Kizil and Kum-tura, notably in the scenes of “distributing the sacred ashes” after the Buddha's death (Figs. 8 & 9). The sizes of the Pelliot caskets are slightly smaller than the Ōtani casket (A: height 16. 4cm., diametre 23.5 cm. ; B: height 21. 5cm., diametre 20.5cm. ; C: height 14. Ocm., diametre 20.5cm.).\n     The wooden base was coated with a priming of white pigment, and subsequently painted all over in dark purple. Over this ground colour, the designs were drawn with white lines and accented with a colouring of yellow ochre. The colour scheme is simple but very effective. The surface was finally covered with a film of transparent oil, which served to protect the colours as well as to produce a beautiful gloss. (This method of applying oil over colour painting was introduced from China to Japan; its examples are found on some of the treasures in the Shōsō-in Reposity in Nara, as well as on various objects dating from the seventh to ninth centuries).\n     The decorations of the three caskets have different motifs. Casket A (Pl. V; Figs. 6 & 7) has, on its cover, six medallions surrounding a central medallion which encloses a floral design. Each of the six outer medallions has a naked cherub playing music or dancing. The cherubim, like those on the cover of the Ōtani casket, have shaven heads except for the forelocks and side locks. This charateristic is also found on the figures of heavenly beings in the wall-paintings at Shrine 3, Miran. The cherubim are similar in many respects also to those engraved on the bronze bowl of the post-Gupta period which Coomaraswamy mentioned in Ostasiatische Zeitschrift (1930) as a northwest Indian object. Half of the cherubim are musicians, playing respectively a harp, a horizontal drum, and small paired drums connected by a string. Instead of wings the cherubim on this casket have capes hanging on their backs. (These are interesting as being illustrative of the transitition from winged heavenly figures of Western origin to the Chinese-style wingless apsaras with fluttering scarves.) The medallions as well as the cover itself are hemmed with bands of triangular tooth shaped pattern; this border design is uncommon, while the “pearl bands” as on the Ōtani casket is a more recurrent motif. Between the six medallions are bird figures such as were seen on the Ōtani casket, but those on this piece are conventionalized depictions of hansa (a type of swan in India). The sides of the container have bands of tooth shaped pattern above and below, and the large space between them is filled with decorative patterns of wavy stems with palmette-form leaves.\n     In comparison with this, the design of Casket B (Figs. 10-12) is cruder and simpler and is inferior in its state of preservation. The cover also has a floral design at the centre, surrounded by five medallions with tooth shaped pattern borders. The motifs of the medallions are repetitions of similar conventionalized birds one in each medallion. The sides have waving arabesque patterns like Casket A, in which, the techniqus has become degenerate.\n     Casket C is slightly smaller than A and B, and its surface is much more deteriorated. However, from the photographs, the ornamentaiton appears to be of a different quality from the other two. It is especially notable that the decoration on the sides of its body contains elements similor to the Ōtani casket. There are four medallions on the sides at regular intervals and between them are two alternate patterns of different motifs. One of motifs is a tree with three boughs, the boughs having on their ends multiple concentric circles represen second motif is an inverted oval design containing numerous berries. This unusual design is probably a highly stylized depiction of grapes. The oval design are flanked on each side by a human figure seated cross-legged. These figures (four in all) wear animal masks, and tight clothes resembling those worn by the figures of musicians and dancers on the Ōtani casket. Two of them play music: one with a lute with a slender body and bent the other with a lute with a round body, both similar to the instruments found in wall-paintings of the first period at Kizil. Inside each of the four medallions is a seated figure. The cover also appears to have had tree motifs and medallions enclosing human figures, but its surface is now too damaged to clearly discern them.\n     According to his unpublished diary written during his expedition in Central Asia, Pelliot and his party excavated the site at Subashi in Kucha, in June and July of 1907. The site is the ruins of a large Buddhist temple extending over both sides of the River Kucha; among the mains ruined stupa-shrines surrounded by a wall, one located near the bank and approximately at the centre of the western precinect of the temple ruins. Here Pelliot excavated twelve wooden and clay caskets (cinerary urns or boxes). The three caskets discussed here are among the pieces collected at that time. The diary states that Casket A, found wrapped in hide, was in an especially fine state of preservation; that Casket B had probably been originally placed in a couple of urns joined mouth to mouth, and that it contained “ashes, pieces of gold leaf, a small bag with teeth, and four piece of wu-chu coins.”\n     Since details of the discovery of the caskets in the Musée Guimet are known, they are specially valuable reference materials in studying the Ōtani casket where no record of the discoyery was made. Of the three, A is the oldest in style, and C and B are next. The existance of the wu-chu coins leads us to date them in the sixth century, or perhaps the first half of the seventh century at the latest.","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":"2016-12-27"}],"displaytype":"detail","filename":"191_28_Akiyama_Redacted.pdf","filesize":[{"value":"23.8 MB"}],"format":"application/pdf","licensetype":"license_11","mimetype":"application/pdf","url":{"label":"191_28_Akiyama_Redacted.pdf","url":"https://tobunken.repo.nii.ac.jp/record/6939/files/191_28_Akiyama_Redacted.pdf"},"version_id":"0c7117e7-6a00-487e-b99e-592921903520"}]},"item_keyword":{"attribute_name":"キーワード","attribute_value_mlt":[{"subitem_subject":"スバシ出土舍利容器A（パリ　国立ギメー美術館蔵）","subitem_subject_scheme":"Other"},{"subitem_subject":"The Three Wooden Caskets from Subashi in the Kucha Region, Brought Back by the Pelliot Mission","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":"ペリオ将来のスバシ出土木製舍利容器三種","item_titles":{"attribute_name":"タイトル","attribute_value_mlt":[{"subitem_title":"ペリオ将来のスバシ出土木製舍利容器三種"},{"subitem_title":"The Three Wooden Caskets from Subashi in the Kucha Region, Brought Back by the Pelliot Mission","subitem_title_language":"en"}]},"item_type_id":"10001","owner":"3","path":["1190"],"pubdate":{"attribute_name":"公開日","attribute_value":"2016-12-27"},"publish_date":"2016-12-27","publish_status":"0","recid":"6939","relation_version_is_last":true,"title":["ペリオ将来のスバシ出土木製舍利容器三種"],"weko_creator_id":"3","weko_shared_id":3},"updated":"2023-05-15T14:11:09.712869+00:00"}