{"created":"2023-05-15T13:35:38.833628+00:00","id":6961,"links":{},"metadata":{"_buckets":{"deposit":"1e7d3e59-1d8e-4406-9d62-6f3f47b72242"},"_deposit":{"created_by":3,"id":"6961","owners":[3],"pid":{"revision_id":0,"type":"depid","value":"6961"},"status":"published"},"_oai":{"id":"oai:tobunken.repo.nii.ac.jp:00006961","sets":["20:1178:1195"]},"author_link":["28155","28154"],"item_10001_biblio_info_7":{"attribute_name":"書誌情報","attribute_value_mlt":[{"bibliographicIssueDates":{"bibliographicIssueDate":"1958-03-25","bibliographicIssueDateType":"Issued"},"bibliographicIssueNumber":"196","bibliographicPageEnd":"55","bibliographicPageStart":"46","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":"     At the recent researches on the wall-paintings inside the Five-storied Pagoda, Daigo-ji, Kyoto, the present writer was in charge of studies from the viewpoint of the history of painting. The wall-paintings, remaining unretouched and datable with accuracy, are very important specimens affording us stylistic as well as technical materials.\n     The wall-painting are happy combinations of two different purposes: as a religious necessity to represent the Ryōkai Mandara and the Eight Forefathers of Shingon Buddhism, and as a decoration with which to adorn the interior of the building. The paintings, together with ornamental patterns painted in rich colours on various parts of the interior, create a world of fascinating beauty.\n     The panels are all coated with a blue ground colour, over which numerous Buddhist images are executed in bright colours, and are bordered with band of large floral patterns on red ground. The pillars and the members on the upper parts of the walls have a coating of either green or blue, on which the patterns are universally painted in red, presenting the simple but very strong colour contrast of red against green or blue. In comparison with the wall-paintings in the Phoenix Hall at the Byōdo-in, Kyoto done a century later, where intricate colour contrasts create a fanciful dream-like effect, those in this pagoda give an impression of outspoken clearness. This effect should be a result of the sound, creative spirit of the mid-tenth century in which the aristocratic culture of native Japanese flavour was beginning to establish itself.\n     Among the paintings showing the Ryōkai Mandara, those on the boards covering the central pillar, depicting the central portions of the maṇḍalas, are more elaborate in style. Probably these were done by the most important of the artists participating in the work. The boards are coated with a priming of white clay (kaolin), on which black lines are drawn crosswise to allocate the images. Within these squares, the figures and clothings of the deities are contoured in free drawing. This drawing is a precise, unaccentuated, forceful one characteristic of the age. The bodily parts and the clothings are subsequently painted in colours, over which are added vermillion or black finishing lines as well as gradating colour bands and decorative patterns. The manner of these finishing touches is evidently cognizable on the image of Cuṇḍe-bhagavatī shown in Pl. II.\n     The paintings on the shiten-bashira are approximately similar in technique to those on the abovementioned boards. The image of Avalokiteśvara (Pl. IV-a), where the surface pigments have come off, discloses the process as stated above, and that of Cakra-vajradhara (Pl. IV-b) retains its original beautiful colouring fairly well.\n     It should be noted that in the images of the Ryōkai Mandara on the panels in the renji windows, notably the deities in the outermost compartment of the Garbhadhātu Mandala, some instrument (kata*) was used to prescribe the locations and size of the images which are regularly arranged in two horizontal rows and five vertical columns. Exposed under the lost pigments, or through X-ray radiography, traces of marks, made by something like hot iron, are seen on the wooden base. The colouring in these paintings is simpler than those on the shiten-bashira and the boards covering the central pillar. Most of the images here are in the appearance of Bodhisattvas, but the writer has chosen for reproduction the deity Vāyu among them in order to introduce an exceptional specimen (Pl. I).\n     The Eight Forefathers of Shingon Buddhism on the wainscot panels are much damaged, only their heads remaining comparatively well. Painted after the models of the Seven Shingon Forefathers in the Kyōōgokoku-ji (Tō-ji), Kyoto (of which five are T'ang paintings), they are the earlist set of the Eight Shingon Forefathers existing in Japan. While the paintings in the Kyōōgokoku-ji emphasize vivid portrayal, those in the Daigo-ji, though copying them considerably faithfully, are inevitably conventionalized to a certain degree.\n     The paintings on the door-leaves have lost most of their colours, but they show traces of large images of standing Bodhisattvas or Devas. Having much in common with the deities in the maṇḍala in their faces and in the manner of dipiction and colouring, they are believed to be original paintings dating from the same time as the building.\n     In addition to the above-mentioned images on the walls, door-leaves and others, there are colour washes and coloured patterns on various parts in the first floor of the pagoda. The ungen (“rainbow”) colouring employed on the patterns is significant transitional examples of its kind between the Nara and Fujiwara Periods.\n\n     * This term is hard to translate. It may mean any of a mould, stencil, stamp, engraved wood-block, etc. as a means of making many similar pieces or patterns. - Translator","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":"196_46_Akiyama_Redacted.pdf","filesize":[{"value":"16.3 MB"}],"format":"application/pdf","licensetype":"license_11","mimetype":"application/pdf","url":{"label":"196_46_Akiyama_Redacted.pdf","url":"https://tobunken.repo.nii.ac.jp/record/6961/files/196_46_Akiyama_Redacted.pdf"},"version_id":"03048778-f6bf-47f2-aa12-8cba846e5dc4"}]},"item_keyword":{"attribute_name":"キーワード","attribute_value_mlt":[{"subitem_subject":"Technical and Stylistic Characteristics of Wall-paintings in the Five-storied Pagoda, Daigo-ji Monastery","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":"醍醐寺五重塔壁画の様式と技法に就いて","item_titles":{"attribute_name":"タイトル","attribute_value_mlt":[{"subitem_title":"醍醐寺五重塔壁画の様式と技法に就いて"},{"subitem_title":"Technical and Stylistic Characteristics of Wall-paintings in the Five-storied Pagoda, Daigo-ji Monastery","subitem_title_language":"en"}]},"item_type_id":"10001","owner":"3","path":["1195"],"pubdate":{"attribute_name":"公開日","attribute_value":"2016-12-27"},"publish_date":"2016-12-27","publish_status":"0","recid":"6961","relation_version_is_last":true,"title":["醍醐寺五重塔壁画の様式と技法に就いて"],"weko_creator_id":"3","weko_shared_id":3},"updated":"2023-05-15T14:11:56.160670+00:00"}