WEKO3
アイテム
板光背像について
https://tobunken.repo.nii.ac.jp/records/6970
https://tobunken.repo.nii.ac.jp/records/697054cfeff0-0e9f-46e7-8ac5-4ac7750aba2f
| 名前 / ファイル | ライセンス | アクション |
|---|---|---|
199_1_Kuno_Redacted.pdf (48.6 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 | 板光背像について | |||||||||
| タイトル | ||||||||||
| タイトル | On Buddhist Statues with “Flat Board” Haloes | |||||||||
| 言語 | en | |||||||||
| 言語 | ||||||||||
| 言語 | jpn | |||||||||
| キーワード | ||||||||||
| 主題Scheme | Other | |||||||||
| 主題 | 薬師如来像脇侍光背十二神将像・薬師三尊像（奈良 霊山寺蔵）・釈迦如来像（奈良 室生寺蔵）・聖観音菩薩像（奈良 融念寺蔵） | |||||||||
| キーワード | ||||||||||
| 言語 | en | |||||||||
| 主題Scheme | Other | |||||||||
| 主題 | On Buddhist Statues with “Flat Board” Haloes | |||||||||
| 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 |
久野, 健
× 久野, 健
× Kuno, Takeshi
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| 抄録 | ||||||||||
| 内容記述タイプ | Abstract | |||||||||
| 内容記述 | Among Japanese Buddhist statues there are some which have haloes of the type termed “flat board” haloes (ita kōhai), consisting of two or three bourds of wood, fashioned into shapes matching the statues, and painted in colours on the surface. This small article discusses when such statues began to appear and what character they have. The distribution of the existing statues with “flat board” haloes is concentrated in Nara Prefecture, and extends over Kyūshū in the west to Nagano Prefecture in the east. That is to say, it covers the old western cultural sphere of Japan centered around Nara. Most of these statues date from between the tenth and thirteenth centuries. At the time the capital of Japan was Kyoto, and first-rate Buddhist sculpters worked in or near Kyoto. The distribution of the statues with “flat board” haloes, however, proves that there were some also in the old capital Nara where old temples were numerous. Compared with the current style in kyoto, the style of Nara sculptors was richer in antique effect: the method of carving known as ichiboku (“single wood-block”), which had been fashionable during the ninth century, was still in use, and the faces of statues frequently showed the style of the previous epoch. In considering when and how such statues began to be made, the author believed it would be the first thing to study the source of the style of the Sakyamuni in the Main Hall at the Murō-ji, Nara, for this is the oldest of existing statues with “flat board” haloes and is very original in style. His studies did not lead to the discovery of any probable source ; he failed to find any earlier work of Japanese sculpture from which the style of the Murō-ji statue or its halo could have evolved. The fact that the source cannot be found in existing specimens of Japanese sculpture does not immediately mean that it should be sought in Asiatic Continent. However, original Japanese styles in ancient art, created within Japan free from Continental influenece, never reached beyond a certain extent. The various new elements contained in the Murō-ji statue certainly transcend such extent. Furthermore, other statues showing more or less similarity to the Murō-ji specimen are such foreignstyle works as the Bhaisajya-guru at the Shōji-ji, Kyoto and Ekadasamukha at the Bizō-ji, Shiga which are richly imbued with Continental style and the Sakyamuni at the Seiryō-ji, Kyoto which was brought from China. It seems natural that the origin of statues with “flat board” haloes should be sought in the Continent. Works of art now existing in the Continent include only a very few specimens after the middle of the T'ang Dynasty, but mention can be made of the wall-paintings at Bäzäklik in Central Asia. In these paintings there are some Buddhist images, with haloes decorated with colour paintings and with fine Fold-lines of the drapery, which are very much like the Sakyamuni statue in the Murö-ji. Most of these images cannot date back to earlier than the Five Dynasties, but their prototypes must have existed in the middle to late T'ang. It is highly probable that the style of such images was introduced to Japan in about the ninth century and gave birth to the Murō-ji statue. Japanese arts in this period were freeing themselves from Continental influence and taking on native Japanese aspects. The statue in the Murō-ji has little of the sharp, powerful effect which characterizes Chinese art, and shows a gentle grace favoured by the nobility of the time. The Japanization is still more evident in later statues. Perhaps colour-painted statues with “flat board” hloes did not suit the liking of the metropolitan nobility. They ceased to be made by sculptors in Kyoto, and were apparently carved only by sculptors working for temples in Nara and in local provinces. Few of them are found in large, important temples, not only in Kyoto but in Nara as well. They mostly remain in relatively minor temples. This fact is probably due to the reason just mentioned. |
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| 書誌情報 |
美術研究 en : The bijutsu kenkyu : the journal of art studies 号 199, p. 1-34, 発行日 1958-12-22 |
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