{"created":"2023-05-15T13:35:43.586487+00:00","id":7056,"links":{},"metadata":{"_buckets":{"deposit":"588549c0-061a-4c0c-a94c-aa9941819755"},"_deposit":{"created_by":3,"id":"7056","owners":[3],"pid":{"revision_id":0,"type":"depid","value":"7056"},"status":"published"},"_oai":{"id":"oai:tobunken.repo.nii.ac.jp:00007056","sets":["20:1200:1219"]},"author_link":["28356","28357"],"item_10001_biblio_info_7":{"attribute_name":"書誌情報","attribute_value_mlt":[{"bibliographicIssueDates":{"bibliographicIssueDate":"1955-03-30","bibliographicIssueDateType":"Issued"},"bibliographicIssueNumber":"179","bibliographicPageEnd":"40","bibliographicPageStart":"29","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":"     The Kyō-ō-gokoku-ji in Kyoto, popularly known as the Tō-ji, is one of the oldest and the most important of monasteries of the Shingon sect of Buddhism, and is famous for its large collection of paintings, sculptures and decorative art objects from the Heian Period (9th to 12th centuries). In this collection there exists an old chest (karabitsu) with six legs for containing Buddhist scriptures or other objects, which has been preserved since early times in the monastery where it has bee traditionally called “the karabitsu from the Engi era” (901-922). The chest attracts our special interest for the rare genre paintings ornamenting its surface (Pls. II-V). The paintings are now so much stained with time that they are almost indiscernible to the naked eye. We made an exhaustive examination on this box in spring of 1954, and, with the help of infra-red photography, X-ray photography and ultra-violet illumination, succeeded in disclosing the subjects of these paintings as well as the method with which they were executed. The present article is a report of this examination.\n     The appearance and the detailed dimensions of the chest are as shown in Figs. 1 and 2. To summarize, the chest is a large wooden box 82. 4cm. in length, 53. 6cm. in width and 49. 1cm. in height. Each side consists of a single piece of wood about 1cm. thick. The box has six legs, two each on the front and the back side and one each on the right and left sides, holding the base of the box at the height of 12cm. On the upper portion of each of the front and back sides remain two metal pieces for the bases of hinges and locks to secure the cover, but the cover itself is now missing. The form of the box as well as the designs of the metalwork pieces reveal a style intermediate between those of the many similar boxes from the Nara Period (8th century) preserved in the Shōsō-in Repository of Imperial Treasures in Nara (Fig. 3) and of examples from the Late Heian Period (11th and 12th centuries) in the Hõryū-ji Monastery and other collections. It can be fairly presumed that the box under discussion dates from the late ninth or early tenth century, a period coinciding by and large with the era mentioned in the monastery tradition.\n     The wood material, showing its beautiful grains, appeared obviously different from the cryptomeria or cypress wood commonly used for karabitsu boxes. Upon our request the botanist, Prof. OBARA Jirō of the Saikyō University examined it, and made it clear that it was kusunoki or camphor wood (Cinnamomum Camphora SIEB, the tree growing in Japan and southern China from which comphor is obtained). The fact that this expensive material was used for this box in wide planks testifies that the box was not simply a container for utility, but that it evidently had an ornamental purpose as well. This same intention is revealed even more clearly by the existence of ornamental paintings on the four sides of the box.\n     Studies on these paintings by various optical methods, especially by the use of an ultra-violet lamp, disclosed that they are executed in a method as follows. The contours are drawn in black (China incre de chine ink) directly on the wood. Upon this drawing, the pigments of white (white lead, or basic lead carbonate), red (cinnabar), blue (azurite) and green (malachite) colours are applied with the medium of glue. The paintings are subsequently finished by adding black lines over the colours. This method is the one commonly employed in ancient Japanese colour painting, but it is unusual that the present box is coated all over the paintings with vegetable oil. The oil coating, like the varnish used in Western painting, serves to protect the paintings as well as to give them a glossy surface.\n     Recent researches through scientific methods proved that the practice of covering paintings with oil coating was applied, as far as known to date, on seventeen items among the decorative art objects in the Shōsō-in Repository. It is believed that this method, probably imported from the Asiatic Continent, was frequentry used in Japan during the Nara Period (8th century) and went out of use in the following Heian Period. The fact that this old technique was still in use on this box proves that we can safely ascribe its making to the ninth or early tenth century.\n     Although the oil coating has served to protect the paintings, the oil itself has turned dark-brown to cause the pictures under it to be hardly discernible. Thanks to infra-red and X-ray photography, the four paintings have been brought to light in details.\n     Each of the four paintings chiefly depicts several Chinese figures in the manner of the T'ang Dynasty. The front one (Pls. III-b, IV & V) shows, in the centre, a cock in a large bamboo basket, four children on its left, and two men on its right, the last-mentioned group taking care of the cock and cheering it on. The manner of the children's hairdo tied on both sides of their heads, the black hoods worn by the men, and the costumes of all of them, show fashions of Tang China. Furthermore, the cock kept in a basket tells that the picture deals with the tou-chi (cock-fighting), the game which was in vogue in the T'ang Dynasty, notably around the time of the Emperor Hsüan Tsung A passage in the Tung-ch'êng-lao-fu-chuan, stating that Hsüan Tsung used to nominate clever young boys as cock raisers in his court, accounts well for the existence of boys by the basket in this scene. The painting on the right side of the box, showing three spectators walking, is a continuation of the front one.\n     The back and left sides form another series, presenting a scene of nung-wan (“ballperformance”), a feat of throwing up and catching balls. The picture on the back side (Pl. II & Fig. 4) shows, in the middle, a man performing the feat, and on his left, two seated men beating time. The left side painting (Pl. III, a) depicts two adults (one of whom appears to be a woman) and a child approaching to the scene of performance. Both the tou-chi and the nung-wan are old enjoyments originated in the Han Dynasty, and are found illustrated on relief carvings on stones from that ancient period (Fig. 5). They became very popular in the T'ang Dynasty, and were frequently presented on show at festivals and other occasions.\n     The subject matters in these paintings on the karabitsu, thus, deal with Chinese manners, but the style of their depiction, together with that of the box itself, is evidently in the Japanese mode. In other words, the paintings represent kara-e (“Chinese painting,” meaning painting relating, in some way or other, to China), the kind of Japanese painting specializing in subjects from manners and customs of China, especially of the T'ang Dynasty, which were much favoured among the Japanese nobility of the Heian Period. The stylistic traits of these paintings agree, chronologicaly, with the form of the box and the derivation of the technique of coating paintings with oil, all indicating to the epoch from the ninth to tenth centuries. To speak in greater details, the depiction of the figures in them, especially of their faces, reveals a kind of transfigured (or freer) version of the T'ang style noticed in Chinese paintings as well as in Japanese works of the eighth century preserved in the Shōsō-in Repository. (Compare Pl. II with Fig. 6, which reproduces, enlarged, the picture of a man performing the nung-wan painted on the stem of a bow in the Shōsō-in.) On the other hand, the technique of “shading” (more exactly, a manner of colouring along contouring lines) on the figures and their clothing, proves that the imported Chinese method had not yet been Japaniscized enough at the time the box was made.\n     From the above-mentioned points of view, the box under discussion contains a great significance in the history of Japanese painting. Heretofore, we had no specimen at all of Japar ese genre painting from the first half of the Heian Period: there existed a wide gap in art history between the afore-mentioned objects of the eighth century in the Shōsō-in and the mural-paintings of the middle eleventh century in the Phoenix Hall (Hō-ō-dō) at the Byōdō-in Monastery in Kyoto. The paintings on the present box supply us a stepping stone placed in this blank space. Particularly interesting in these paintings is the depiction of the figures in them which are rich in motion and in humorous expression. These elements immediately remind us of the similar traits featuring the “Ban Dainagon Ekotoba,” the “Shigisan Engi” and other scroll-paintings dating from the middle of the twelfth century. It has heretofore been considered that such a style of depiction, presenting motion and humorous expressions of figures, was the result of an artistic activity newly developed towards the close of the Heian Period. Recently, however, we are inclined to think that the origin of this style had existed throughout the Heian Period within the métier of professional genre painters chiefly centering around the imperial court. The existence of the present karabitsu with its paintings from the ninth or tenth century gives us a sound basis for such presumption.","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":"179_29_Akiyama_Redacted.pdf","filesize":[{"value":"17.6 MB"}],"format":"application/pdf","licensetype":"license_11","mimetype":"application/pdf","url":{"label":"179_29_Akiyama_Redacted.pdf","url":"https://tobunken.repo.nii.ac.jp/record/7056/files/179_29_Akiyama_Redacted.pdf"},"version_id":"a48f596c-7520-479b-a599-bbc20412ebe9"}]},"item_keyword":{"attribute_name":"キーワード","attribute_value_mlt":[{"subitem_subject":"唐櫃背面部分弄丸図・前面及両側面図・前面部分童子図・前面部分人物図（京都　教王護国寺蔵）東寺","subitem_subject_scheme":"Other"},{"subitem_subject":"An Old Chest (Karabitsu) in the Kyo-o-gokoku-ji Monastery and the Decorative Paintings on it","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":"教王護国寺所蔵唐櫃とその絵画","item_titles":{"attribute_name":"タイトル","attribute_value_mlt":[{"subitem_title":"教王護国寺所蔵唐櫃とその絵画"},{"subitem_title":"An Old Chest (Karabitsu) in the Kyo-o-gokoku-ji Monastery and the Decorative Paintings on it","subitem_title_language":"en"}]},"item_type_id":"10001","owner":"3","path":["1219"],"pubdate":{"attribute_name":"公開日","attribute_value":"2016-12-27"},"publish_date":"2016-12-27","publish_status":"0","recid":"7056","relation_version_is_last":true,"title":["教王護国寺所蔵唐櫃とその絵画"],"weko_creator_id":"3","weko_shared_id":3},"updated":"2023-05-15T14:08:29.257322+00:00"}