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鬼神を主題とする中世絵巻―「辟邪絵」・「勘当の鬼」・詞書断簡―
https://doi.org/10.18953/00009093
https://doi.org/10.18953/00009093e8a537ed-13ab-4809-90f7-b23e02cbb40d
| 名前 / ファイル | ライセンス | アクション |
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436_1_Umezawa_Redacted (1.1 MB)
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| Item type | 学術雑誌論文 / Journal Article(1) | |||||||||
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| 公開日 | 2024-03-31 | |||||||||
| タイトル | ||||||||||
| タイトル | 鬼神を主題とする中世絵巻―「辟邪絵」・「勘当の鬼」・詞書断簡― | |||||||||
| タイトル | ||||||||||
| タイトル | Medieval Handscrolls on Demons and Deities Themes:Hekija-e, Kandô no oni and a Fragment of Another Handscroll | |||||||||
| 言語 | en | |||||||||
| 言語 | ||||||||||
| 言語 | jpn | |||||||||
| 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 | |||||||||
| ID登録 | ||||||||||
| ID登録 | 10.18953/00009093 | |||||||||
| ID登録タイプ | JaLC | |||||||||
| 著者 |
梅沢, 恵
× 梅沢, 恵
× Umezawa, Megumi
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| 抄録 | ||||||||||
| 内容記述タイプ | Abstract | |||||||||
| 内容記述 | The Hekija-e (NT, Extermination of Evil, Nara National Museum) consists of handscroll fragments formerly owned by Masuda Takashi, with five fragments extant today: Tengyosei (God of Heavenly Punishment), Sendan Kendatsuba (Candana Gandharva), Shinchû (the Divine Insect), Shôki (Zhongkui) and Bishamonten (Vaisravana). Since Kobayashi Taichirô stated that they were Chinesederived images for banishing evil, the traditional view is that the subject presents beneficial deities who protect people from all manner of harmful demons and malevolent deities. Given the fact that it was handed down with the Shamon Jigoku Scrolls (Hell for Priests Scrolls), some have also suggested a connection with the Rokudo-e housed in the Rengeo-in treasure house of retired emperor Go-shirakawa. The Kandô no oni (Fukuoka City Museum of Art) is a fragment of a handscroll depicting the tale of demons quelled by Bishamonten, and the closeness of its text calligraphy style to that of the Hekija-e has been noted. This article introduces a newly discovered section of text (private collection) with similar calligraphy, analyzes the iconography in each of the Hekija-e fragments, and attempts a new comparison with related works. The author determined that the newly discovered text fragment is not connected to the Hekija-e or Kandô no oni fragments and that it was produced in a different process than that of Kandô no oni. Thus it is difficult to consider that it is from the same set of scrolls as the Hekija-e fragments. However, this separate production indicates that numerous handscrolls on the theme of demons and deities were produced in an environment close to that of a series of Rokudo-e pictures. Thus, I would like to consider anew the production background for handscrolls on demons and deities themes. In the Hekija-e, the overall composition is drawn in warm tones, to further highlight the fearsomeness and difference of the beneficial deities who kill the bad demons and deities of disease shown in faintly drawn cool tones. Further, what is the source of the bold composition which shows Gozutennô, protector of the royal castle, hanging upside down. The Hekija-e texts expose the suffering of existence from the standpoint of evil demons and deities of disease. This suffering is close to the discourse in the founding legend of the Kawasaki Kannon, which states that Gozutennô said that he is not the poison giver and that sickness is retribution for the evil acts and sins of the masses. Demons and deities are presences that, in the same way as people, seek to escape the cycle of birth and death, and being killed by beneficial deities is an essential process that allows them to escape the cycle of rebirth. Apart from the handscroll's Buddhist and Taoist religious meaning, the handscroll may have been created to visualize evil demons and sick gods that were originally invisible to the eye. In other words, the principle purpose of the handscroll was to show what happens to demons and evil gods after spells and practices are performed to subdue them. We can surmise an environment that fulfilled a number of essential factors towards such production in the Hekija-e production background, particularly the presence of a painter who could give life to the otherwise still forms of the distinctive iconography brought from the Asian continent. When we consider that the existence of the Shamon Jigoku notably close in style to the calligraphy of the text sections of the Hekija-e, and the Sôgen-ji version Gaki zoshi, notably close in style to the painting on the Hekija-e, then it is probably highly likely that they are works produced from the same production environment as the group of related handscrolls thought to be those from Go-shirakawa’s treasure storehouse. |
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| 書誌情報 |
美術研究 en : The bijutsu kenkyu : the journal of art studies 号 436, p. １-25, 発行日 2022-03-30 |
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