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| キジル日本人洞の壁画―ル・コック収集西域壁画調査（一）―=Mural Paintings from the “Cave of the Japanese” of Kizil: Study of Central Asian Murals Collected by A. von Le Coq (Part I) | ||
| 作者 | 上野アキ (著)=Ueno, Aki (au.) |
|---|---|
| 出處題名 | 美術研究=Bijutsu Kenkyu : the Journal of Art Studies=ビジュツ ケンキュウ |
| 卷期 | v.308 |
| 出版日期 | 1978.10.30 |
| 頁次 | 1 - 8 |
| 出版者 | 東京文化財研究所=National Research Institute for Cultural Properties, Tokyo |
| 出版者網址 | http://www.tobunken.go.jp/index_j.html |
| 出版地 | 東京, 日本 [Tokyo, Japan] |
| 資料類型 | 期刊論文=Journal Article |
| 使用語言 | 日文=Japanese |
| 關鍵詞 | 壁畫 |
| 摘要 | A Considerable number of pieces of Central Asian mural segments brought to Berlin by Albert von Le Coq were sold to collections outside Germany in order to obtain funds for publication purposes in the 1920's. Most of these were Kizil works. The present author has examined about seventy and she discusses in the present paper the problems concerning these pieces, few of which have been widely known. The Kizil mural style is characterized by bright colouring at its culmination stage in which an abundant use of lapis lazuli blue is seen, and by dark grading along brown contour lines. However, there are also examples which deviate from these general characteristics among the segments in question ; namely, examples with conspicuous use of black pigment. The Fogg Art Museum, the Metropolitan Museum of Art and a private collection in Tokyo each have an example (Pls. II, III and I). In these works, the eyes, eyebrows, noses and mouths are delineated by black pigment over ungraded white faces, and the contours of the bodies and drapery folds are also drawn in black. Limited colours of green and dark brown are used besides black, gray and white, and the figures wear a necklace with cross-shaped decoration and threelined bracelets. Each of the three pieces carries a collector's note on the back which states that the piece was found in the “Second Cave of the Second Ravine” in the central district of Kizil (figs. 2, 3). One of the three mural segments which were reproduced in P1. XII, Vol. V of Die Buddhistische Spätantike Mittelasiens under the title of murals of “Cave of the Japanese” still exists in Berlin (P1. IV) and this, too, carries a note which says that the piece is from the “Second Cave of the Second Ravine”. It means that the “Cave of the Japanese” and the “Second Cave of the Second Ravine” are identical and that these three pieces are from the so-called “Cave of the Japanese”. According to Die Buddhistische Spätantike Mittelasiens, the “Cave of the Japanese” is located in the Second Ravine in the central district of Kizil (fig. 1) and was so named by the German Expedition in commemoration of the Ōtani Expedition from Japan which investigated this cave temple. The notes which indicate that Le Coq collected them not later than the third expedition from 1905 to 1906, suggest that the Ōtani Expedition investigated this cave during their first trip in 1902. A Kizil mural segment from a scene of Buddha's preaching in the Tokyo National Museum (P1. V) has brown contour lines, but incorporates some common elements with the pieces from the “Cave of the Japanese”, such as the necklaces, hair ornaments, and threelined bracelets. Here, green is the only dominant colour, while a considerable amount of black is also used. If there were mural segments brought to Japan from the “Cave of the Japanese” by the Ōtani Expedition, the piece in the Tokyo National Museum may be one of them. In Kizil, ample use of black pigment characterizes caves of an erlier stage. At the same time, the depiction of the three-lined bracelets seems to have preceded the climax of Kizil painting in which a great number of murals were executed and four-lined bracelets were shown. Therefore, it is presumed that the “Cave of the Japanese” was the earliest of the caves in the Second Ravine which have the same kind of murals as are seen in P1. Vla and b. |
| 目次 | 一 1 二 3 三 4 四 7 図版要項 8 |
| ISSN | 00219088 (P) |
| 點閱次數 | 936 |
| 建檔日期 | 2008.08.11 |
| 更新日期 | 2020.06.29 |
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