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本資料由 李玉珉老師 提供
| 敦煌本幡画仏伝図考（下） | ||
| 作者 | 上野アキ (著)=Ueno, Aki (au.) |
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| 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.286 |
| 出版日期 | 1973.03.30 |
| 頁次 | 25 - 36 |
| 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 | 佛傳圖 |
| 摘要 | The author, in Part I of this paper, listed and briefly commented on the banner paintings representing Buddha's life among the pictorial materials brought from Tun-huang by Sir Aurel Stein and Paul Pelliot. Here in Part II she discusses the problems of their subject matter and style. As for the subject matter, the author points out an interesting fact that certain themes in particular from Buddha's life are taken up. Episodes in the early part of his life ranging from the story before his birth to the Grand Departure (departure from his home castle), that is, miracles concerning his birth, training in literary and military arts in his princely days, horseback ride out of the four palace gates and departure from the castle, are especially frequently painted. On the other hand, there are almost no depictions of his career after the attainment of Buddhahood. The present author, who studied this problem comparatively through existing examples from various areas of Asia including Tun-huang mural paintings, arrived at the view that certain dramatic and pictorially effective scenes were liberally adopted from preceding illustrated sutra scrolls. That means that the Chinse selected these scenes according to their interest without feeling bound strictly to the sutra contents. It is interesting enough that the stories are arranged downward from the top in these banners, in clear contrast with the Indian manner in which the stories of Buddha's life are arranged upward from the bottom. The author interprets this difference as due to the visual inclination of the Chinese in relation to their way of reading and writing. It seems that such banners were used in pairs hung on both sides of a Buddhist carved image. They show diverse painting techiniques. As for their decorative patterns, a noticeable fact is that two kinds of purplish colours are used depending on the painting, that is, purple in the ordinary sense of the word, and mauve (a pale bluish-purple). The author considers the former to be a colour peculiar to China and the latter to be a colour characteristic of Central Asia and thinks that the colours found their contact point right here at Tun-huang. The head was first painted in white in oval form before its details were added and this rendition method may be seen in the Turfan district as well. In No. 249 of this Bijutsu Kenkyu in which a painting of two women excavated at Toyuk was discussed, the author suggested that this method of painting was due to the artist's original intention of showing figures of monks. She now corrects this view to conform with the ideas presented above. The dates of the banner paintings vary. The fragment called No. 99 of Stein Painting from Tun-huang (SPT hereafter) has an inscription of 左一将, which is a term meaning a Tibetan settlement, on a flag held by a warrior in its upper part, indicating that the painting is of the Tibetan Period or around A. D. 800. SPT No. 492 is believed to have formed a pair with SPT No. 99. SPT Nos. 89/90, Pelliot Collection OE 1154 and SPT No. 224 which formed a pair, and SPT No. 95 show earlier techniques than SPT Nos. 99/492, and are therefore supposed to be from various phases of the eighth century. SPT Nos. 100/85, 97/510 and 96/509, on the other hand, are perhaps from the first half of the ninth century. As for the other specimens, the author recognizes them to be of the period from the end of the ninth century to the tenth century judging from comparisons with figures and other elements in the datable silk and mural paintings of Tun-huang. Finally, the specific importance of re-examining Central Asian painting for the proper understanding of Tun-huang paintings is emphasized. |
| 目次 | 三 主題について 25 四 様式技法について 28 五 年代について 30 終りに 34 図版要項 36 |
| ISSN | 00219088 (P) |
| 研究類別 | 繪畫 |
| 研究時代 | 中國-無 |
| 研究地點 | 甘肅(敦煌) |
| 點閱次數 | 132 |
| 建檔日期 | 2016.05.12 |
| 更新日期 | 2020.06.23 |
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