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本資料由 李玉珉老師 提供
| キジル第三区摩耶洞将来の壁画―主として徒盧那像及び分舍利図について―=the Wall-paintings Brought from the Maya Cave of the Third Group at Qyzil | ||
| 作者 | 熊谷宣夫 |
|---|---|
| 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.172 |
| 出版日期 | 1954.02.28 |
| 頁次 | 19 - 33 |
| 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; 涅槃變相 |
| 摘要 | The present writer identifies a fragmental figure from the wall-painting in the Otani collection (Pl. VII) by comparing it with the figures of the scene reproduced in A. Grünwedel, Alt-buddhistische Kultstätten in Chinesisch-Turkestan. Until now, all that was known concerning this piece was that it came from Qyzil. This fragmental figure, is identified with the Brahman Droṇa, habitually represented in the center of the scene depicting “the distribution of the Buddha's relics”. The fragment, he finds, properly fits into the missing section in the upper center of the wall-painting reproduced in Grünwedel's All-Kutscha, Taf. XLVI-XLVII and A. von Le Coq's Die buddhistische Spätantike in Miitelasien, IV, Taf. 6. This is proved (cf. fig. 3) by the horizontal line of the pillar capitals in the background and by the curved line of a mound-like object in front of the Brahman, which present points of similarity with those in the picture at Berlin. As for the cave, however, from which this wall-painting was removed, there is disagreement between Grünwedel and von Le Coq: the latter describes it as being from the Mâyâ Cave of the 2nd group while the former assigns it to the cave of the same name belonging to the 3rd group of the min-ui at Qyzil. The writer points out that it cannot be from the 2nd group cave, because, as he notes, the wall of the cave is 1.62m wide while the wall-painting brought to Berlin actually measures 1.88m in breadth. Thus he finds it would fit the cave of the 3rd group; the reckoning being based on the proportion of the plan of the cave figured by Grünwedel although the width of the wall is not given by him. Moreover, the details of the same wall-painting, such as the ornamentation of the coronets worn by the princes, and the form of the pillar capitals in the background, present points of similarity with the others of the Mâyâ Cave of the 3rd group as shown in the above-mentioned book of von Le Coq, Teil VI, Taf. 14. From these facts the author, concludes that the wall-painting in question, including the fragment of the figure of Drona in the Otani Collection, originally belonged to the Mâyâ Cave, not of the 2nd, but of the 3rd cave group at Qyzil as described by Grünwedel. In connection with the figure in question, the writer adds information concerning the present whereabouts of fragments of the wall-paintings, other than those formerly preserved at the Völkerkunde Museum in Berlin ; namely, a piece at the Musée Guimet in Paris (fig. 7a) and some fragments in the Inoue Collection in Tokyo (cf. “ Ars Buddhica”, No. 2, 1948). As reported by German and other scholars, in the caves at Qyzil there are many wall-paintings depicting traditional, Buddhist scenes relating events which took place immediately after the Buddha's death : e. g., the Nirvāṇa, the cremation, the legend of King Ajatasatru, the sûtra-compilation, etc. The scene of the distribution of the relics which is the subject treated in the present picture is also depicted. Judging from the combination of those subjects and others, the wall-paintings of the Mâyâ Cave of the 3rd group date from the high period of Kuchan painting. In conclusion, Mr. Kumagai discusses the style of the paintings at Qyzil. He brings out ―― a point often emphasized by scholars ―― the more or less close relationship which exists between the Qyzil style and Indian and Iranian style. He calls the attention of the reader to a certain resemblance between the figure of Droṇa in the Otani collection and the mosaic figure of “Christ en Gloire” in Saint Sophia at Istambul. |
| 目次 | 一 19 二 22 三 25 四 28 五 31 圖版要向 33 |
| ISSN | 00219088 (P) |
| 研究類別 | 佛教圖像; 繪畫 |
| 研究地點 | 新彊(拜城克孜爾石窟) |
| 點閱次數 | 251 |
| 建檔日期 | 2016.05.12 |
| 更新日期 | 2020.06.09 |
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