 |
|
本資料由 李玉珉老師 提供
| クチャ将来の彩画舍利容器 | ||
| 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.191 |
| 出版日期 | 1957.03.30 |
| 頁次 | 1 - 27 |
| 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 |
| 摘要 | The Shin Saiiki-ki, record of the Central Asian expeditions by the Ōtani Mission, states that the Reverend Watanabe Tesshin, during the first expedition, discovered on July 9th, 1906 a wooden cinerary casket covered with gold leaf (Fig. 1) at the ruins of a temple on the west side of the River Subasi in Kucha, East Turkistan. The record, however, does not give any description about the casket which has remarkable paintings in colours. Paul Pelliot excavated several specimens of similar caskets of wood at the same spot. In Kizil west of Kucha, Le Coq found another with colour paintings (Fig. 2). The casket under discussion, brought back by the Ōtani Misson, is likely also from Kucha, or somewhere around. Compared with the above-mentioned specimens, the subject piece (Pl. I & Fig. 4) is the most elaborate work, and the motifs of its paintings are rich in variety. Fig 3 show its scaled sketch. Like other specimens, it has a conical cover and a cylindrical container, but this is the only example with the surface covered with hemp cloth. The hemp base is coated with the priming of gofun (white pigment of calcium carbonate obtained by heating), over which contours are drawn in black ink and colours are put within them. The entire surface is subsequently coated with a transparent oil. It is to be noted that this is only example finished in this elaborate technique known in Japan as mitsuda-e (“litharge painting”). This casket, however, have heretofore been left unnoticed, for the paintings are concealed under stripes of blue, vermillion and grey pigments painted over them, the borders being covered with square pieces of gold leaf. The cover has four medallions enclosed in pearl-lace patterns. One of them, herein called a, contains the figure of a winged cherub with a yellow body, blowing a vertical flute. The second one, b, is a green cherub playing the biwa (lyre with pear-shaped body), with four pairs of scarves fluttering on his sides instead of wings; c shows a cherub like a, playirg a kugo (harp); and d is a cherub like b, with a musical interument which appears to be a genkin (lyre with round body) (Cf. Pl. II). Between a and b, and c and d, are each a couple of a parrot and a yamadori (a type of pheasant), with thier necks bent backward and holding either end of a jewelled ribbon in their beaks. Between b and c, and d and a, are the same paired birds, with their necks in ordinary poses and respectively holding something like sprays of trees in their beaks (Fig. 5). Such designs of cherubim are found also on one of the caskets brought back by Pelliot, and on the bronze bowl from West India (Fig. 9) published by A. Coomaraswamy. The cherubim on this casket have shaven heads, with some hair left on the foreheads, temples and vertexs. Examples of this characteristic head ornament antedating this piece are found in the murals at Site 3, Miran; after the present piece, there are examples in painting at Turfan and around (Fig. 6). Angelic figures with scarves instead of wings have earlier example in applied ornaments on terra-cotta objects from Khotan (Fig. 7), etc.; later ones are relatively numerous, for example, those in Turfan painting. The pearl-lace patterns on this casket so characteristic of Sassanian art, in comparsion with those on the broacde from Astana (Fig. 8a) whith boar's-head design, the mural on similar subject in the cave temple at Toyuq (Fig. 8b), the mural of ducks in the cave temple at Kizil, etc., are characterized by the existence of the four square buttons which suggest a later period. In this respect they are closer in age to the brocade with similar patterns from Astana. The sides of the container are ornamented with twenty-one figures of dancers and musicians, from the two banner-bearers, A and P, through C, D, etc. to U counted anti-clockwise (Cf. Pls. III & IV). C to I and S are dancers performing the Gigaku dance, wearing masks and distinctive costumes. Such surface decorations with se |
| 目次 | 一 1 二 2 三 5 四 9 五 13 六 18 七 24 |
| ISSN | 00219088 (P) |
| 研究類別 | 舍利容器 |
| 研究地點 | 新彊(庫車) |
| 點閱次數 | 257 |
| 建檔日期 | 2016.05.12 |
| 更新日期 | 2020.06.09 |
建議您使用 Chrome, Firefox, Safari(Mac) 瀏覽器能獲得較好的檢索效果，IE不支援本檢索系統。
