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| ミイラン第三及び第五古址将来の壁画=Murals from the Sites Nos. 3 and 5, Miran | ||
| 作者 | 熊谷宣夫 (著)=Kumagai, Nobuo (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.179 |
| 出版日期 | 1955.03.30 |
| 頁次 | 1 - 28 |
| 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 murals at Mirān, previously reproduced in Vol. II of the Sai-iki Kōko Zufu. (Illustrated Catalogue of Archaeological Discoveries in Chinese Turkestan), have thereafter been left in oblivion except that a fragment presumably representing the head of the Buddha. Śākyamuni (Pl. I, b) has been known to be in the collection of the former Korean Museum under the jurisdiction of the Japanese Government-General of Korea. The author recently had the opportunity to examine another fragment showing the head of a heavenly being (Pl. Iga). The fragment under discussion was brought to Japan by Mr. TACHIBANA Zuichō, probably in January of 1911, in his excursion accompanying the third Ōtani Mission. No detailed information regarding the original locations of these fragments can be found either in the above-mentioned Zufu or in the Shin Sai–iki-ki, the record of the Ōtani Mission's excursion. Studies on them, therefore, have had to be derived from the Serindia, the report by Sir Aurel Stein, the discoverer of the Mīrān sites, the Wall Paintings from Ancient Shrines in Cental Asia, an illustrated catalogue edited by J. H. Andrews, and other such old publications. The fragment shown in Pl. I, a is entirely similar in the manner of depiction to another painting of a winged heavenly being, frequently discussed heretofore by Stein and others, which had originally existed on the wainscot of the corridor in the Mirān Site No. 3 (M. III). Obviously the two are from one and same group. The fragment shown in Pl. I, b, resembling the wall painting which Stein numbers M. III. 002, is in all probability fro.n. the wall just above the above-mentioned wainscot. The two fragments illustrated in Pl. I, thus, are from the Site No. 3. The fragment depicting the head of a priest (Fig. 12), brought together with these and identical with the one illustrated in Serindia, Vol 1, Fig. 138, was lost by fire in Osaka at an air raid during World War II. Stein suggested that Mīrān was the site of Yü-ni (扞泥), the capital of Shan-shan (鄯善) State. The author believes that this identification is correct. In this connection we may refer to Prof. FUJITA Toyohachi's study on Central Asia, in which he opines that the capital of Shan-shan was in Yü-ni during the Han Dynasty and in l-hsün (伊循) during the Northern Wei Dynasty. No ancient books of Chinese history give any information regarding the establishment and historical background of the site, but the Fa-Isien's Itinerary of the E. Chin Dynasty, and Biography of Tsu-ch'ü-mêng-hsün of the Wei-shu of the N. Ch'i Dynasty, the Sung-yun's Itinerary quoted in the Lo-yang-ch'ieh-lan-chi of the N. Wei Dynasty and others have a few descriptions relating to Buddhism in this city. The descriptions tell that the culture, manners and customs in Shan-shan were in Indian style. This statement suits the character of Mīrān as supposed from its existing ruins. The main sites in Mīrān are those of Buddhist temples, and the art objects found therein reveal the style of Gandhāra, as a natural result of the fact that Buddhism was introduced into this district through Gandhāra. For example, the wall-painting on the wainscot in the Site No. 5 (M. V) is very similar to the ornamental design on the relic casket of King Kaniska and the relief decoration on the base of stone stupas in Gandāra. It should be noted, however, that there must have also been the influence of the West transmitted through Parthia, which in this period had Iran and Western Turkestan in its domain. Note, for example, the angelic winged figures (cherabim) found in the Site No. 3 (M. III), showing the influence of Greek Eros and its derivations. As examples of Central Asian version of Eros, mention must be given of such pieces from Western Turkestan as the Badakshan silver tray (Fig. 18), and the Afrāsiyāb terra-cotta with patterns of wavy lines like a garland and with an applied human mask(Fig. 20). Although remaining in fragmentary pieces, these are significant materia |
| 目次 | 一 1 二 2 三 8 四 212 五 216 |
| ISSN | 00219088 (P) |
| 研究類別 | 繪畫 |
| 研究地點 | 新彊(若羌米蘭遺址) |
| 點閱次數 | 167 |
| 建檔日期 | 2016.05.12 |
| 更新日期 | 2020.06.10 |
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