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本資料由 李玉珉老師 提供
| 大谷コレクションの誓願画資料=Paintings of Pranidhi Scenes in the Otani Collection | ||
| 作者 | 熊谷宣夫 (著)=Kumagai, Nobuo (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.218 |
| 出版日期 | 1962.03.30 |
| 頁次 | 1 - 26 |
| 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 | 誓願畫; ベゼクリク第4号窟寺第8主題壁画断片; ベゼクリク第20号窟寺壁画断片; ベゼクリク第12号窟寺壁画断（東京 木村貞造氏蔵）トルファン |
| 摘要 | The murals collected at Turfan by the second and third Ōtani Missions include many fragments which correspond to parts of what German scholars call Praṇidhi-bild. A typical example of Praṇidhi-bild was introduced by Le Coq who brought it back from the corridor of Cave 9, Bäzäklik. Descriptions in the report of Grünwedel's investigation tell that there existed fifteen themes which were almost exactly similar both in location and in composition to that in Cave 9. Furthermore, some murals in Cave 4 were brought back by Stein and were published by Andrews. Based upon these three examples, the present writer reported that the figure of a monk holding offerings, situated at lower right in Theme 13 in Cave 4, is found in the Ōtani collection (The Bijutsu Kenkyu, No. 170). In the present article he reports that the Ōtani collection contains considerably many more fragments of Pranidhi-bild from Cave 4. It is evident from Grünwedel's statement that besides Stein and the Ōtani Missions, Le Coq also collected similar examples at Cave 4. The lower right part of Theme 1 at Cave 4 exists in the Ōtani collection preserved in the former Museum attached to the Japanese Government-General of Korea (the Ōtani collection in that museum will hereinafter be referred to as Seoul). It portrays two standing figures holding offerings to the central standing Buddha (fig. 1 shows the head of the front one of the two). Seoul includes a part of a Devatā's arm holding a flower (fig. 3) like the one seen in upper right of Theme 1, but where it is from is hard to tell as similar segments exist also in Themes 4 and 6. However, we can hardly believe that it is from Cave 37 (fig. 2) or any of other caves where similar scenes apparently existed. The overall appearance of Theme 3 can be told by adding a fragment brought back by Le Coq (fig. 5) to the lower left of one brought back by Stein (fig. 4). Le Coq believes that the former is from Cave 2 but evidently it belongs to this wall. (The murals brought back by Le Coq and Stein will be referred to hereinafter as Le Coq and Stein respectively.) Theme 5 is found in Stein (Wall Paintings, PI. XVII), and its lower left part in Seoul (fig. 5). The latter shows a Brahmin (head missing) sitting on the ground in front of a thatched cottage. A lower left part of Theme 7 is found in Seoul. It shows a boy walking with a bowl in arms and looking back at a Brahmin (whose legs alone remain) who walks behind. The Ōtani collection pieces relating to Theme 8 are the Devatā holding a canopy in the leftside part (PI. II) now possessed by Mr. Kimura Teizō (hereinafter referred to as Kimura), and the Devatā kneeling with hands clasped in the right-side part (fig 9) in Seoul. Parts of Theme 9 exist in Stein (fig. 13) and Le Coq (fig. 14) from which the overall composition can be restored. Le Coq described this, too, to be from Cave 2. Themes 10 and 11 are found in Stein (Wall Paintings, PI. XV). The right-side part of Theme 11 (fig. 15) is missing but the existence of long locks of hair near the feet of the central Buddha proves that it is a scene from Dīpankara Jātaka. The Ōtani collection in Seoul has a fragment which is a part of the missing portion, showing the back of Sumedha kneeling with his long hair spread on the ground and a standing Devatā (fig. 16, showing the face) extending his arm backward in the attitude of inviting someone. A composition extending over Themes 13 and 14 exists in Stein (Wall Paintings, PI. XIV). The lower right portion of 13 has been mentioned above. Portions of Themes 14 and 15 are found in Stein (fig. 19). According to descriptions by Grünwedel, the only other painting showing a scene of tonsuring on the right and a standing Brahmin on the left, is in Cave 12. The fragment in the Ōtani collection Kimura (PI. IV), showing the same composition, must obviously be from Cave 12. Seoul includes the figure of a Brahmin sitting in front of a thatched cottage and holding forth off |
| 目次 | 第一主題 4 第二主題 7 第三主題 8 第四主題 9 第五主題 9 第六主題 9 第七主題 10 第八主題 11 第九主題 15 第十主題 16 第一一主題 16 第一二主題 17 第一三主題 18 第一四主題 19 第一五主題 20 第四号窟寺 22 |
| ISSN | 00219088 (P) |
| 研究類別 | 繪畫 |
| 研究地點 | 新彊(吐魯番伯孜克里克石窟) |
| 點閱次數 | 256 |
| 建檔日期 | 2016.05.12 |
| 更新日期 | 2020.06.12 |
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