 |
|
本資料由 李玉珉老師 提供
| 涅槃彫像 | ||
| 作者 | 豬川和子 |
|---|---|
| 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.318 |
| 出版日期 | 1982.01.30 |
| 頁次 | 1 - 16 |
| 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 | 中文=Chinese |
| 關鍵詞 | 涅槃像 |
| 摘要 | Sculptural representation of Śākyamuni in nirvāṇa emerged in India in the current of early Buddhist art. Śākyamuni was not depicted in human form but was symbolized by a tree, the wheel of law and others in the initial stage and then he gradually came to be represented in human form. The Gandharan stone nirvāṇa image in Tokyo National Museum lies with his head rest on his right arm. Other types of nirvāṇa images are not known from India. In China also, this type was prevalent. But there are two factors different from the Indian type which appear in some of the Chinese examples sometimes together and sometimes separately. They are seen together in examples at Yün-kang Cave Temples. One of these factors is that Śākyamuni places his head at the right hand side of the worshipper. In this case, he lies on his left side, an opposite position to the position often mentioned in scriptures. The other of the two is the posture in which arms are placed near the legs. The former is found in Yün-kang and in the pedestal relief of a Northern Ch'i sculpture owned by the Tokyo National Museum. The latter is found also in Tun-huang mural and in a relief on a Northern Wei stone miniature pagoda exhibited in Kansu Province Museum. In Japan, too, many nirvāṇa images were carved though not as numerous as nirvāṇa paintings. The earliest Japanese sculptural nirvāṇa representations are a symbolic representation by means of bed in a stone relief at Zutō, Nara, and the scene of nirvāṇa composed of clay figures in the first floor of the five-storied pagoda of the Hōryūji, which shows above-mentioned second additional factor in China. The others, about eight from the mediaeval time and twenty from the post-mediaeval time are of the same as the Indian type. The nirvāṇa image in the Hōnenji, Kagawa, said to have been made in the tenth year of Kambun Era (1670) is nearly three meter in length and lamenting disciples and other people and animals surround the Śākyamuni. It seems to be a work of an orthodox school sculptor. A part of another nirvāṇa scene with a group of figures remain in the Nehando, Shizuoka, and it must not be a work of professional artists. An interesting point of these examples is that they are group figures while single images were prevalent during the mediaeval time. This tendency is in the same trend as the popularity of nirvāṇa painting in the post-mediaeval period, in which many figures including the disciples surround Śākyamuni. |
| 目次 | 一 序 1 二 インドの作例の主な形制 1 三 中国の涅槃像 2 四 日本の涅槃彫像 6 五 日本の涅槃彫像の現存作例 6 六 結び 52 |
| ISSN | 00219088 (P) |
| 研究類別 | 雕塑造像 |
| 研究時代 | 中國-無 |
| 研究地點 | 中國 |
| 點閱次數 | 9 |
| 建檔日期 | 2016.05.12 |
| 更新日期 | 2020.06.22 |
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。
