| Project/Area Number |
09610061
|
|---|
| Research Category |
Grant-in-Aid for Scientific Research (C)
|
| Allocation Type | Single-year Grants |
|---|
| Section | 一般 |
|---|
| Research Field |
Fine art history
|
|---|
| Research Institution | Kanda University of International Studies |
|---|
Principal Investigator |
YOSHIMURA Toshiko Kanda University of International Studies, Faculty of Foreign Languages, Assistant Professor, 外国語学部, 助教授 (80265488)
|
|---|
| Project Period (FY) |
1997 – 2000
|
| Project Status |
Completed (Fiscal Year 2000)
|
| Budget Amount *help |
¥2,200,000 (Direct Cost: ¥2,200,000)
Fiscal Year 2000: ¥500,000 (Direct Cost: ¥500,000)
Fiscal Year 1999: ¥500,000 (Direct Cost: ¥500,000)
Fiscal Year 1998: ¥500,000 (Direct Cost: ¥500,000)
Fiscal Year 1997: ¥700,000 (Direct Cost: ¥700,000)
|
|---|
| Keywords | Buddhist painting / iconography / Insei era / 十二天五大尊像 / 普賢菩薩像 / 金剛夜叉明王像 / 孔雀明王像 / 虚空蔵菩薩像 / 鳥羽上皇 / 十二天像 / 疎荒 |
|---|
| Research Abstract |
This research considered the succession and the transformation of an iconographic image in the Insei era Buddhist paintings through some works, the Shaka Nyorai of the Jingo-ji, the eleven-headed Kannon of the Nara National Museum, the Fugen Bosatsu of the Bujyo-ji, and the Kokuzo Bosatsu of the Tokyo National Museum. Each of these works is maintaining the old style at many forms of iconographic image details, and it was thought that the original drawing image of former age was inherited well.
Among them the sacred image of the Tokyo National Museum shows directly the aspect of a plastic transformation of the Insei era Buddhist paintings compared with the Daigo-ji work of the Kamakura period based on the same iconographic image transferring the original drawing comparatively faithfully. In the Tokyo National Museum image some forms common to the Insei era Buddhist paintings which aimed at tranquil or ornament nature are accepted. The sense of color preferring gold, silver, and cold colors can also be referred to as reflecting of this time.
Although the succession and the transformation of an iconographic image is conjectured to originate in the intention of two main patrons of the Insei era Buddhist paintings, the temple and the Imperial Court, it has been future subject about those systematic understanding.
|
