| Project/Area Number |
25870259
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| Research Category |
Grant-in-Aid for Young Scientists (B)
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| Allocation Type | Multi-year Fund |
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| Research Field |
Fine art history
Cultural assets study and museology
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| Research Institution | University of Toyama |
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Principal Investigator |
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| Co-Investigator(Renkei-kenkyūsha) |
MIFUNE Haruhisa 富山大学, 芸術文化学部, 教授 (20181969)
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| Project Period (FY) |
2013-04-01 – 2015-03-31
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| Project Status |
Completed (Fiscal Year 2014)
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| Budget Amount *help |
¥2,600,000 (Direct Cost: ¥2,000,000、Indirect Cost: ¥600,000)
Fiscal Year 2014: ¥1,170,000 (Direct Cost: ¥900,000、Indirect Cost: ¥270,000)
Fiscal Year 2013: ¥1,430,000 (Direct Cost: ¥1,100,000、Indirect Cost: ¥330,000)
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| Keywords | 金銅仏 / 彫金技法 / 東アジア / 美術史 / 小金銅仏 / 加工跡 / 鏨 / マトリックス |
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| Outline of Final Research Achievements |
In this study, for gilt bronze Buddhist statue, and depression one step from the style theory in art history research, and assess the gilt bronze Buddhist statue of casting and engraving of processing trace, by performing photography which becomes the collateral evidence, was examined production method technology.
The results of research and analysis, gilt bronze Buddhist statue clothing pattern line in 4~5c, is one which has been decorated with Kebori chisel. But some line of Northern Wei era was not decorated with Marukebori chisel, and I pointed out the possibility almost that a lost-wax casting by prototype semon or template semon.That is, if you compare the line in 4~5c of gilt bronze Buddhist statue and the Northern Wei, changes were observed in semon way. This change is a change in development and mode of casting technology are thought to be intricately intertwined results.In the present study, we have been established the basic methodology.
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