| 研究課題/領域番号 |
18H00630
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| 研究機関 | 九州大学 |
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研究代表者 |
BOGEL CYNTHEA 九州大学, 人文科学研究院, 教授 (50637931)
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| 研究分担者 |
知足 美加子 九州大学, 芸術工学研究院, 准教授 (40284583)
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| 研究期間 (年度) |
2018-04-01 – 2023-03-31
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| キーワード | 邪悪表現 / 仏像 / 飛鳥 / 奈良 / 平安初期 / 朝鮮半島交流 / 唐時代 / 仏教美術史 |
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| 研究実績の概要 |
I accomplished most of my goals by the end of 2018, and requested and received a maedoushi to continue momentum. This summary gives my activities for H30 AY; however the Current status/Reasons section provides more information on post- maedoushi activities. I made three collaborative research trips to China and two to Korea; at both I made valuable discoveries. In China I researched imagery similar to the yasha 夜叉 and hybrid creatures on the Yakushiji pedestal; I looked at the caves of Dunhuang 敦煌石, Maijishan 麥積山石窟, and museums in Xian 西安). In Korea I surveyed work in museums and at tombs in Gimhae. I presented three different research papers by invitation at UCLA, Shanghai-NYU, and at CAA, New York. I collaborated with Kyushu History Museum curator Igata Susumu and translated his essay on demon roof tiles/鬼瓦 for publication. I planned workshops with collaborators at Columbia U., Harvard U., and Ehwa U. for 2020-22. I was appointed co-advisor to the international FROGBEAR (Buddhism and East Asian Religions) project. I published on Daigoji in the foremost Korean art history journal. I served as Editor of a 125-page international English journal. I chaired a panel on Hybridity, and Otherness in East Asian art history at the largest international art history conference in the world. Overall, the greatest progress was made on my research through collaborations with Korean-, Chinese-, and American-based university and museum researchers. In the next three years we will hold workshops or conferences that will showcase our ideas in a different context.
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| 現在までの達成度 (区分) |
現在までの達成度 (区分)
1: 当初の計画以上に進展している
理由
I accelerated my research with a Maedaoshi for an additional trip to China; it proved to be especially fruitful. I traveled with my 研究連携者 collaborator KIM Youn-mi (Harvard PhD) of Ehwa U. and 2 more Ehwa professors and curators. All of them were Chinese Buddhist art or Korean Buddhist art experts. We were able to discuss paintings, sculpture, pigments, and in a comparative East Asian framework. I made one important discovery in a 6th c. cave at Maijishan caves of hybrid creatures on a stele of significance to my Yakushiji pedestal research. In China I also traveled to Dunhuang caves where we were guided by Wang Huimin, researcher at the Dunhuang Academy. At Famensi 法門寺 pagoda near Xi'an could photograph several pairs of guardians and 邪鬼 creatures on the crypt doors in the museum there. At all the sites except Dunhuang I was permitted to photograph. I added a Tokyo trip to see the Toji 東寺 exhibition at Tokyo National Museum. For the first time I could see the four sides of the Lecture Hall altar Shitenno 四天王 guardians illuminated. I also met with David Lurie of Columbia University to plan a Kaken workshop in New York in fall 2020. The panel I headed at College Art Association's (CAA) annual meeting in New York was important. First, I had not participated in the CAA February conference in ten years due to a busy schedule, although it is the most important art history conference in the world. Second, my panel proposal was accepted. Third, I presented my Yakushiji research to a broad swath of art historians and had many successful networking sessions.
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| 今後の研究の推進方策 |
2019-20 is my sabbatical, my first since 2007. I expect to complete a draft of my book on the relationship between the Nara period Yakushiji icons, the patronage of 7th and 8th century Yakushiji and MotoYakushiji, and their relationship to Chinese-style imperial state ideology. To do so I am focusing on the meaning of the representations on the pedestal of the Yakushi Nyorai statue of the triad in the temple’s main hall, which are unprecedented in the history of Buddhsit imagery in East Asia. They are integral to the Kaken topic of demons and converted beings as the pedestal has the four directional animals 四神, yasha noted above, jaki noted above, and hybrid creatures. By studying Baekche 百済 7th c. influences on Japanese representation, Unified Silla 一新時代 8th ca 9th c. imagery, and Chinese Tang 唐時代 imagery I hope to understand the possible transmission of not only East Asian imagery but also South and Southeast Asian motifs as style, as these are indicated on the pedestal also. I will meet with Prof. Yukio Lippit at Harvard in April to discuss collaborative research workshops at Harvard in 2021 and at Columbia U. with Prof. David Lurie in fall 2020. I will meet with Lurie in Tokyo in June. I will meet with Kim Youn-mi in Korea or Japan. I will go to Europe in September to study collections in Vienna and to meet with researchers in Ghent, Vienna, Germany, and Scotland. I will travel to Yunnan, SW China, in August. I will present a paper at the University of British Columbia in March on Esoteric Buddhist art.
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