- 著者
- 津田 徹英
- 出版者
- 国立文化財機構東京文化財研究所
- 雑誌
- 美術研究 = The journal of art studies (ISSN:00219088)
- 巻号頁・発行日
- no.426, pp.PL5-9,207-224, 2018-12
- 著者
- 津田 徹英
- 雑誌
- 美術研究 = The bijutsu kenkiu : the journal of art studies
- 巻号頁・発行日
- no.418, pp.1-37, 2016-03-18
The Ichiryû sôshô keizu ( 一流相承系図, Illustrated School Lineage, hereinafter referred to as the Illustrated Lineage) was solely used by the Meikô sect of the medieval period Shinran School, headquartered in Kamakura, as they expanded their activities to Kyoto and western Japan. The Illustrated Lineage was intended to provide a visual representation of the teachings of Shinran (1173-1263), founder of the Jôdo Shinshû Pure Land Buddhist School, which had been inherited by Meikô and were in turn conveyed to his followers. It presents an array of seated portraits across the horizontal handscroll format, with red lines connecting the individual figures. Thus the document clearly presents the connections within the lineage. When the Illustrated Lineage is used in a consideration of extant artworks, it is apparent that it was first used by the community at Bukkôji, developed by the Meikô sect and founded in Kyoto by Ryôgen (1285-1336). There are many instances where the Ichiryû sôshô keizu is known by the alternate name Ekeizu ( 絵系図, Portrait Lineage). However the Ekeizu title is a naming that appears in a criticism of the creation of the Illustrated Lineage by Kaku'nyo (1270-1351), the leader of the Honganji community that stood in opposition to the Bukkôji community. The section titled "Jodai" ( 序題, Preface), attached to the beginning of the Illustrated Lineage since its formation, uses the Ichiryû sôshô keizu title, and thus we should consider that the presenter and recipients of the scroll thought of it in those terms. Today there are seven extant versions of the Illustrated Lineage that were used by the Meikô sect. Four of those works have a preface brushed by Zonkaku (1290-1373). Of those four, the version handed down at Bukkôji, Kyoto (hereinafter referred to as the Bukkôji version) which has a preface dated to 1326 (Kareki 1), can be seen as best conveying the appearance of the original. However, today the Bukkôji version is made up of eight sheets of paper. From the fourth sheet onwards the scroll consists of sections pasted from two other illustrated lineage types. Originally the section from the fourth sheet onwards (hereinafter referred to as the Chôshôin version) was separated and handed down at Chôshôin, located in front of Bukkôji. A closer examination of the Bukkôji version and the Chôshôin version detached from it reveals an admixture of laymen and women among the seated images of priests and nuns, and this is the only extant version with this feature. This admixture corresponds to one of Kaku'nyo's criticisms of the Bukkôji community found his Kaijashô (Impeaching Misconception). However, it shows the original style of the Illustrated Lineage, so the Bukkôji version and its detached Chôshôin version can be seen as indicating the original appearance of the Illustrated Lineage. In the current survey of the Chôshôin version, the author made a number of discoveries not mentioned in previous surveys or studies of the work. This article clarifies the production process of the Chôshôin version based on these new discoveries. In addition, the article goes on to mention the Illustrated Lineage version preserved at Kôshôji, Hiroshima (hereinafter referred to as the Kôshôji version) that was the subject of a similar survey. Through the examination of these two versions, the author confirmed that the portraits presented in seated form in the illustrated lineages employed the visages of then contemporary priests, nuns and laypeople (figures shown without the shaved pate of priests) and can thus suggest that the Illustrated Lineage should be understood as part of the nise-e(likeness portrait) category of medieval Japanese painting. In both the Chôshôin version and the Kôshôji version of the Illustrated Lineage, the garments and composition of the figures are all drawn in the same stereotypical patterns. Thus the only individuality of the portraits can be found in the depiction of the faces. This characteristic is also seen in the retsu'ei zukan (handscrolls presenting seated portrait images of past emperors and ministers). I would like to emphasize here that it is only the faces in nise-e works that reflect the appearance of the actual subject. In fact, this feature of nise-e is not generally understood. This fact reminds us of the "Nyusai kanzatsu" (Nyusai's observation) scene in the Shinran den e (Illustrated Biography of Shinran), which was planned and accompanied by text written by the abovementioned Kaku'nyo. Only Shinran's face appears in that scene, his whole body is not depicted. This can be said to correctly convey how nise-e were produced. In addition, if we also consider that the Illustrated Lineage is presented as a handscroll of seated portraits, then that handling can clearly be linked to the lineage of the above-mentioned retsu'ei zukan scrolls of seated portraits of past emperors and ministers.
2 0 0 0 彩色文化財の材料と技法に関する科学的研究
彩色文化財の技法と材料について、日本とドイツの美術史研究者、伝統技術者、自然科学者が共同して研究調査を行った。研究期間中は互いの研究者が双方の国を毎年一回ずつ訪問し、あらかじめ選定しておいた現地で詳細な調査を行い、シンポジウムを開催し討議を行うなどして研究をすすめた。研究対象は、ドイツ側では主に南ドイツ(バイエルン地方)の中世彩色木造彫刻を取り上げたが、日本側では彫刻に限らず、絵画、工芸、建造物など広く関心を持って調査を行った。また彩色文化財そのものだけでなく、彩色に用いる顔料の製造工場や、金箔工房など、また各地の修復工房や作業現場でも調査研究を行い、彩色材料やその技法、修復技術への応用などについても相互の理解を深めるようにした。顔料分析については、ドイツにおいてはサンプリングによる試料の分析を積極的に行ったが、わが国の文化財については試料採取が困難なために、現場で試料を採取しないでそのまま顔料分析できるポータブル蛍光X線装置を開発した。この手法は対象作品表面からの測定になるため、彩色層に顔料を混合して用いているのか複数の顔料層か分析結果からだけでは判別できないが、実体顕微鏡を用いた観察と組み合わせることによって、確度の高い情報を得ることができた。本研究を通して、報告書に示すように多くの研究成果をあげることができた。一例としては、源氏物語絵巻物の顔料分析を初めて行い、白色顔料に従来想定されていた鉛を含む白色顔料(おそらく鉛白)だけでなく、カルシウムを含むもの(おそらく胡粉)、軽元素しか含まないもの(おそらく白土)、それにこれまで知られていなかった水銀を含む顔料の4種類を用いていることや、日本の彫刻彩色に緑色顔料として岩緑青以外に、砒素と銅を含むものや軽元素だけの顔料を用いていることを、初めて明らかにしたなどをあげることができる。
1 0 0 0 OA 佛光寺本『善信聖人親鸞伝絵』の制作時期をめぐって
- 著者
- 津田 徹英
- 雑誌
- 美術研究 = The bijutsu kenkiu : the journal of art studies
- 巻号頁・発行日
- no.408, pp.1-94, 2013-01-18
In the 10th month of 1295, 33 years after Shinran’s death, his great-grandson Kakunyô (1270–1351) created the first illustrated biography of Shinran (1173–1263), the founder of the Jôdô Shinshû Buddhist sect. Immediately after this first production, Kakunyô made changes to the painting scrolls, and the extant Rin’a version records his involvement and the production date of the 10th month of 1295 in its colophon. Similarly, other extant versions exist today, namely the Takada version which was completed in the 12th month of 1295, the Kôei version which dates to 1343, the Shôganji version dated to 1344, the Gugan version dated to 1346 and the Josenbô version dated to 1360. All of these examples were created in handscroll form, as was the first version, contrary to the later trend to create Shinran illustrated biographies in hanging scroll format. Of particular note amongst all these is the Bukkôji version (proper name Zenshin Shônin Shinranden-e), which has been handed down at Bukkôji, the main temple of the Bukkôji school of the Jôdo Shinshû sect. The Bukkôji version consists of two handscrolls, and until the modern era there were only limited opportunities for the public to see the work, as it was carefully preserved and handed on at the temple. This careful handling has meant that the scrolls maintained their original bright colors, with almost no oxidation of the silver used and with almost no conservation work seen on the painting papers. Unfortunately, there are no extant documents directly related to the production of the Bukkôji version. The bright colors apparent on the scrolls have meant that previous scholars have considered the work to be younger than it is, with some scholars considering it to date from the 15th century, and some even to the 17th century. And yet, a careful re-examination of the Bukkôji version reveals that both the explanatory text and the paintings were reated at the same time, and that the explanatory texts are thought to be in imitation of the calligraphy style of Emperor Fushimi (1265–1317, reigned 1287–1298), known for its combined use of Chinese characters and Japanese syllabary. According to the Masukagami completed in the 14th century and the Shuboku-sho of Prince Son’en (1298–1356), it is known that the calligraphy style of Emperor Fushimi was highly regarded as the standard for the calligraphy of the day. Thus the explanatory texts of the Bukkôji version appear to have been created during a period when Emperor Fushimi’s calligraphy was deemed most important, in other words, sometime within the first century after his death. Further, the calligraphy on the Bukkôji version texts is particularly well written. Clearly a calligrapher of this talent level would have created the explanatory texts for other illustrated handscrolls. An examination of other extant medieval period illustrated handscrolls indicates that the same calligrapher was involved in the explanatory texts on scrolls 4, 8, and 9, and the colophon on scroll 10 of the Konrenji version of the Yûgyô shonin-engi-e. Further, the same calligrapher wrote the texts for scrolls 4 and 5 of the Tôji version of the Kôbô Daishi gyôjô-e. The latter work is known to have been created around 1374–78. In addition, the old records that accompany the latter handscrolls attribute the texts on scrolls 4 and 5 to “Go-Oshinokoji, the Minister of the Interior.” The question then arises, who was this Go-Oshinokoji former Naidaijin (the Minister of the Interior)? That title refers to Sanjô Kintada (1324–1383) who is known to have been the calligrapher of the 2nd volume of the Boki-e, thought to have been completed in 1351. A comparison of both the Chinese characters and the Japanese syllabary found in the Bukkôji version, the Konrenji version of the Yûgyô shonin Engi-e, the Tôji version of the Kôbô Daishi gyôjô-e and the Bukkoji version indicates that all of these works were written by the same hand. Given that the text and the paintings of the Bukkôji version were both created at the same time, and the fact that the calligrapher for the texts was Sanjô Kintada, then it is certain that the production of the Bukkôji version dates back to the 14th century. Given this dating, the paintings of the Bukkôji version must be reconsidered. In this reconsideration the author took note of the Josenbô version of the illustrated biography of Shinran created in 1360. There are many instances of the same motifs used in the various scenes on the Josenbô and the Bukkôji versions. This Josenbô version’s overall composition was based on the earlier Kôei version, and while the Josenbô version used the Kôei version as its model, it also incorporated some of the elements and scenes from the Bukkôji version. Thus, the Bukkôji version can be seen to pre-date the Josenbô version known to have been painted in 1360. Given that the year 1361 marked the centenary of Shinran’s death, the actual production of buildings for use in the centenary commemoration would have been carried out at that time, with a five-day period of dedication rituals for the new structures recorded to have been held in the 3rd month of 1360. It can then be surmised that the Bukkôji version was also created during this period. Thus the Bukkôji version creation has as its terminus the 1360 creation of the Josenbô version, and it would seem appropriate that it predated that time to some degree. Five examples of illustrated handscrolls with texts written by Sanjô Kintada are known, including the four extant works and one known through documents. Thus Kintada must be considered in the role of calligrapher for illustrated handscrolls when we consider the calligraphers of medieval period handscrolls. Of the five projects he is known to have worked on, including the Bukkôji version, both the Boki-e and the Kôbô Daishi Gyôjô-e were painted by the head of the imperial court’s painting studio. The painting skills and technical standard of such a studio head would have been commensurate with the high ranking aristocratic calligrapher, Sanjô Kintada, chosen for the accompanying texts. Thus, it can be assumed that the painter and painting studio who brushed the Bukkôji version would have been a painter whose rank, skills and technical abilities were commensurate with the high ranking aristocrat Sanjô Kintada who wrote that version’s texts. The depiction in the Bukkôji version has previously been noted as “vulgar or coarse.” However, what has been overlooked about this painting style is the scene of Shinran’s cremation, where the dense foliage of the trees and the snow-dusted distant mountain views can be seen as sourced from the scenery depiction of the lightly snow-dusted Mt. Mikasa in the Kasuga Gongen-Genki-e of 1309. Similarly, the intricate ink-line depiction of the waves on the surface of Lake Ashino in Hakone seems to be sourced in the same 1309 work. The figural depiction, such as the facial expressions of the manifestation of the Kumano deity, seen with Shinran in the Kumano Shrine building, along with their garments have been extremely intricately colored in fully elegant form. The painter of these elements, and his affiliated painting studio, clearly must be seen as having had considerable talent and technical ability. What must not be overlooked as well is the fact that somewhat earlier than the 1360 date of the Bukkôji version, the Bukkôji sect regularly commissioned paintings from the painting studio affiliated with the Gion Shrine. The chief painter of the imperial court’s painting studio would have been chosen from the Gion Shrine-affiliated painting studio, and in addition to the creation of the Boki-e for which Sanjô Kintada wrote the texts, that studio would have also created a set of handscrolls, the Suwa Daimyôjin-ekotoba (scattered and now lost), whose text written by high ranking nobles in 1356. The Gion Shrine-affiliated painting studio can thus be considered to be a painting studio of sufficient rank and talent to match the calligraphy commissioned from Sanjô Kintada. Thus, confirming the 14th century date of the Bukkôji version will have an important influence upon the study of the medieval handscrolls. This new dating is related to the understanding of handscroll painting style in the latter half of the 14th century. The basis for the previous ca. 15th century attribution of the Bukkôji version can be found in its so called “clear and strongly vulgar or coarse painting style,” but in fact it must be noted that this painting style itself was one of the trends of the latter half of the 14th century. The awareness of this trend suggests the necessity for a re-evaluation of the dating of the handscrolls attributed to the 15th century on the basis of this style. The confirmation of the 14th century date for the Bukkôji version is particularly meaningful for this stylistic matter.
1 0 0 0 IR 研究資料 岩手・光林寺蔵 木造聖徳太子立像
- 著者
- 津田 徹英
- 雑誌
- 美術研究 = The bijutsu kenkiu : the journal of art studies
- 巻号頁・発行日
- no.404, pp.82-97, 2011-08-30
This article reviews Kojima Michihiro's recent book about rakuchů rakugai zu. Kojima's book focuses on the earliest examples of this genre, four pairs of screens that were created in the sixteenth century. The article summarizes Kojima's main points, the organization of his book, and its methodology. It concludes that while the book's central argument, namely that the earliest rakuchů rakugai screens ("Kyoto screens") could only have been created for the political elite in late medieval Japan, is sound, the book's overall methodology and argument presented in the longest chapter in particular merit thorough interrogation. This chapter, covering over half of the book's length, deals with the earliest pair of screens, which are kept in the National Museum of Japanese History. The reviewer first takes issue with Kojima's methodology, which essentially follows that of other historians who have written about Kyoto screens. According to this approach, rakuchů rakugai zu are "visual documents" that should be "read," and should thus be understood as literal, unmediated depictions of the old capital at a certain point in time. While Kyoto screens depict an actual place and reflect to a certain degree the historical conditions that contributed to their creation, Kojima's approach offers little nuance or evidence of the impact of debates that developed in regard to this methodology. Thus "reading" the screens as documentary accounts of Kyoto in the 1500s, Kojima stacks hypothesis upon hypothesis, which lead him to conclude that, for example, the earliest extant example of the genre was created in 1525 in simultaneous commemoration of both the political ascent of Hosokawa Tanekuni (who died in the same year, we subsequently learn) and theshogun Ashikaga Yoshiharu's installment at a new palace. Following the same approach for the other three sixteenthcentury Kyoto screens, Kojima presents similar, if far briefer, interpretations based on identifications of figures and places one encounters in these other works. Kojima's attempts to discover "portraits" (shôzô) of historical figures in the early rakuchú rakugai zu are not totally without foundation, and reflect shifts in the study of Kyoto screens in recent years. We would expect the occupants of a building labeled "Konoe" on the screens, for example, to be members of this noble house. The reviewer notes that it is where Kojima's approach strays from the plausible, however, that weakens his arguments, and ultimately undermines his entire project. The reviewer also critiques Kojima's visual analysis, which, through only the most impressionistic of comparisons combined with circumstantial evidence based on the author's hypotheses, proffers that Kano Motonobu painted the earliest extant screens. Decades of formal analysis by art historians, including the reviewer, have arrived at different conclusions, none of which are seriously considered in Kojima's study. The review concludes that while Egakareta sengoku no Kyoto presents an uneven and often problematic analysis of Kyoto screens, it is welcomed as a study that focuses on the earliest examples of the genre, and that conveys to readers a wealth of information about historical developments and the material culture of the late medieval capital.Bibliography: Kojima Michihiro, Egakareta Sengoku no Kyoto, Tokyo:Yoshikawa Kôbunkan, 2009.
1 0 0 0 OA 東日本に分布する宗教彫像の基礎的調査研究-古代から中世への変容を軸に
1 0 0 0 OA 親鸞晩年の聖徳太子観と東国真宗門徒の太子造像
- 著者
- 津田 徹英
- 出版者
- 日本仏教綜合研究学会
- 雑誌
- 日本仏教綜合研究 (ISSN:13484850)
- 巻号頁・発行日
- vol.2, pp.33-48, 2004-05-31 (Released:2017-11-06)