著者

浜島 正士

出版者

一般社団法人日本建築学会

雑誌

日本建築学会論文報告集 (ISSN:03871185)

巻号頁・発行日

no.131, pp.57-62, 65, 1967-01-30

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In Japanese architecture of the middle age, the corner-post is longer than the other. And so the bend occures on Kashiranuki, it reaches Gangyo through Tokyo, consequently Gangyo is bent. At Kaijusanji-Tower the straight bent of Kashiranuki starts from the center-point of interior-post, but the bend of Gangyo starts from the end of Makito. It shows that the bend of Gangyo is made regardless of Tokyo. And at corner-Tokyo, height of Waku-Hijiki of 45 degree enlarges at the end. From that reason the slope of Gangyo is steeper than Kashiranuki. In case of Tesakigumi-Tokyo; From the last age of Heian to the eary of Kamakura the way of Kaijusanji is used generally, for example Tchijoji-Tower Ishiyamadera-Tower Toshodaiji-koro, etc. From the middle age of Kamakura on ward accordingly enlargement of its section and transformation of Sane-Hijiki, also the bend of Gangyo changes, and so it starts from the center-point of interior-post in the same case as Kashiranuki. So that at interior-Tokyu Sane-Hijiki bends on the center, or the outside of Makito is taller than the inside. That is to say, the bend of Gangyo is made in process that Tokyo is constructed. For example Ishiteji-Tower Myooin-Tower Jotokuji-Entuden, etc. In Muromachi age, at corner-Tokyo instead of the way of Kaijiusanji, the end of Tori-Hijiki is bent horizontally. For that, the slope of Gangyo is able to eque Kashiranuki. In case of Mitudogumi-Tokyo; The bend of Gangyo starts straight from the center-point of interior-post, and its slope is Gangyo starts straight from the center-point of interior-post, and its slope is equel Kashiranuki.

著者

浜島 正士

出版者

一般社団法人日本建築学会

雑誌

日本建築学会論文報告集 (ISSN:03871185)

巻号頁・発行日

no.296, pp.117-126, 1980-10-30

被引用文献数

1

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1. The width of the upper story is determined in proportion to the width of the lower story, but it is not standardized. 2. The proportion of the width As to the size of the upper story, the newer Taho-pagodas are generally larger than the older Taho-pagoda. As to the size of the upper eaves, the older Taho-pagodas are generally large, and the newer Taho-pagodas are small. 3. The proportion of the height The height of the upper roof is about tow thirds as high as the height of a Taho-pagoda, and in this point there is little differenee between the older Taho-phgodas and the newer ones. The height of the upper eaves is about a half as high as the height of a Taho-pagoda, and the height of lower eaver is about a quarter of that of the height of a Taho-pagoda. The tower eave's height of the older Taho-pagodas are expecially low, which showo that that they are are-one-storied pagoda with Mokoshi. 4. The proportion of the width and the height The newer Taho-pagodas are slenderer than the older ones. Which shows that thet styhe of Taho-pagodas has been modfied from one-storied pagodas with Mokashi to tow-storied pagodas.

著者

浜島 正士

出版者

一般社団法人日本建築学会

雑誌

日本建築学会論文報告集 (ISSN:03871185)

巻号頁・発行日

no.236, pp.107-116, 1975-10-30

被引用文献数

2

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1. The lower-stories of the TAHO pagodas which were built in the early days have square pillars without DAIWAs, but those built after the 14th century have columns with DAIWAs. On the other hand all the upper-stories have columns with DAIWAs. The fact shows that the lower-story of TAHO pagoda was treated as a MOKOSHI in the eary days. 2. Three styles can be discerned in the KUMIMONOs of the lower-stories of TAHO pagodas, and this makes a TAHO pagoda distinct from storied-pagodas, which are uniform in style. All the KUMIMONOs of the upperstories are in MITESAKI style, and it is conspicuous that an architectural technique in the early days has been used till modern times. 3. The center-post of a TAHO pagoda is not on the foundation but on the ceiling of the lower-story, and in this respect it is different from a storied-pagoda. The columns in the lower-stories of a TAHO pagada were four in the early days. In about the 14th century a number of TAHO pagodas with tow columns in the lower-stories were built, and since the 16th century those with four columns have increased again. This is the same with a three-storied pagoda. 4. As the square eaves in the upper-story of a TAHO pagoda are supported by the colums, the construction of the KUMIMONO is very much complicated. For this reason most of the upper-stories of TAHO pagodas even in the 14th〜15th century are not in ROKUSHIGAKE style. 5. The construction method of TAHO pagodas in the earlp days is a piling-up method, which is original with a storied pagoda, but some of those built after about the 14th century are on support method. The same is true of a three-storied pagoda. But in the piling-up method which was applied to the TAHO pagodas in the early days, there is a technique which is not used in a three-storied pagoda. This is helpful in guessing the original form of a TAHO pagoda.

著者

浜島 正士

出版者

一般社団法人日本建築学会

雑誌

日本建築学会論文報告集 (ISSN:03871185)

巻号頁・発行日

no.227, pp.115-123, 133, 1975-01-30

被引用文献数

1

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1. At first the TAHO-tower was built by SAICHYO and KUKAI in the early 9th century, after that was built in every where. But all TAHO-towers remained were built from the late 12th century. 2. At present TAHO-towers remained take unified style, but the original style of TAHO-tower is classified into tow groupes. One, tower of eary SHINGON-sect was named BIRUSHANAHOTO, aimed at putting DAINICHI-Buddha for one's object. Another, the tower of TENDAI-Sect was named TAHOTO, aimed at stalling HOKEKYO for one's object, it seems that it's style was the square tower of tow storeies. And in TENDAI-Sect from the eary 11th century the TAHO-tower that aimed at putting SHAKA and TAHO-Buddhas was built too. 3. After that in TENDAI-Sect the TAHO-tower that put DAINICHI-Buddha was built, and the style TAHO-tower was unified irrespective of TENDAI or SHINGON. The style of TAHO-tower remained was propagated in the eary 11th century at latest. 4. The TAHO-tower fundamentally is different to the storeyed-tower that aims at stalling BUSSHARI for one's object, so the center post of TAHO-tower that do not takes important meaning does not stand on the base but on the ceiling of first storey.

著者

浜島 正士

出版者

国立歴史民俗博物館

雑誌

国立歴史民俗博物館研究報告 (ISSN:02867400)

巻号頁・発行日

no.50, pp.p219-247, 1993-02

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中国の福建省地方は、中世初頭の東大寺再建に際して取り入れられ、以後の日本建築に大きな影響を与えた大仏様ときわめて関係が深い地域とされている。その福建省に残る十世紀から十七世紀にかけて建立された古塔について、構造形式、様式手法を通観し、その時代的変遷を考察するとともに、十二世紀以前の仏堂遺構も加えて大仏様との関連を探ってみる。Fuchien Province in China is considered to have very deep connections with the Daibustu-yo style of architecture which was introduced to Japan on the occasion of the reconstruction of Tōdaiji Temple in the early Middle Ages, and which exerted a strong influence on Japanese architecture thereafter. The author looks through the structural types and styling techniques of ancient Pagoda erected from the 10th to 17th centuries and still remaining in Fuchien Province. He also looks into their relationship with the Daibustu-yo together with other Buddhist structures remaining from the 12th century or earlier.