3 0 0 0 OA 東日本大震災後の文化財救出活動記録の計量的分析
- 著者
- 村井 源 森井 順之 二神 葉子 皿井 舞 菊池 理予 江村 知子 今石 みぎわ 久保田 裕道 山梨 絵美子 田良島 哲 岡田 健
- 出版者
- 情報知識学会
- 雑誌
- 情報知識学会誌 (ISSN:09171436)
- 巻号頁・発行日
- vol.24, no.2, pp.238-245, 2014-05-24 (Released:2014-12-01)
- 参考文献数
- 10
東日本大震災後に行われた文化財レスキューの概要を, 活動記録のテキストを計量的に分析するアプローチによって抽出した. 出現語彙のうちで活動内容・文化財・被害状況の三つに対応するものを計量し, 文化財レスキュー活動の時系列的な変化を明らかにした. 被災後にも被害状況と必要な対処は刻一刻と変化していくため, その特徴を踏まえて防災活動や今後の対策を行うことが必要である.
3 0 0 0 OA ミュージアムと研究機関の協働による制作者情報の統合
文化財における制作者情報を対象に、これまでばらばらであった専門機関内の情報をひとつにまとめて発信する「制作者情報統合データベース」の研究に取り組み、試行版を開発した。国立美術館4館総合目録に登録されている4,000件の情報による実証試験では、文化遺産オンラインとの連携による作品情報との照合をおこないデータベースの有効性を示した。また制作者情報の充実をはかるため、美術研究資料アーカイブズの調査と作家調書の情報化を実施した。海外動向調査では、スミソニアン協会のアーカイブズ・オブ・アメリカンアート(AAA)における美術研究資料アーカイブズの収集と管理の実際を明らかにし、その成果をウェブで公開した。
2 0 0 0 IR 醍醐寺薬師三尊像と平安前期の造寺組織(中)
- 著者
- 皿井 舞
- 雑誌
- 美術研究 = The bijutsu kenkiu : the journal of art studies
- 巻号頁・発行日
- no.393, pp.15-29, 2008-01-28
This paper is the second of a three-part series that will discuss the historical and philosophical background of the creation of the Yakushi Triad in the Yakushidô Hall, KamiDaigo, Daigoji, Kyoto, created at the beginning of the 10th century during Japan's Heian period. The purpose of this article is to clarify the organizational structure of Shimo-Daigoji, which was established by the imperial court, through an analysis of historical documents in Daigoji Yôsho 『醍醐寺要書』.This analysis will contribute to an understanding of the organizational system for temples around the early Heian period. The first part of this article analyzes a document concerning the construction of temples created by imperial command, or goganji 御願寺, which is found in Shin-gishiki 『新儀式』, a book on ceremonial commands published in the middle of the 10th century. The document states that these imperial decree temples can be divided into two types, 1) temples created by emperors during their reign, and 2) jôgakuji 定額寺 temples created by retired emperors, empresses, priests and aristocrats and then donated to the imperial court. There were three types of organizational systems for imperial decree temples, 1) imperial court-established organizations which consisted of both priests and secular bureaucrats, 2) imperial court-established organizations which consisted of solely of secular bureaucrats, and 3) imperial court-created temples that the emperor decreed would be operated by the goin 後院 emperor-controlled organizations. The second part of this article analyzes the Senji 宣旨 edicts of the Emperor Daigo issued by his secretariats, also found in Shin-gishiki. The contents of these edicts and the means of their communication revealed the actual organizational system of Daigoji. As a result of this analysis, it is apparent that when the imperial court created Daigoji, they established organizations of priests and bureaucrats who were responsible for the operation of the temple, and that also technical specialists were dispatched to work in the temple as needed. This analysis also indicates that the goin emperor's personal estate also contributed to the creation of Daigoji. Goin was organized in the 9th century as the personal estates of the reigning emperor. The goin organization fell outside the bureaucracy of the Ritsuryo regime. In general, the proper route for the transmission of the emperor's decrees regarding the building of a goganji temple was through the aristocrats and bureaucrats in the Dajôkan agency. The goin, on the other hand, was an agency that could carry out imperial orders outside the framework of the Ritsuryo regime. Therefore, the participation of the goin, an agency close to the emperor's personal affairs, in the creation of Daigoji, indicates that Daigoji took on the character of a temple personally connected to the emperor Daigo. Though previous studies have largely failed to consider the importance of the goin, this article insists that goin played a crucial role in the construction of goganji temples. Actually, it can be suggested that the five-story pagoda at Daigoji is one instance of a project led by the goin. This is extremely noteworthy. This article reexamines the construction of the five-story pagoda from this new understanding of the goin's role in its process. Through a more detailed understanding of the operational structure in place during the establishment of Daigoji, this article aims to clarify the factual details regarding temple establishment procedures during the early Heian period. This article further suggests the necessity of a reconsideration of the commonly accepted beliefs regarding the history of early Heian period sculpture.
2 0 0 0 OA 前近代における「つかのまの展示」研究
- 著者
- 中村 俊春 根立 研介 森 雅彦 河上 繁樹 安田 篤生 加須屋 誠 森 雅彦 河上 繁樹 安田 篤生 加須屋 誠 平川 佳世 深谷 訓子 皿井 舞 吉田 朋子 剱持 あずさ
- 出版者
- 京都大学
- 雑誌
- 基盤研究(B)
- 巻号頁・発行日
- 2005
本研究では、近代的な展覧会制度が確立する18世紀以前のいわゆる前近代の日本・東洋および西洋で行われた「つかのまの展示」について、作品調査および関連史料の分析に基づき個別事例を精査するとともに、比較研究の視点を交えつつ、各々に関して同時代の宗教観、経済活動、政治的文脈、社会状況等に照らした詳細な考察を行った。その結果、今後、本領域において指標的な役割を果しうる包括的な成果を得た。
1 0 0 0 OA [調査報告] 飛鳥寺本尊銅造釈迦如来坐像(重要文化財)調査報告
1 0 0 0 平等院鳳凰堂空間の荘厳と機能に関する総合的研究
2019年度は、鳳凰堂内の修理事業の計画のうち天井の建造材の剥落止め作業が行われたことから、鳳凰堂母屋正面(東面)の天井、東面の4本の柱絵、及び、それまで足場の長さが足りず十分に届かなかった南面の柱等の調査を行う予定であった。6月11日に、事前調査として、足場最上層にのぼり格子天井や大虹梁ほかの彩色の状態を確認した。8月3日~4日、鳳凰堂内の目視調査を実施、従来、確認できていなかった柱絵の図容を調査した。また阿弥陀如来像が堂内で安置場所から移動するのにともない、10月14日~15日、像、光背などの撮影、調査をおこなった。その後、年度末に来迎柱の絵様帯に描かれた各モチーフの彩色材料につき科学調査を実施する予定であったが、新型コロナウィルス感染症による緊急事態宣言発出のため、実施ができなかった。この点については、鳳凰堂の空間彩色の問題を解決する糸口となる重要な調査であるため早期の実施をはかりたい。
1 0 0 0 IR [調査報告] 飛鳥寺本尊銅造釈迦如来坐像(重要文化財)調査報告
1 0 0 0 IR 醍醐寺薬師三尊像と平安前期の造寺組織(下)
- 著者
- 皿井 舞
- 雑誌
- 美術研究 = The bijutsu kenkiu : the journal of art studies
- 巻号頁・発行日
- no.398, pp.1-30, 2009-08-31
This is the third section of a three-part discussion of the construction of Daigoji temple, ordered by Emperor Daigo in Engi 7 (907). As the final section of the article, this section clarifies the meaning of the temple construct at Kami-Daigo. The unusual feature of the Kami-Daigo temple complex is the parallel display of the exoteric Buddhist deity Yakushi with the esoteric Buddhist deities known as the Godaimyoo. This article focuses on this point and begins with an examination of the role and function of Yakushi and the Godaimyoo from the latter half of the 9th century onwards. This examination revealed that prior to the latter half of the 9th century, Yakushi and the Godaimyôô were both thought to be able to protect the country and ward off calamity. Thus it was deemed that they should be enshrined in the focal points of national protection, namely the Kokubunji temples and other such sites. Thus, the KamiDaigo temple complex commissioned by Emperor Daigo was fitted with not one but two central worship images that had powerful anti-calamity functions. This was not, however, a normal state of affairs. It is thought that this unusual situation was brought about by the domestic and international dangers and political unrest that occurred from the end of the 9th century through the beginning of the 10th century. Internally, unrest continued in the Kanto region, with the so-called "ôgoku no ran" riots occurring at the beginning of the 10th century proving a considerable threat to the imperial court. From offshore, pirates from Silla were sporadically raiding Japan. These extremely heightened political tensions provided the impetus for the creation of the Yakushi and Godaimyos images for Kami-Daigo. At first glance this combination of Yakushi and Godaimyôô appears to be a mixed gathering of different types. This "mélange" that supercedes the framework of exoteric/esoteric had not previously been seen in temples. However, this "mélange" appears to be the major characteristic of the imperially commissioned Daigoji, including both Kami-Daigo structures and the Shimo-Daigo structures. At the same time, this "mélange" could only have emerged because of the changes in national policy and culture that began in the early years of the 10th century. Indeed, the period changes are fully etched into this KamiDaigo temple complex.
1 0 0 0 IR 醍醐寺薬師三尊像と平安前期の造寺組織(上)
- 著者
- 皿井 舞
- 雑誌
- 美術研究 = The bijutsu kenkiu : the journal of art studies
- 巻号頁・発行日
- no.392, pp.1-21, 2007-09-28
This paper is the first of a three-part series that will discuss the historical and philosophical background of the creation of the Yakushi Triad in the Yakushidô Hall, KamiDaigo, Daigoji, Kyoto, created at the beginning of the 10th century during Japan's Heian period. This article first analyzes the formative expression of the Yakushi Nyorai figure that stands as the central figure of the Daigoji Yakushi Triad. As has been indicated by a number of previous studies of the subject, older elements can be discerned in parts of this figure's formative expression. These revivalist elements seen in the formative expression quote elements of the sculptural style prevalent in Japan from the end of the Nara period through the beginning of the Heian period. This article takes the discussion a step further, comparing the facial expression of the Daigoji Yakushi Nyorai figure with that of the Tôdaiji Amoghapasa figure created around the middle of the 8th century during the Nara period. This comparison clearly reveals the resemblance between the figures in terms of the three-dimensional expression of their eyes, eyebrows, noses and mouths. Sculptural style, namely the characteristics of three-dimensional expression, is individual for each different historical period. Yet, the Daigoji figure reveals the inclusion of past styles into the compositional elements of the facial expression. This quotation of a section of a specifically dated style cannot be seen in figures created before the Daigoji figures and can be considered a special characteristic of this sculpture's formative expression. This use of revivalist expression in the Daigoji figure can be considered to have been based on the participation of the priest Shôbô (832-909) in the construction of the KamiDaigo structures. This was because Shôbô had been the bettô, or manager in charge, of various temples where the restoration of Buddhist sculptures was being carried out. Thus he was a person deeply connected to Nara, and hence very familiar with formal styles of Nara period sculpture. However, when a temple was created by imperial command, the imperial court established a temporary organizational structure for its work. Hence the degree to which Shôbô would have participated in the determination of the sculptural style must be considered carefully. With the aim of getting a relative view of Shôbô's achievements, the second chapter of this paper aims to clarify the facts surrounding the organizational structure of Daigoji during this period. As an element of that study, the first section analyzes the Shingon sect priest Eri who is thought to have been active in the creation of Buddhist figures along with Shôbô. The section presents a critique of the historical documents available regarding Eri, and through analysis of the reliable documents, it can be shown that it was not Shôbô, but rather Eri who was the Buddhist priest entrusted with the organizational structure by order of the imperial court.
1 0 0 0 OA 研究資料 京都・神光院蔵 木造地蔵菩薩立像
- 著者
- 皿井 舞
- 雑誌
- 美術研究 = The bijutsu kenkiu : the journal of art studies
- 巻号頁・発行日
- no.408, pp.95-104, 2013-01-18
Jinkôin is a Shingon sect temple located in the Kita ward of Kyoto. Kamo Yoshihisa, the head priest of the Kamo-wake-ikazuchi Shrine, established the temple at the beginning of the 13th century. The author conducted a survey of the Standing Image of Jizô Bosatsu at the temple in October 2010. This article presents the basic data on this previously little-known work. The survey revealed that there are inscriptions next to the right foot and left foot of the figure. The inscription includes the priest’s name, Chôyô, and the date 1312 (Shôwa 1), thus clarifying the date of production and the name of the person involved in its creation. Further, nine small wooden standing images of Jizô fell from the split edges of the image’s construct, and other small wooden images of bodhisattvas were found in the sculpture’s interior. Judging from the sculptural style, this work is thought to have been carved by an Inpa school sculptor and is an extremely important example of the basic Inpa school style of Buddhist images created at the end of the Kamakura period. During Japan’s medieval period it was common for Buddhist stupas and sutra storage areas to be built inside Shinto shrine compounds and for the Shinto deities and Buddhist gods to be worshipped as a single unit. Chôyô, the head priest of the Kamo-wake-ikazuchi Shrine, is surmised to have become a priest on the basis of his Buddhist beliefs. This work is known as a good physical manifestation of medieval Japan’s unique amalgamation of simultaneous Buddhist and Shinto worship. In this sense, the work can be said to be extremely important.
1 0 0 0 OA 研究資料 京都・神光院蔵 木造薬師如来立像
- 著者
- 皿井 舞
- 雑誌
- 美術研究 = The bijutsu kenkiu : the journal of art studies
- 巻号頁・発行日
- no.404, pp.69-81, 2011-08-30
The standing wooden image of Prince Shotoku (figure H. 76.3 cm), reveals workmanship superior to that seen in other examples of the subject. Nevertheless, the work has not been mentioned since the publication of photographs of the image in Ishida Mosaku, ed., Shotoku taishi sonzó shúsei [Photographs on Portraits of Prince Shotoku] (Kôdansha, 1976). The reason for this hiatus lies in the fact that by the time of the 1976 publication, the sculpture had changed hands, and the details of that transfer were long unknown. The author, however, obtained permission from the image'scurrent owner, Korinji, and was able to conduct a survey of the work. This article presents the detailed findings of that study with the aim of introducing this work as reference material for further research. It confirms that the image is in the style of the Araki-Azabu sect of the Shinran school of Pure Land Buddhism, and suggests that the work was created in the first half of the 14th century (late Kamakura period).
1 0 0 0 OA 模倣の意味と機能をめぐる研究-写す・抜き出す・変容させる
- 著者
- 根立 研介 中村 俊春 平川 佳世 武笠 朗 深谷 訓子 皿井 舞 武笠 朗 田島 達也 深谷 訓子 劔持 あずさ 皿井 舞 宮崎 もも 中尾 優衣
- 出版者
- 京都大学
- 雑誌
- 基盤研究(B)
- 巻号頁・発行日
- 2007
平成22年度は、研究代表者の根立は、8月下旬から9月初旬にロンドン・大英博物館、ウィーン・応用美術館、ケルン・東洋美術館を、また12月下旬中国・寧波・寧波市博物館及び蘇州・蘇州市博物館等を訪れ、日本の鎌倉・江戸時代の彫刻及び日本の古代・中世彫刻の規範である中国の南北朝・唐・宋彫刻の調査を実施し、資料収集を行った。また、国内では、霊験仏として名高く、模刻も盛んに行われた奈良・長谷寺十一面観音像の室町時代の模刻像の調査(於鳥取県倉吉市・長谷寺)等を実施した。分担者の中村は、昨年度に引き続き、西洋バロック美術の模倣と創造の問題に関して資料収集を行った。また、21年度から分担者となった平川は、9月にルーブル美術館(パリ)、サバウラ美術館(トリノ)、ドーリア・アンフィーリ美術館(ローマ)を訪れ、ルネサンス以降イタリアの宮殿装飾として定着した古代ローマの表象において北方ヨーロッパにおける伝播を確認する調査を実施した。連携研究者は、個々人のテーマを進展させたが、特に武笠朗は昨年度に引き続き、善光寺式三尊像の模刻を巡る研究を進展させた。なお、研究代表者根立は、本研究のテーマとも密接に関わる霊験仏の問題を『美術フォーラム21』22号(2010年11月発行)で特集として編集するとともに、根立、武笠が論考を発表した。なお、最終年度に入った本研究の成果を検討する研究会を、10月3日に実施し(第二回目は、東日本大震災の影響もあり中止となった)、活発な意見交換を行った。また、3月下旬には、研究代表者・同分担者・連携研究者8人の研究成果の論文を掲載し、この科研を総括する報告書を刊行した。
1 0 0 0 OA 寺院造営組織からみた平安前期彫刻の研究
- 著者
- 皿井 舞
- 出版者
- 独立行政法人国立文化財機構東京文化財研究所
- 雑誌
- 若手研究(B)
- 巻号頁・発行日
- 2010-04-01
本研究のもっとも大きな成果は、これまでほとんど知られていなかった京都・神光院薬師如来立像をはじめとする平安時代前期の彫像を実査し、とりわけ本像が9世紀初頭の天長年間(824-834)頃に百姓がつくったものであることを明らかにしたことである。こうした市井の造像のありようを史料から裏付けることによって、官営工房作の像ばかりに注目されがちであった平安時代前期彫刻の多様性を考える手がかりが得られた。