著者

森 銑三

雑誌

美術研究 = The bijutsu kenkyu : the journal of art studies

巻号頁・発行日

no.72, pp.6-16, 1937-12-25

著者

森 銑三

雑誌

美術研究 = The bijutsu kenkyu : the journal of art studies

巻号頁・発行日

no.71, pp.26-35, 1937-11-25

著者

森 銑三

雑誌

美術研究 = The bijutsu kenkyu : the journal of art studies

巻号頁・発行日

no.36, pp.10-19, 1934-12-30

著者

谷 信一

雑誌

美術研究 = The bijutsu kenkyu : the journal of art studies

巻号頁・発行日

no.67, pp.1-11, 1937-08-25

著者

谷 信一

雑誌

美術研究 = The bijutsu kenkyu : the journal of art studies

巻号頁・発行日

no.68, pp.22-31, 1937-08-25

著者

隈元 謙次郎

雑誌

美術研究 = The bijutsu kenkyu : the journal of art studies

巻号頁・発行日

no.91, pp.17-27, 1939-07-25

著者

丸尾 彰三郎

雑誌

美術研究 = The bijutsu kenkyu : the journal of art studies

巻号頁・発行日

no.6, pp.5-10, 1932-06-15

著者

小山 冨士夫

雑誌

美術研究 = The bijutsu kenkyu : the journal of art studies

巻号頁・発行日

no.143, pp.1-28, 1947-09-01

著者

小山 冨士夫

雑誌

美術研究 = The bijutsu kenkyu : the journal of art studies

巻号頁・発行日

no.143, pp.1-28, 1947-09-01

著者

井上 一稔

雑誌

美術研究 = The bijutsu kenkyu : the journal of art studies

巻号頁・発行日

no.343, pp.1-18, 1989-02-28

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Among various iconographical forms of Amitābhā, crowned Amitābhā images are classified into 1) the main image of Jōgyōdō hall at an Esoteric Buddhist temple, 2) Amitābhā of guhari colour and 3) others. The second type was painted and sculpted. While the painted images hold a crown on dressed hair, the carved ones hold a crown on curled hair, the latter being the theme of the present paper. Painted examples are all later than the Kamakura Period and the carved examples are almost exclusively from the mid-Heian Period (the tenth and eleventh centuries). Thus, it seems unnatural to the author to include both painted and carved works in the single category of “Amitābhā of guhari colour”. This is the starting point of his discussion. The author tried to find the Esoteric Buddhist significance of the carved images of “Amitābhā of guhari colour” in their iconographical characteristics, namely, the existence of the crown and their mudrā known as jōin. He was led to an idea that Chin-kang-ting-ching-kuan-tzü-tsai-wang-ju-lai-hsiuhsing-fa translated into Chinese by Amoghavajra, Chin-kang-ting-ching-yü-ch'ieh-kuan-tzŭ-tasi-wang-ju-laihsiu-hsing-fa translated by Vajrabodhi and Chingkang-ting-yü-ch’ieh-ch'ing-ching-ta-pei-wang-kuantzŭ-tsai-nien-sung-i-kuei by the same translator are the basis of the notion. These writings describe the process that perfected Buddhist devotees who perform a certain kind of meditation with the aim of spiritual incorporation with Amitābhā are finally given a crown in the vision. The author theorizes that the iconography is the sculptur tion of the imagery of Amitābhā thus considered to be attained by this kind of meditation.

著者

葛 承雍 市元 塁

雑誌

美術研究 = The bijutsu kenkyu : the journal of art studies

巻号頁・発行日

no.427, pp.1-14, 2019-03-28

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This paper presents an in-depth analysis of three Sui Dynasty camel figurines recently excavated at Xi'an, China. The so called Drunken Fulin motif, previously known only in historical anecdotes, is clearly depicted on the bags carried by these three camels. These images show the figure of Dionysus supported by two attendants, matching the traditional depiction of the god of wine in Greco-Roman mythology. The entire design consisted of an arcade, amphora-rhyton, ivy vining patterns with warrior figures with heads held high appearing next to these designs. All of these elements were new and stand as definite evidence of the introduction of the worship of the god of wine in ancient China, having spanned the tremendous distance from the classical Mediterranean region. Reference to the Greco-Roman and Byzantine art examples discovered in China in the past century further proves the unique route of the introduction and acceptance of these typical symbols of Hellenistic mythology in China, and it is hoped that this new archaeological study will further benefit scholars of the history of the cultural communication between China and the West via the Silk Road.

著者

三輪 英夫

雑誌

美術研究 = The bijutsu kenkyu : the journal of art studies

巻号頁・発行日

no.342, pp.16-24, 1988-03-31

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The datable works by Kaneyuki HYAKUTAKE (1842-1884) all belong to the short period from 1975 to 1882, during which he mostly resided in Europe. He studied first under Thomas Miles RICHARDSON Jr. (1813-1890) in London, then under Léon BONNAT (1833-1922) in Paris and finally under Cesare MACCARI (1840-1911) in Rome. Accordingly, he gradually changed his style reflecting the styles of the teachers. However, the change was of positive nature as is seen in “Bonchurch, Isle of Wight” from 1879 and “Pietro Micca” from 1882. The former is a landscape with impressionistic colouring, brushwork and composition, much freer and moderner than those with RICHARDSON's influence. On the other hand, the latter is a history painting whose subject is an Italian hero in the War of the Spanish Succession and its composition is close to “Hercules Overcoming the Nemean Lion” by Peter Paul RUBENS, whose copy by HYAKUTAKE remains. These two works illustrate his shift from impressionistic landscape to the traditional European theme of history painting, which might be taken as a stylistic shift toward the past. The intrinsic reason for it existed in his ideal concerning the assimilation of Western painting. He considered that the assimilation of firm academicism, not of Impressionism, was the first necessity, and “Pietro Micca” was painted uner this conviction. Such an attitude of HYAKUTAKE as a student abroad represents one of the typical views conceived by the Western-method painters in the early Meiji Era.

著者

土屋 貴裕

雑誌

美術研究 = The bijutsu kenkyu : the journal of art studies

巻号頁・発行日

no.399, pp.1-36, 2010-01-07

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The Tesshinsai Bunko Ise Monogatari Bunkakan in Odawara city, Kanagawa prefecture, is well known for its collections regarding The Tales of Ise. The single-volume The Tales of Ise Album (hereafter referred to as Tesshinsai version) is one of these works. It is thought that the paintings in the album were created by Tosa Mitsunobu and the text passages were brushed by Konoe Nobutada, as indicated by the inscription on the inside of the storage box lid. Not much attention has been accorded to the Tesshinsai version, and there have been no thorough studies of the work. This article is an introduction to the Tesshinsai version and presents observations that will hopefully advance an understanding of its position with the history of art. First, the article provides an overview of the work. It then goes on to evaluate the attributions to Tosa Mitsunobu and Konoe Nobutada. Similarities can be noted between the Tesshinsai version paintings and the group of works known to have been painted by Tosa Mitsunobu. However, there are also pages within the album that are extremely close to works by Tosa Mitsumochi, Mitsunobu's son, and the workshop of Mitsumochi, such as the Taimadera Engi Emaki and the Kuwanomidera Engi Emaki. Further, in terms of the text passages, the Tesshinsai version has gold and silver painted decoration rather than gold leaf decoration on its the text papers, and thus the paper used in the painting is thought to date from around the Momoyama period. The calligraphy appears to have characteristics typical of Konoe Nobutada, as found in works such as the Screens of Assorted Poems from the Tale of Genji in the Yômei Bunko collection. Thus the author concluded that it is highly likely that thecalligraphy is in fact that of Nobutada. Next, a comparison was made of scenes presented in various versions of The Tales of Ise paintings created up until the Momoyama period and the works in the Tesshinsai version, as a confirmation of their positioning within specific lineages of such works. As a result, the Tesshinsai version is seen to bear an extremely close relationship with the Chester Beatty Library version and the Suntory Museum of Art version. These two versions bear a close affiliation to the so-called Sagabon version that is considered to be the model for many Edo period examples. To be more specific, the Tesshinsai version appears to be the oldest copy version in this Sagabon lineage. This means that the Tesshinsai version must play a major role in future research on The Tales of Ise paintings. Given this chronology, the Tesshinsai version influenced many Tales of Ise paintings. Also, because it is considered that this work was painted by the Tosa Mitsumochi workshop, the Tesshinsai version stands as important material for the future study of the Tosa school. Finally, the Tesshinsai version was compared to the two Tales of Ise paintings created by Sumiyoshi Jokei, a painter who inherited and continued the Tosa school tradition. The comparison indicates that undoubtedly Jokei referred to the Tesshinsai version in the creation of his works. This connection also indicates the importance of the Tesshinsai version in the consideration of such issues as handing on models and copy works, and the development of Yamato-e iconography during the pre-modern period.

著者

田村 悦子

雑誌

美術研究 = The bijutsu kenkyu : the journal of art studies

巻号頁・発行日

no.233, pp.14-36, 1965-02-27

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Here introduced is a portrait of Priest Ryōe (1098-1186) who was the earliest leader of Shingon Buddhism in the Eikyūji which was perished at the end of the last century. In her paper con cerning the temple in the Bijutsu Kenkyu, No. 224, she made reference also to this portrait, only the photograph of which had been known since its owner had changed around 1940 or 1945. Recently the present owner was found by the author and she could make the investigation. This is painted on an unpatched wide cloth. The condition of preservation is good. The priest in light-gray drapery wears a yellowishbrown ornamental stole over it and has a rosary in the hands. He sits on a decorated dais obliquely represented. He looks old with grizzled eyebrows and deeply-lined forehead. Around his mouth, there is a distortion peculiar to copied works and knees are well rendered but flat. Both show that it is probably a copy of an earlier work. In the author's opinion, the fact that he sits on the front part of the dais and the fact that it lacks stable feeling are the proofs of its being a copy. The portraiture has a classic style keeping soft lines of the Heian Period and, by the comparison with this kind of works of the Kamakura Period, it is judged to be a work of the middle Kamakura Period, probably of the third quarter of the 13th century. Colours are rather thin. The whole picture, together with the colours of the cartouche and the ground, gives bright impression. The letters in the cartouche are of the Sesonji School in the latter half of the 13th century. The Eikyūji had been presided by the followers of Ryōe and prospered in the Kamakura Period, especially, around the time of Priest Gyōen, when many buildings were built and pictures and sculptures were produced. This painting was probably of this period.

著者

谷 信一

雑誌

美術研究 = The bijutsu kenkyu : the journal of art studies

巻号頁・発行日

no.54, pp.1-15, 1936-06-30

著者

中川

雑誌

美術研究 = The bijutsu kenkyu : the journal of art studies

巻号頁・発行日

no.46, pp.20-21, 1935-10-30

著者

兒島 喜久雄

雑誌

美術研究 = The bijutsu kenkyu : the journal of art studies

巻号頁・発行日

no.154, pp.1-6, 1949-05-30

著者

森末 義彰

雑誌

美術研究 = The bijutsu kenkyu : the journal of art studies

巻号頁・発行日

no.91, pp.1-16, 1939-07-25

著者

西村 貞

雑誌

美術研究 = The bijutsu kenkyu : the journal of art studies

巻号頁・発行日

no.39, pp.23-29, 1935-03-28

著者

杉田

雑誌

美術研究 = The bijutsu kenkyu : the journal of art studies

巻号頁・発行日

no.14, pp.34, 1933-02-10