楓湖は幕末から大正時代まで活躍した画家。歴史的人物をとりあげた「歴史画」で知られる。古来の行事、制度、装束などを研究する有職故実の見識が高い。京都五条大橋での牛若と弁慶との対峙を欄干の飾りである擬宝珠を大きく描き、翻る牛若の動きを強調している。
欄干 らんかん
擬宝珠 ぎぼし
翻る ふるがえる
楓湖は幕末から大正時代まで活躍した画家。歴史的人物をとりあげた「歴史画」で知られる。古来の行事、制度、装束などを研究する有職故実の見識が高い。京都五条大橋での牛若と弁慶との対峙を欄干の飾りである擬宝珠を大きく描き、翻る牛若の動きを強調している。
欄干 らんかん
擬宝珠 ぎぼし
翻る ふるがえる
山間から、画面左に向かって湾曲しながら川が流れています。川面に浮かんだ一艘の舟が向かう先には、人物が橋を渡っています。橋の周辺には紅葉が色づき、秋の景色のようです。こんもりと丸みを帯びた山や、さまざまな筆のタッチを細かく使って描かれた木々は、まるでうごめく生き物のようで、わき上がるような生命力を感じさせます。
タイトルにある「兎道（うじ）」とは、お茶の産地として有名な京都の宇治の古い表記です。画面右下、宇治川がカーブするあたりで木々に囲まれているのが平等院です。「朝暾（ちょうとん）」とは、朝日のこと。秋の朝の、澄んだ空気を感じさせるのどかな風景です。
作者の木米の本名は青木八十八（やそはち）。中国の南宗画の影響を受けた南画家・池大雅を慕っていました。そのせいか、画中の人物が中国風に表現されているのも特徴的です。
A river arcs through the mountains and flows to the left, its surface only disturbed by a solitary boat. Further down, a man crosses a bridge. The red-hued leaves around the bridge suggest an autumn scene. The detailed depiction of the trees is achieved using a variety of brush strokes. The trees and the rounded mountains seem to writhe upwards with the vigor of living creatures.
The 'Uji' of the title is a famous tea-growing region in Kyoto. A temple surrounded by trees sits toward the bottom right, close to where Uji River curves around. This is Byodoin Temple, now listed as a World Heritage Site. This tranquil scene is infused with the crisp air of an autumn morning.
Mokubei was a great admirer of Ike no Taiga, a painter influenced by a style of Chinese literati painting called nanshuga. Perhaps this explains the painting's characteristic Chinese-style figures.
山間から、画面左に向かって湾曲しながら川が流れています。川面に浮かんだ一艘の舟が向かう先には、人物が橋を渡っています。橋の周辺には紅葉が色づき、秋の景色のようです。こんもりと丸みを帯びた山や、さまざまな筆のタッチを細かく使って描かれた木々は、まるでうごめく生き物のようで、わき上がるような生命力を感じさせます。
タイトルにある「兎道（うじ）」とは、お茶の産地として有名な京都の宇治の古い表記です。画面右下、宇治川がカーブするあたりで木々に囲まれているのが平等院です。「朝暾（ちょうとん）」とは、朝日のこと。秋の朝の、澄んだ空気を感じさせるのどかな風景です。
作者の木米の本名は青木八十八（やそはち）。中国の南宗画の影響を受けた南画家・池大雅を慕っていました。そのせいか、画中の人物が中国風に表現されているのも特徴的です。
A river arcs through the mountains and flows to the left, its surface only disturbed by a solitary boat. Further down, a man crosses a bridge. The red-hued leaves around the bridge suggest an autumn scene. The detailed depiction of the trees is achieved using a variety of brush strokes. The trees and the rounded mountains seem to writhe upwards with the vigor of living creatures.
The 'Uji' of the title is a famous tea-growing region in Kyoto. A temple surrounded by trees sits toward the bottom right, close to where Uji River curves around. This is Byodoin Temple, now listed as a World Heritage Site. This tranquil scene is infused with the crisp air of an autumn morning.
Mokubei was a great admirer of Ike no Taiga, a painter influenced by a style of Chinese literati painting called nanshuga. Perhaps this explains the painting's characteristic Chinese-style figures.
寛政６年（1794）５月、蔦屋重三郎を版元として出版された雲母摺（きらずり）の役者大首絵28種のうちの１枚。河原崎座で上演された『恋女房染分手綱（こいにょうぼうそめわけたづな）』で、伊達（だて）の与作（よさく）の烏帽子親鷺坂佐内（えぼしおやざきさかさない）を演じる三代目坂東彦三郎（ばんどうひこさぶろう）が、与作のところへ腰元重（しげ）の井（い）を連れてくる場面とされる。(20111213_h102)
寛政６年（1794）５月、蔦屋重三郎を版元として出版された雲母摺（きらずり）の役者大首絵28種のうちの１枚。河原崎座で上演された『恋女房染分手綱（こいにょうぼうそめわけたづな）』で、伊達（だて）の与作（よさく）の烏帽子親鷺坂佐内（えぼしおやざきさかさない）を演じる三代目坂東彦三郎（ばんどうひこさぶろう）が、与作のところへ腰元重（しげ）の井（い）を連れてくる場面とされる。(20111213_h102)
越後(えちご)の人で、建仁寺(けんにんじ)の住持。一山一寧(いっさんいちねい)に参禅。18歳で入元し、留まること23年に及んだが、その途次投獄(とうごく)。流謫(るたく)の難に遭った。五山文学者としても名高く、詩集語録等を残している。正平元年(1346)57歳で没した。宋の蘇轍が兄蘇軾と別れる際に詠んだ「逍遙堂会宿二首」中の一句。
越後(えちご)の人で、建仁寺(けんにんじ)の住持。一山一寧(いっさんいちねい)に参禅。18歳で入元し、留まること23年に及んだが、その途次投獄(とうごく)。流謫(るたく)の難に遭った。五山文学者としても名高く、詩集語録等を残している。正平元年(1346)57歳で没した。宋の蘇轍が兄蘇軾と別れる際に詠んだ「逍遙堂会宿二首」中の一句。
九段坂の田安門（たやすもん）から清水門（しみずもん）を廻る堀を「牛ヶ淵」と呼んだのは、かつて牛車（ぎっしゃ）が堀に落ちたことに因むという。画題と款記が横倒しの平仮名で記され、筆記体の英文に似せてある。土坡（どは）を画面右に大胆に配し、陰影やぼかしを用いて洋風版画風に仕上げられている。
九段坂の田安門（たやすもん）から清水門（しみずもん）を廻る堀を「牛ヶ淵」と呼んだのは、かつて牛車（ぎっしゃ）が堀に落ちたことに因むという。画題と款記が横倒しの平仮名で記され、筆記体の英文に似せてある。土坡（どは）を画面右に大胆に配し、陰影やぼかしを用いて洋風版画風に仕上げられている。
丸木船の上部に板材を組み合わせて、より大きな船にしたものを準構造船という。アイヌの人々の準構造船はイタオマチップと呼ばれ、丸木船の舷側に縄で板材を綴（と）じつけたものである。外洋用の船で、主に交易に用いられていたが、海獣猟や漁撈にも使われた。
丸木船の上部に板材を組み合わせて、より大きな船にしたものを準構造船という。アイヌの人々の準構造船はイタオマチップと呼ばれ、丸木船の舷側に縄で板材を綴（と）じつけたものである。外洋用の船で、主に交易に用いられていたが、海獣猟や漁撈にも使われた。
備前に代表される焼締陶は加飾の技法が少ないだけに造形の時代の特色が鮮明に現れる。この香炉も祖形は中国の青磁口寄香炉。桃山の備前の陶工はかくも大胆に造形を展開させた。そこに火襷という窯変を利用した新たな装飾の技が加わり、この香炉が生まれた。
備前に代表される焼締陶は加飾の技法が少ないだけに造形の時代の特色が鮮明に現れる。この香炉も祖形は中国の青磁口寄香炉。桃山の備前の陶工はかくも大胆に造形を展開させた。そこに火襷という窯変を利用した新たな装飾の技が加わり、この香炉が生まれた。
印籠は、薬を入れて腰に提げる小さな容器。江戸時代中頃以降は実用品というより、アクセサリーとして用いられることが多かった。
根付は、印籠や煙草入・巾着などを腰に下げるためのホルダー。印籠・根付はつける人の趣味を表わす格好の装身具であり、形や意匠にさまざまな趣向が凝らされている。
(2004/09/01_h101 or 2006/08/29_h101)
These kind of cases were suspended from the sash of one's garment. They were used not only to store medicines, but also functioned as fashion accessories. (20170418_h101)
印籠は、薬を入れて腰に提げる小さな容器。江戸時代中頃以降は実用品というより、アクセサリーとして用いられることが多かった。
根付は、印籠や煙草入・巾着などを腰に下げるためのホルダー。印籠・根付はつける人の趣味を表わす格好の装身具であり、形や意匠にさまざまな趣向が凝らされている。
(2004/09/01_h101 or 2006/08/29_h101)
These kind of cases were suspended from the sash of one's garment. They were used not only to store medicines, but also functioned as fashion accessories. (20170418_h101)
本作は、パリ万博ではEtude de Femme（女性習作)として出品されました。日本の観衆には裸体画の観念性を、西洋の観衆には日本人による裸体画という存在自体をアピールするという二面性は、二つの文化を知る黒田が身につけた戦略であったといえます。
","descriptionEn":"Kuroda Seiki (1866–1924) took advantage of his unique identity as one of the first Japanese artists to study abroad in Europe. With this series of nudes, he aimed to educate his Japanese audience about the symbolism in Western nude paintings. He also sought to show Western audiences that the genre of nude painting existed in Japan.
","id":"cobas-159784","lastUpdatedDate":1784564090464,"linkUrl":"https://colbase.nich.go.jp/collection_items/tnm/KU-a053","ownerOrg":"nich","provider":"tnm","temporal":["明治32年(1899)","Meiji era, 1899"],"thumbnailUrl":["https://colbase.nich.go.jp/media/tnm/KU-a053/image/slideshow_s/KU-a053_E0136148.jpg"],"title":"智・感・情のうち感","titleEn":"Impression","titleYomi":"ち かん じょう かん"},"id":"cobas-159784","rdfindex":{"temporal":["朝鮮・李氏朝鮮時代","明治","中国・清時代"],"type":["絵画"]},"cobas-0-s":"159784","cobas-1-u":"https://colbase.nich.go.jp/collection_items/tnm/KU-a053","cobas-2-s":"KU-a053","cobas-3-s":"重要文化財","cobas-4-s":"黒田記念館収蔵品","cobas-5-s":"智・感・情のうち感","cobas-6-s":"ち かん じょう かん","cobas-7-s":"1面","cobas-8-s":"黒田清輝筆","cobas-11-s":"明治32年(1899)","cobas-12-s":"カンバス・油彩","cobas-13-s":"180.6×99.8","cobas-16-s":"東京国立博物館","cobas-17-h":"本作は、パリ万博ではEtude de Femme（女性習作)として出品されました。日本の観衆には裸体画の観念性を、西洋の観衆には日本人による裸体画という存在自体をアピールするという二面性は、二つの文化を知る黒田が身につけた戦略であったといえます。
","cobas-18-u":"https://colbase.nich.go.jp/media/tnm/KU-a053/image/slideshow_s/KU-a053_E0136148.jpg","cobas-19-s":"tnm","cobas-20-s":"12f08f3c06a62af80737925634848303","cobas-21-s":"185713","cobas-22-s":"159784","cobas-30-s":"Important Cultural Property","cobas-31-s":"Kuroda Memorial Hall Collection","cobas-32-s":"Impression","cobas-34-s":"By Kuroda Seiki (1866–1924)","cobas-37-s":"Meiji era, 1899","cobas-38-s":"Oil on canvas","cobas-42-s":"Tokyo National Museum","cobas-43-h":"Kuroda Seiki (1866–1924) took advantage of his unique identity as one of the first Japanese artists to study abroad in Europe. With this series of nudes, he aimed to educate his Japanese audience about the symbolism in Western nude paintings. He also sought to show Western audiences that the genre of nude painting existed in Japan.
"},{"common":{"access":"PUBLIC","apiType":"restricted","category":["cultural","book","humanities"],"contentsAccess":"internet","contentsRightsType":"ccby","contentsType":"image","contentsUrl":["https://file.objecthub.keio.ac.jp/image/thum_l_13339_13339.jpg"],"contributor":["足利義満"],"database":"keioobjecthub","dclass":"911","description":"足利義満〈あしかがよしみつ・1358-1408〉は、室町幕府第３代将軍。２代義詮〈よしあきら・1330-67〉の子。初代尊氏〈たかうじ・1305-58〉の孫。11歳で将軍となり、将軍権力の充実につとめた。明徳３年〈1392〉後亀山天皇〈ごかめやまてんのう・?-1424〉を京都に迎えて三種神器を後小松天皇に奉り、南北朝の合一を成す。応永元年〈1394〉、将軍職を息子義持〈よしもち・1386-1428〉に譲り、太政大臣となるが、翌々年には辞して出家。同４年〈1397〉、北山第（金閣はその一部）を造園し、北山殿と呼ばれて強大な権力を誇った。義満は公家文化を愛好、和歌会や蹴鞠（けまり）の会など朝廷の儀式を盛んに催した。また、禅宗や五山文学、外来文化を尊重し、北山文化と呼ばれる豪奢な公武融和の文化を開花させた。和歌にも堪能で、『新後拾遺和歌集』以下の勅撰和歌集に26首を入集する。義満の筆跡は祖父や父よりも洗練された趣を持ち、貴族的素養の高さを感じさせる。残存数は少なく、この短冊はきわめて貴重な遺墨である。\n","descriptionEn":"The third shogun of the Muromachi military government, Ashikaga Yoshimitsu (1358-1408) was the son of the second shogun, Yoshiakira (1330-67), and the grandson of the first shogun, Takauji (1305-58). He assumed this highest of military offices at age 11 and exerted great efforts to perpetuate the authority vested in the shogunate (military government). When Tsuyomon-In Sanjo Takako (1351-1406), the biological mother of Emperor GoKomatsu (1377-1433, then age 30) passed away in 1406, Yoshimitsu asked his wife, Hino Yasuko (1369-1419), to assume the role of the emperor’s mother figure. Thereafter, she was called by the honorary title of Kitayama-In. In 1392, Shogun Yoshimitsu called back Emperor GoKameyama (?-1424) to Kyoto to encourage the return of the Three Imperial Regalia to Emperor GoKomatsu, thus unifying the previously split imperial authority of the Southern and Northern Dynasties. In 1394, Yoshimitsu abdicated, passed on the shogun’s title to his son, Yoshimochi, and became Chancellor. Two years later, he also retired from this post and became a Buddhist priest. He built the Kitayama-Tei Mansions, which included the now world-famous Golden Pavilion (Kinkakuji Temple). From here, he wielded supreme power and was feared as the “Lord of Kitayama.” Although a military general, Yoshimitsu was deeply attached to the culture and lifestyle of the nobles and, as such, hosted many courtly events, including poetry parties and football (kemari) tournaments. He paid respect to Zen Buddhism, Gozan Literature (lit. “Five Mountain Academism”), and imported foreign culture, leading to the blossoming “Kitayama Culture,” in which aristocratic and military tastes blended in unprecedented splendor. Yoshimitsu was an excellent poet, with a total of 25 poems spread among Shin-Goshui Wakashu and other imperially commissioned anthologies. Yoshimitsu’s calligraphy was more refined than his father’s and grandfather’s, reflecting his education by aristocrats. As only a few authentic works of his remain, the exhibited tanzaku is a rare, precious legacy.\n","id":"keioobjecthub-1291","iiifUrl":"https://api-iiif.db.kemco.keio.ac.jp/iiif/object/1291/2.1/manifest.json","lastUpdatedDate":1663081200000,"linkUrl":"https://objecthub.keio.ac.jp/ja/object/1291","ownerOrg":"keio_university","provider":"斯道文庫","temporal":["AD14"],"thumbnailUrl":["https://file.objecthub.keio.ac.jp/image/thum_m_13339_13339.jpg"],"title":"足利義満筆短冊","titleEn":"Tanzaku by Ashikaga Yoshimitsu","titleYomi":"アシカガヨシミツヒツタンザク"},"id":"keioobjecthub-1291","rdfindex":{"temporal":["1301～1400年"],"type":["芸術・美術"]},"keioobjecthub-0-s":"1291","keioobjecthub-1-s":"足利義満筆短冊","keioobjecthub-2-s":"Tanzaku by Ashikaga Yoshimitsu","keioobjecthub-3-s":"アシカガヨシミツヒツタンザク","keioobjecthub-4-d":"2022/09/14","keioobjecthub-5-u":"https://objecthub.keio.ac.jp/ja/object/1291","keioobjecthub-6-u":"https://file.objecthub.keio.ac.jp/image/thum_m_13339_13339.jpg","keioobjecthub-9-u":"https://api-iiif.db.kemco.keio.ac.jp/iiif/object/1291/2.1/manifest.json","keioobjecthub-12-s":"足利義満","keioobjecthub-13-s":"AD14","keioobjecthub-15-gs":"足利義満〈あしかがよしみつ・1358-1408〉は、室町幕府第３代将軍。２代義詮〈よしあきら・1330-67〉の子。初代尊氏〈たかうじ・1305-58〉の孫。11歳で将軍となり、将軍権力の充実につとめた。明徳３年〈1392〉後亀山天皇〈ごかめやまてんのう・?-1424〉を京都に迎えて三種神器を後小松天皇に奉り、南北朝の合一を成す。応永元年〈1394〉、将軍職を息子義持〈よしもち・1386-1428〉に譲り、太政大臣となるが、翌々年には辞して出家。同４年〈1397〉、北山第（金閣はその一部）を造園し、北山殿と呼ばれて強大な権力を誇った。義満は公家文化を愛好、和歌会や蹴鞠（けまり）の会など朝廷の儀式を盛んに催した。また、禅宗や五山文学、外来文化を尊重し、北山文化と呼ばれる豪奢な公武融和の文化を開花させた。和歌にも堪能で、『新後拾遺和歌集』以下の勅撰和歌集に26首を入集する。義満の筆跡は祖父や父よりも洗練された趣を持ち、貴族的素養の高さを感じさせる。残存数は少なく、この短冊はきわめて貴重な遺墨である。\n","keioobjecthub-16-gs":"The third shogun of the Muromachi military government, Ashikaga Yoshimitsu (1358-1408) was the son of the second shogun, Yoshiakira (1330-67), and the grandson of the first shogun, Takauji (1305-58). He assumed this highest of military offices at age 11 and exerted great efforts to perpetuate the authority vested in the shogunate (military government). When Tsuyomon-In Sanjo Takako (1351-1406), the biological mother of Emperor GoKomatsu (1377-1433, then age 30) passed away in 1406, Yoshimitsu asked his wife, Hino Yasuko (1369-1419), to assume the role of the emperor’s mother figure. Thereafter, she was called by the honorary title of Kitayama-In. In 1392, Shogun Yoshimitsu called back Emperor GoKameyama (?-1424) to Kyoto to encourage the return of the Three Imperial Regalia to Emperor GoKomatsu, thus unifying the previously split imperial authority of the Southern and Northern Dynasties. In 1394, Yoshimitsu abdicated, passed on the shogun’s title to his son, Yoshimochi, and became Chancellor. Two years later, he also retired from this post and became a Buddhist priest. He built the Kitayama-Tei Mansions, which included the now world-famous Golden Pavilion (Kinkakuji Temple). From here, he wielded supreme power and was feared as the “Lord of Kitayama.” Although a military general, Yoshimitsu was deeply attached to the culture and lifestyle of the nobles and, as such, hosted many courtly events, including poetry parties and football (kemari) tournaments. He paid respect to Zen Buddhism, Gozan Literature (lit. “Five Mountain Academism”), and imported foreign culture, leading to the blossoming “Kitayama Culture,” in which aristocratic and military tastes blended in unprecedented splendor. Yoshimitsu was an excellent poet, with a total of 25 poems spread among Shin-Goshui Wakashu and other imperially commissioned anthologies. Yoshimitsu’s calligraphy was more refined than his father’s and grandfather’s, reflecting his education by aristocrats. As only a few authentic works of his remain, the exhibited tanzaku is a rare, precious legacy.\n","keioobjecthub-17-s":"斯道文庫","keioobjecthub-19-s":"制作年:AD14","keioobjecthub-20-s":"作者:足利義満","keioobjecthub-24-s":"AW-CEN-002502-0000","keioobjecthub-28-s":"センチュリー赤尾コレクション","keioobjecthub-30-s":"慶應義塾（センチュリー赤尾コレクション）\n","keioobjecthub-32-s":"斯道文庫"},{"common":{"access":"PUBLIC","apiType":"ok","category":["cultural","art"],"contentsAccess":"internet","contentsRightsType":"ccby","contentsType":"image","contentsUrl":["https://colbase.nich.go.jp/media/tnm/A-11529/image/slideshow_s/A-11529_E0142690.jpg"],"contributor":["東京国立博物館","Tokyo National Museum"],"database":"cobas","dclass":"726","description":" 正面向きで孔雀の背に乗る仏様。これは、様々な災いを除く力があるとされる孔雀明王（くじゃくみょうおう）を描いた作品です。明王は怒ることで人々を導くとされる仏様ですが、この孔雀明王はいつくしみ、あわれむ慈悲の表情を浮かべています。
現存する孔雀明王像の中でも最高傑作と言われるこの作品は、華やかな彩色が目を引きます。ハイライトや色のぼかしを巧みに加え、柔らかでふっくらとした印象を生み出しています。
彩色とともに注目していただきたいのが、金を使った装飾です。ネックレスや腕輪などのアクセサリーには金をたたいて極薄のシート状にのばした金箔を貼り、衣には金箔を細く切って貼りつける截金（きりかね）という技法で文様をあらわしています。一方、孔雀の羽や蓮の葉脈などは、粉末状にした金を動物の骨や皮からつくられた接着剤・膠（にかわ）で溶いた金泥（きんでい）という絵具で、柔らかく描いています。質感の異なる金を使い分けることで、きらびやかでありながらも繊細な仕上がりになっています。
平安仏画の優美な世界観をお楽しみください。
A Buddhist deity on a peacock faces the viewer. This is the Wisdom King “Kujaku Myo‘o,” or Mahamayuri in Sanskrit, a deity with the power to ward off calamities. In Buddhism, Wisdom Kings used their wrath to guide people down the right path. However, this Wisdom King is depicted with a warm, sympathetic and merciful countenance.
With its resplendent colors, this is said to be the greatest of all the extant paintings depicting this Wisdom King. Highlights and gradations of color are used to skillfully imbue the deity with a gentle, soft air.
The gold accents are also remarkable. Gold was hammered into thin sheets to create the foil adhered to accessories like the necklace and bracelets, with cut gold leaf also used to create the patterns on the garments. The peacock feathers, lotus leaf veins, and other parts have been gently drawn using a gold pigment made from powdered gold mixed with a glue derived from animal bones or hides. This use of gold in varying textures has imbued the work with a rich yet graceful air.
We hope you enjoy this glimpse into the elegant world of Heian-period Buddhist painting.
正面向きで孔雀の背に乗る仏様。これは、様々な災いを除く力があるとされる孔雀明王（くじゃくみょうおう）を描いた作品です。明王は怒ることで人々を導くとされる仏様ですが、この孔雀明王はいつくしみ、あわれむ慈悲の表情を浮かべています。
現存する孔雀明王像の中でも最高傑作と言われるこの作品は、華やかな彩色が目を引きます。ハイライトや色のぼかしを巧みに加え、柔らかでふっくらとした印象を生み出しています。
彩色とともに注目していただきたいのが、金を使った装飾です。ネックレスや腕輪などのアクセサリーには金をたたいて極薄のシート状にのばした金箔を貼り、衣には金箔を細く切って貼りつける截金（きりかね）という技法で文様をあらわしています。一方、孔雀の羽や蓮の葉脈などは、粉末状にした金を動物の骨や皮からつくられた接着剤・膠（にかわ）で溶いた金泥（きんでい）という絵具で、柔らかく描いています。質感の異なる金を使い分けることで、きらびやかでありながらも繊細な仕上がりになっています。
平安仏画の優美な世界観をお楽しみください。
A Buddhist deity on a peacock faces the viewer. This is the Wisdom King “Kujaku Myo‘o,” or Mahamayuri in Sanskrit, a deity with the power to ward off calamities. In Buddhism, Wisdom Kings used their wrath to guide people down the right path. However, this Wisdom King is depicted with a warm, sympathetic and merciful countenance.
With its resplendent colors, this is said to be the greatest of all the extant paintings depicting this Wisdom King. Highlights and gradations of color are used to skillfully imbue the deity with a gentle, soft air.
The gold accents are also remarkable. Gold was hammered into thin sheets to create the foil adhered to accessories like the necklace and bracelets, with cut gold leaf also used to create the patterns on the garments. The peacock feathers, lotus leaf veins, and other parts have been gently drawn using a gold pigment made from powdered gold mixed with a glue derived from animal bones or hides. This use of gold in varying textures has imbued the work with a rich yet graceful air.
We hope you enjoy this glimpse into the elegant world of Heian-period Buddhist painting.
聖徳太子の文房具として伝えられた作品です。これらの品は、太子がわが国ではじめて法華経など仏教の経典の解説書を書いた時に使われたとされています。
墨台（ぼくだい）は墨を置く台。中央に大きな六弁の花を、いまは一つ欠けていますが、周囲に６個の花が表わされています。また軸の部分や台座にも草花が刻まれており、さらにその輪郭や葉脈がごく細い鏨（たがね）の線で刻まれています。
墨をするための水を入れる水滴（すいてき）は柿の実のような形をしており、三方を楕円形に区切って、翼を広げた鳳凰（ほうおう）と草花が彫り表わされています。底には３つの脚が付き、小さいながらもどっしりとした造形です。蓋は周囲が反りあがった形で、宝珠（ほうじゅ）という玉の形をしたつまみを中心に、四方には花が刻まれています。
３本の匙（さじ）はそれぞれ、蓮の花びら、ひょうたん、柳の葉の形で、丸く作った柄は微妙な曲線を描いています。
もともとこのようなセットであった確証はなく、実は、ほんとうに墨台や水滴などの文房具として制作されたかも明らかではありませんが、奈良時代の見事な金工技術が発揮された名品です。
Prince Shōtoku purportedly owned these writing implements and used them when he wrote the first explanations in Japan of the Lotus Sutra and other Buddhist texts.
The flower-shaped stand was used to hold ink cakes. It originally had six petals, although one is now missing. The outlines and veins of the leaves that form the floral patterns on the stem and base were engraved in fine lines using a chisel.
The pot on display, which held water that was used to make the ink, is in the shape of a persimmon engraved with floral patterns and phoenixes with wings spread. It has three legs, and while small, its shape makes it feel more substantial. The edge of the lid curves upwards into four petals with a knob in the form of a jewel.
There are also three spoons on display, shaped like a lotus petal, gourd, and willow leaf, respectively, with the handles curving gently.
There is no proof that these items were made as a set, or that they were meant for the purposes described above, but they do demonstrate the brilliant metalworking techniques of the Nara period.
聖徳太子の文房具として伝えられた作品です。これらの品は、太子がわが国ではじめて法華経など仏教の経典の解説書を書いた時に使われたとされています。
墨台（ぼくだい）は墨を置く台。中央に大きな六弁の花を、いまは一つ欠けていますが、周囲に６個の花が表わされています。また軸の部分や台座にも草花が刻まれており、さらにその輪郭や葉脈がごく細い鏨（たがね）の線で刻まれています。
墨をするための水を入れる水滴（すいてき）は柿の実のような形をしており、三方を楕円形に区切って、翼を広げた鳳凰（ほうおう）と草花が彫り表わされています。底には３つの脚が付き、小さいながらもどっしりとした造形です。蓋は周囲が反りあがった形で、宝珠（ほうじゅ）という玉の形をしたつまみを中心に、四方には花が刻まれています。
３本の匙（さじ）はそれぞれ、蓮の花びら、ひょうたん、柳の葉の形で、丸く作った柄は微妙な曲線を描いています。
もともとこのようなセットであった確証はなく、実は、ほんとうに墨台や水滴などの文房具として制作されたかも明らかではありませんが、奈良時代の見事な金工技術が発揮された名品です。
Prince Shōtoku purportedly owned these writing implements and used them when he wrote the first explanations in Japan of the Lotus Sutra and other Buddhist texts.
The flower-shaped stand was used to hold ink cakes. It originally had six petals, although one is now missing. The outlines and veins of the leaves that form the floral patterns on the stem and base were engraved in fine lines using a chisel.
The pot on display, which held water that was used to make the ink, is in the shape of a persimmon engraved with floral patterns and phoenixes with wings spread. It has three legs, and while small, its shape makes it feel more substantial. The edge of the lid curves upwards into four petals with a knob in the form of a jewel.
There are also three spoons on display, shaped like a lotus petal, gourd, and willow leaf, respectively, with the handles curving gently.
There is no proof that these items were made as a set, or that they were meant for the purposes described above, but they do demonstrate the brilliant metalworking techniques of the Nara period.
{i=>[cintāmaṇi, hōju], content=>[On behalf of his disciples and to ensure the lasting legacy of his transmissions, Kūkai (774–835) is said to have offered these articles as a “final testament” prior to his passing. They include explanations of the origins of the Shingon sect, important aspects of Shingon doctrine, how temples ought to be administered, and of the existence of the esoteric treasures of wish-fulfilling jewels (Skt. , ; J. , ). The original document is thought to have been compiled around the tenth century by a Shingon priest.]}
{br=>[[], []], content=>[This is the last will, which Priest Kūkai (or Kōbō-daishi, 774-835) handed to his disciples on March 15, 835, six days before his death., In the written will Priest Kūkai announced that his death was approaching and gave detailed directions about the administration and management of the temples of his sect. Since then, generations of priests in the Shingon sect of Buddhism have been keeping Kūkai's last will as their precept., The scroll introduced in this article is a copy made on April 21, 1339 by Priest Kenshun (1299-1357), of Daigo-ji temple. Kenshun gained power as Shogun Ashikaga Takauji's priest. The calligraphic style of this copy is slightly different from Kenshun's other handwritings, because he may have paid respect to the original manuscript. The densely written kana-type characters, the Japanese pronunciation added to Chinese characters and other punctuation marks indicate that Kenshun tried to make this copy an authorized version of Kūkai's last will.]}
","id":"cobas-15791","lastUpdatedDate":1784564090464,"linkUrl":"https://colbase.nich.go.jp/collection_items/narahaku/1122-0","ownerOrg":"nich","provider":"narahaku","temporal":["14世紀","14th century","14","14","14","14"],"thumbnailUrl":["https://colbase.nich.go.jp/media/narahaku/1122-0/image/slideshow_s/H056541.jpg"],"title":"弘法大師二十五箇条遺告","titleEn":"The Twenty-five Articles of Priest Kūkai's Last Will","titleYomi":"こうぼうだいしにじゅうごかじょうゆいごう"},"id":"cobas-15791","rdfindex":{"temporal":["南北朝時代"],"type":["書跡"]},"cobas-0-s":"15791","cobas-1-u":"https://colbase.nich.go.jp/collection_items/narahaku/1122-0","cobas-2-s":"1122-0","cobas-3-s":"重要文化財","cobas-4-s":"書跡","cobas-5-s":"弘法大師二十五箇条遺告","cobas-6-s":"こうぼうだいしにじゅうごかじょうゆいごう","cobas-7-s":"１巻","cobas-11-s":"14世紀","cobas-12-s":"紙本 墨書 巻子","cobas-13-s":"縦30.0 長1325.0","cobas-16-s":"奈良国立博物館","cobas-18-u":"https://colbase.nich.go.jp/media/narahaku/1122-0/image/slideshow_s/H056541.jpg","cobas-19-s":"narahaku","cobas-20-s":"5b7114ef7684b844c73356fa61c11915","cobas-21-s":"1122-0","cobas-22-s":"15791","cobas-25-s":"14","cobas-26-s":"14","cobas-29-s":"書跡:分類:古文書","cobas-30-s":"Important Cultural Property","cobas-31-s":"Writings","cobas-32-s":"The Twenty-five Articles of Priest Kūkai's Last Will","cobas-37-s":"14th century","cobas-38-s":"Handscroll, ink on paper","cobas-39-s":"H 30.0, L 1325.0","cobas-42-s":"Nara National Museum","cobas-43-h":"{i=>[cintāmaṇi, hōju], content=>[On behalf of his disciples and to ensure the lasting legacy of his transmissions, Kūkai (774–835) is said to have offered these articles as a “final testament” prior to his passing. They include explanations of the origins of the Shingon sect, important aspects of Shingon doctrine, how temples ought to be administered, and of the existence of the esoteric treasures of wish-fulfilling jewels (Skt. , ; J. , ). The original document is thought to have been compiled around the tenth century by a Shingon priest.]}
{br=>[[], []], content=>[This is the last will, which Priest Kūkai (or Kōbō-daishi, 774-835) handed to his disciples on March 15, 835, six days before his death., In the written will Priest Kūkai announced that his death was approaching and gave detailed directions about the administration and management of the temples of his sect. Since then, generations of priests in the Shingon sect of Buddhism have been keeping Kūkai's last will as their precept., The scroll introduced in this article is a copy made on April 21, 1339 by Priest Kenshun (1299-1357), of Daigo-ji temple. Kenshun gained power as Shogun Ashikaga Takauji's priest. The calligraphic style of this copy is slightly different from Kenshun's other handwritings, because he may have paid respect to the original manuscript. The densely written kana-type characters, the Japanese pronunciation added to Chinese characters and other punctuation marks indicate that Kenshun tried to make this copy an authorized version of Kūkai's last will.]}
","cobas-44-s":"14","cobas-45-s":"14","cobas-46-s":"Calligraphy:Category:Historical records"},{"common":{"access":"PUBLIC","apiType":"ok","category":["cultural","art"],"contentsAccess":"internet","contentsRightsType":"ccby","contentsType":"image","contentsUrl":["https://colbase.nich.go.jp/media/narahaku/754-0/image/slideshow_s/D018342.jpg"],"contributor":["奈良国立博物館","Nara National Museum"],"database":"cobas","dclass":"718","descriptionEn":"This iconographic form of Bishamonten (Skt. Vaiśravaṇa) is distinguished by its Central Asian style, which is seen particularly in the tall crown with the design of a bird and his long coat of chainmail armor. He stands with both legs supported by the earth goddess Chintennyo, emerging from the ground and flanked by two demons. It comes from Kōfukuji Temple in Nara, and it copies an important statue enshrined at Tōji in Kyoto.
The body was decorated with crown and dressed in a coat-like armor with chained decoration. The right arm was covered with shrimp-shaped gauntlet (ebigote). Mounted on the pedestal in the form of goddess (chiten'nyo) hands. These features were derived from the statue of Tobatsu Bishamonten which came from China to Tō-ji Temple in Kyoto Prefecture. This work was faithfully modeled after the original statue compared to other examples.
This statue, which is kept in the Nara National Museum, is notable as the most precise copy of the statue of Tobatsu-bishamon-ten (Vaiśravaṇa) in Tō-ji temple, which was made during the Tang dynasty in China and was originally placed on the Rajō-mon Gate in the capital Heian-kyō (today's Kyoto city). Unlike other copies in Seiryō-ji and Kurama-dera temples, this statue in Nara features many details of the original such as the design of the phoenix on the front side of the crown and human figures with a stick on both sides of the crown, both of which are made in relief carving; other details are the unique armor-coat made of chains, the arm protectors and leg protectors in the shape of lobster-shells, etc. But this statue is standing in a static posture, whereas the original statue is slightly twisting its hips and legs. The eye-pupils of this statue are not made with inserted black stones, which gave it a gentler facial look than the one in Tō-ji temple. This description style of eyes is in common with the other copy of the same statue in Seiryō-ji temple and is an interesting point in studying these copied statues. This statue is made in the manner of assembling pieces of hinoki wood (Japanese cypress) and is colored.
{br=>[[]], content=>[Tobatsu Bishamonten differs from the usual form of the deva Bishamonten (Skt. Vaiśravaṇa). It is said to have originated in a kingdom in western China referred to as Tobatsu (Ch. Douba), though the precise location this is meant to refer to is unknown . Statues of Tobatsu Bishamonten were enshrined at castle gates to stand guard. This particular statue has several distinct features. A phoenix is carved in low relief on the front of the deva’s jeweled crown, with figures holding sacred staffs to the left and right. The deva is wearing a special type of gold chain mail as an outer garment, and its gauntlets and greaves are made of overlapping metal segments, called “prawn form” in Japanese for its resemblance to a prawn’s segmented shell. The deva is standing on the earth goddess Jiten (Skt. Pṛthvī)., A statue of Tobatsu Bishamonten was reportedly brought to Japan in the early Heian period (794–1185) from China’s Tang dynasty (618–907) and enshrined at the Rajōmon Gate, the southern gate of Heian-kyō (now Kyoto), before being moved to Tōji Temple. In the late Heian period, copies began to be made of Tōji’s statue. Many of these incorporated individual interpretations that differed from the original, such as those passed down at Seiryōji Temple and Kuramadera Temple in Kyoto, but this example is a notably faithful reproduction. Nevertheless, Tōji’s statue has a dynamic pose suggesting subtle movement in the hips and legs, while this one stands in a static pose. The statue also lacks the black stones inlaid in the eyes of the Tōji statue, giving it a more subdued appearance. It was created using joined block construction from Japanese cypress and painted in colored pigments.]}
","id":"cobas-15265","lastUpdatedDate":1784564090464,"linkUrl":"https://colbase.nich.go.jp/collection_items/narahaku/754-0","ownerOrg":"nich","provider":"narahaku","temporal":["12世紀","12th century","12","12","12","12"],"thumbnailUrl":["https://colbase.nich.go.jp/media/narahaku/754-0/image/slideshow_s/D018342.jpg"],"title":"兜跋毘沙門天立像","titleEn":"Standing Tobatsu Bishamonten (Vaiśravaṇa)","titleYomi":"とばつびしゃもんてんりゅうぞう"},"id":"cobas-15265","rdfindex":{"temporal":["平安時代"],"type":["彫刻"]},"cobas-0-s":"15265","cobas-1-u":"https://colbase.nich.go.jp/collection_items/narahaku/754-0","cobas-2-s":"754-0","cobas-3-s":"重要文化財","cobas-4-s":"彫刻","cobas-5-s":"兜跋毘沙門天立像","cobas-6-s":"とばつびしゃもんてんりゅうぞう","cobas-7-s":"1軀","cobas-11-s":"12世紀","cobas-12-s":"木造 寄木造 白土地 彩色 彫眼","cobas-13-s":"像高164.0","cobas-16-s":"奈良国立博物館","cobas-18-u":"https://colbase.nich.go.jp/media/narahaku/754-0/image/slideshow_s/D018342.jpg","cobas-19-s":"narahaku","cobas-20-s":"5b7114ef7684b844c73356fa61c11915","cobas-21-s":"754-0","cobas-22-s":"15265","cobas-25-s":"12","cobas-26-s":"12","cobas-30-s":"Important Cultural Property","cobas-31-s":"Sculptures","cobas-32-s":"Standing Tobatsu Bishamonten (Vaiśravaṇa)","cobas-37-s":"12th century","cobas-38-s":"Wood, joined block construction","cobas-39-s":"H 164.0","cobas-42-s":"Nara National Museum","cobas-43-h":"This iconographic form of Bishamonten (Skt. Vaiśravaṇa) is distinguished by its Central Asian style, which is seen particularly in the tall crown with the design of a bird and his long coat of chainmail armor. He stands with both legs supported by the earth goddess Chintennyo, emerging from the ground and flanked by two demons. It comes from Kōfukuji Temple in Nara, and it copies an important statue enshrined at Tōji in Kyoto.
The body was decorated with crown and dressed in a coat-like armor with chained decoration. The right arm was covered with shrimp-shaped gauntlet (ebigote). Mounted on the pedestal in the form of goddess (chiten'nyo) hands. These features were derived from the statue of Tobatsu Bishamonten which came from China to Tō-ji Temple in Kyoto Prefecture. This work was faithfully modeled after the original statue compared to other examples.
This statue, which is kept in the Nara National Museum, is notable as the most precise copy of the statue of Tobatsu-bishamon-ten (Vaiśravaṇa) in Tō-ji temple, which was made during the Tang dynasty in China and was originally placed on the Rajō-mon Gate in the capital Heian-kyō (today's Kyoto city). Unlike other copies in Seiryō-ji and Kurama-dera temples, this statue in Nara features many details of the original such as the design of the phoenix on the front side of the crown and human figures with a stick on both sides of the crown, both of which are made in relief carving; other details are the unique armor-coat made of chains, the arm protectors and leg protectors in the shape of lobster-shells, etc. But this statue is standing in a static posture, whereas the original statue is slightly twisting its hips and legs. The eye-pupils of this statue are not made with inserted black stones, which gave it a gentler facial look than the one in Tō-ji temple. This description style of eyes is in common with the other copy of the same statue in Seiryō-ji temple and is an interesting point in studying these copied statues. This statue is made in the manner of assembling pieces of hinoki wood (Japanese cypress) and is colored.
{br=>[[]], content=>[Tobatsu Bishamonten differs from the usual form of the deva Bishamonten (Skt. Vaiśravaṇa). It is said to have originated in a kingdom in western China referred to as Tobatsu (Ch. Douba), though the precise location this is meant to refer to is unknown . Statues of Tobatsu Bishamonten were enshrined at castle gates to stand guard. This particular statue has several distinct features. A phoenix is carved in low relief on the front of the deva’s jeweled crown, with figures holding sacred staffs to the left and right. The deva is wearing a special type of gold chain mail as an outer garment, and its gauntlets and greaves are made of overlapping metal segments, called “prawn form” in Japanese for its resemblance to a prawn’s segmented shell. The deva is standing on the earth goddess Jiten (Skt. Pṛthvī)., A statue of Tobatsu Bishamonten was reportedly brought to Japan in the early Heian period (794–1185) from China’s Tang dynasty (618–907) and enshrined at the Rajōmon Gate, the southern gate of Heian-kyō (now Kyoto), before being moved to Tōji Temple. In the late Heian period, copies began to be made of Tōji’s statue. Many of these incorporated individual interpretations that differed from the original, such as those passed down at Seiryōji Temple and Kuramadera Temple in Kyoto, but this example is a notably faithful reproduction. Nevertheless, Tōji’s statue has a dynamic pose suggesting subtle movement in the hips and legs, while this one stands in a static pose. The statue also lacks the black stones inlaid in the eyes of the Tōji statue, giving it a more subdued appearance. It was created using joined block construction from Japanese cypress and painted in colored pigments.]}
","cobas-44-s":"12","cobas-45-s":"12"},{"common":{"access":"PUBLIC","apiType":"ok","category":["cultural","art"],"contentsAccess":"internet","contentsRightsType":"ccby","contentsType":"image","contentsUrl":["https://colbase.nich.go.jp/media/tnm/I-3869/image/slideshow_s/I-3869_E0062246.jpg"],"contributor":["東京国立博物館","Tokyo National Museum"],"database":"cobas","dclass":"594","description":" 振袖とは、袖を長く仕立てた着物のことを指します。絹地に梅の樹が描かれた衝立と、その上にとまる鷹があらわされています。梅は、複数の衝立を渡るように、枝ぶりの見事な一本の木として表現されています。
衝立と鷹は、友禅染（ゆうぜんぞめ）という独特の染め技法で描かれています。絵画的に自由に模様を配置できるのが友禅染の特徴です。衝立の細かい木目や、鷹の羽の一筋ひとすじをあらわす、白く細い輪郭線をご覧ください。これは糊を置いて、生地に色が染み込まないようにした部分です。この糊の線から外にはみ出さないよう、筆で模様に色を挿していくわけです。大変細かい技術であることが分かります。
友禅染のほかにも、衝立の梅の花などは紅糸や金糸による刺繍、そして周辺の地ににじむように広がる紫色の部分は「爆弾染（ばくだんぞめ）」と呼ばれる染によってあらわされています。さまざまな技法、大胆な構図と豊かな色彩が特徴的な、華やかな振袖です。
にじむように広がる紫色の部分は、江戸時代の雛形本で「つかみ染」と記される絞り染で、享保年間頃に流行しました。衝立にとまる鷹を絵画のように繊細かつ華やかに染めた振袖は若い男性が着用したものでしょう。友禅染技法がもっとも卓越した江戸時代中期における優品です。
＋ひながたぼん＋ ＋しぼ＋ ＋きょうほう＋ ＋ゆうぜんぞめ＋
Garments called furisode are distinguished by their long sleeves. This furisode has a pale yellow silk ground with designs of falcons perched on standing screens. A single magnificent plum tree twists sinuously across the surfaces of the screens.
The screens and falcons are depicted using a starch-resist dyeing method called yuzen, which is unique to Japan. This technique allows for patterns to be laid out freely as though one were painting on a canvas. Take a look at the wood grain of the screens and the texture of the falcons' feathers, both of which are expressed with thin white lines. These lines were created by applying lines of starch paste onto the fabric. When the dye was applied, it only seeped into the sections that were not covered in the paste, leaving the lines white. In an extremely meticulous process, the dyes were applied with a brush for maximum control and to assure that they did not seep beyond the sections they were meant to color.
Furthermore, the plum blossoms are embroidered in crimson and gold thread, while the purple patches on the ground were made with another dyeing technique called bakudan zome, or bomb dyeing. These techniques combine with the bold composition and rich color to create a truly extravagant furisode garment.
This kimono was likely worn by a young man. The design of falcons perched on screens, rendered with delicate, vivid dyes, remind one of a painting. The blurred purple patches were created by a tie-dyeing technique that was widely used around the first half of the 1700s. It was created when the [yūzen] dyeing technique reached its peak.
","id":"cobas-87834","lastUpdatedDate":1784564090464,"linkUrl":"https://colbase.nich.go.jp/collection_items/tnm/I-3869","ownerOrg":"nich","provider":"tnm","temporal":["江戸時代・18世紀","Edo period, 18th century"],"thumbnailUrl":["https://colbase.nich.go.jp/media/tnm/I-3869/image/slideshow_s/I-3869_E0062246.jpg"],"title":"振袖 白縮緬地梅樹衝立鷹模様","titleEn":"Long-Sleeved Kimono (Furisode) with Falcons on Standing Screens with Plum Trees","titleYomi":"ふりそで しろちりめんじばいじゅついたてたかもよう"},"id":"cobas-87834","rdfindex":{"temporal":["江戸時代"],"type":["染織"]},"cobas-0-s":"87834","cobas-1-u":"https://colbase.nich.go.jp/collection_items/tnm/I-3869","cobas-2-s":"I-3869","cobas-3-s":"重要文化財","cobas-4-s":"染織","cobas-5-s":"振袖 白縮緬地梅樹衝立鷹模様","cobas-6-s":"ふりそで しろちりめんじばいじゅついたてたかもよう","cobas-7-s":"1領","cobas-11-s":"江戸時代・18世紀","cobas-12-s":"縮緬（絹）、友禅染、刺繡","cobas-13-s":"丈161.0 裄64.0","cobas-16-s":"東京国立博物館","cobas-17-h":" 振袖とは、袖を長く仕立てた着物のことを指します。絹地に梅の樹が描かれた衝立と、その上にとまる鷹があらわされています。梅は、複数の衝立を渡るように、枝ぶりの見事な一本の木として表現されています。
衝立と鷹は、友禅染（ゆうぜんぞめ）という独特の染め技法で描かれています。絵画的に自由に模様を配置できるのが友禅染の特徴です。衝立の細かい木目や、鷹の羽の一筋ひとすじをあらわす、白く細い輪郭線をご覧ください。これは糊を置いて、生地に色が染み込まないようにした部分です。この糊の線から外にはみ出さないよう、筆で模様に色を挿していくわけです。大変細かい技術であることが分かります。
友禅染のほかにも、衝立の梅の花などは紅糸や金糸による刺繍、そして周辺の地ににじむように広がる紫色の部分は「爆弾染（ばくだんぞめ）」と呼ばれる染によってあらわされています。さまざまな技法、大胆な構図と豊かな色彩が特徴的な、華やかな振袖です。
にじむように広がる紫色の部分は、江戸時代の雛形本で「つかみ染」と記される絞り染で、享保年間頃に流行しました。衝立にとまる鷹を絵画のように繊細かつ華やかに染めた振袖は若い男性が着用したものでしょう。友禅染技法がもっとも卓越した江戸時代中期における優品です。
＋ひながたぼん＋ ＋しぼ＋ ＋きょうほう＋ ＋ゆうぜんぞめ＋
Garments called furisode are distinguished by their long sleeves. This furisode has a pale yellow silk ground with designs of falcons perched on standing screens. A single magnificent plum tree twists sinuously across the surfaces of the screens.
The screens and falcons are depicted using a starch-resist dyeing method called yuzen, which is unique to Japan. This technique allows for patterns to be laid out freely as though one were painting on a canvas. Take a look at the wood grain of the screens and the texture of the falcons' feathers, both of which are expressed with thin white lines. These lines were created by applying lines of starch paste onto the fabric. When the dye was applied, it only seeped into the sections that were not covered in the paste, leaving the lines white. In an extremely meticulous process, the dyes were applied with a brush for maximum control and to assure that they did not seep beyond the sections they were meant to color.
Furthermore, the plum blossoms are embroidered in crimson and gold thread, while the purple patches on the ground were made with another dyeing technique called bakudan zome, or bomb dyeing. These techniques combine with the bold composition and rich color to create a truly extravagant furisode garment.
This kimono was likely worn by a young man. The design of falcons perched on screens, rendered with delicate, vivid dyes, remind one of a painting. The blurred purple patches were created by a tie-dyeing technique that was widely used around the first half of the 1700s. It was created when the [yūzen] dyeing technique reached its peak.
"},{"common":{"access":"PUBLIC","apiType":"ok","category":["cultural","art"],"contentsAccess":"internet","contentsRightsType":"ccby","contentsType":"image","contentsUrl":["https://colbase.nich.go.jp/media/tnm/E-20013/image/slideshow_s/E-20013_C0048257.jpg"],"contributor":["東京国立博物館","Tokyo National Museum"],"database":"cobas","dclass":"718","description":" 右手に数珠を持ち、左手に蓮華を執る十一面観音を線刻しています。こうした鏡の表面に、神や仏の像を線刻や彩色で表わしたものを鏡像といいます。裏は秋草に流水、蝶鳥を配した典型的な平安時代の和鏡文様で、平治元年の銘文を記しており、資料的価値も高いものです。
銅製の鏡の鏡面に、十一面観音菩薩の坐像を線刻しています。鏡の背面には、日本で伝統的に好まれた文様である萩、蝶、鳥や水の流れが、鋳造（ちゅうぞう）の技法によって立体的に表されています。その文様の上に「平治元年（へいじがんねん）」という銘文が刻まれています。鏡背の形式と萩の文様構成、柔和な十一面観音菩薩の表現は、12世紀後半の様式をよく示しており、平治元年はおおよそこの鏡が制作され仏像が線刻された時期と考えられます。
この作品のように、銅製の鏡の鏡面に仏や神の像を線刻したものを「鏡像」といい、日本では10世紀ころから登場します。鏡像は厨子（ずし）に納めたり、紐を通して懸けるなどして、礼拝の対象とされました。なぜ銅製の鏡面に像を表すようになったかについては諸説があり、その一つに、日本における神と仏の信仰の融合があります。日本では、インドに由来する信仰である仏教とは別に、神に対する古くからの信仰があり、銅鏡はその神が宿るものとされました。仏教が伝来して以降、ある特定の神に特定の仏を対応させる考え方が広がり、神体である鏡に仏教の像を表すようになったのです。
この鏡像は、純粋な銅鏡の鏡面に仏像を線刻した点で、最も典型的な鏡像の例といえます。一方でおよそ同時期ころより、単なる銅板に像を線刻したものや、像を浮き彫り風に打ち出したものも作られるようになります。13世紀以降は像がますます立体的となり、円盤と像を別々に作って取りつけた「懸仏」（かけぼとけ）が主流となりました。
The surface of this bronze mirror is engraved with the image of the deity Ekadasamukha.
The surface of this bronze mirror has a hairline engraving of the Eleven-Headed Bodhisattva Kannon. The back of the mirror features cast three-dimensional depictions of bush clovers, butterflies, birds and flowing water, all traditionally popular motifs in Japan. An inscription above the motifs lists a date corresponding to 1159 in the Western calendar. The surface format, the composition of the bush clover pattern, and the gentle depiction of Kannon are all characteristic features of mirrors from the late 12th century, so it appears the mirror and the engraving were indeed made around 1159.
Mirrors with hairline engravings of Buddhist and Shinto deities first emerged in Japan in the 10th century. The mirrors were placed in miniature shrines or hung from ropes to serve as objects of worship. There are several theories as to why images were incised onto bronze mirrors, but one theory involves the blending of Buddhism and Shintoism in Japan. Shinto deities were worshipped in Japan since ancient times and it was believed these deities resided in bronze mirrors. The arrival of Buddhism on Japan's shores led to a growing belief that each Shinto deity corresponded to a specific Buddhist deity. This led to the practice of depicting Buddhist images on mirrors, which themselves represented Shinto deities.
With a hairline engraving on a plain bronze surface, this is a typical example of this type of mirror. During the later 12th century, people also began to make simple copper plates with images engraved in lines or carved in relief. From the 13th century onwards, the images grew more three-dimensional and it became standard practice to make the round plaques and images separately before fixing them together.
右手に数珠を持ち、左手に蓮華を執る十一面観音を線刻しています。こうした鏡の表面に、神や仏の像を線刻や彩色で表わしたものを鏡像といいます。裏は秋草に流水、蝶鳥を配した典型的な平安時代の和鏡文様で、平治元年の銘文を記しており、資料的価値も高いものです。
銅製の鏡の鏡面に、十一面観音菩薩の坐像を線刻しています。鏡の背面には、日本で伝統的に好まれた文様である萩、蝶、鳥や水の流れが、鋳造（ちゅうぞう）の技法によって立体的に表されています。その文様の上に「平治元年（へいじがんねん）」という銘文が刻まれています。鏡背の形式と萩の文様構成、柔和な十一面観音菩薩の表現は、12世紀後半の様式をよく示しており、平治元年はおおよそこの鏡が制作され仏像が線刻された時期と考えられます。
この作品のように、銅製の鏡の鏡面に仏や神の像を線刻したものを「鏡像」といい、日本では10世紀ころから登場します。鏡像は厨子（ずし）に納めたり、紐を通して懸けるなどして、礼拝の対象とされました。なぜ銅製の鏡面に像を表すようになったかについては諸説があり、その一つに、日本における神と仏の信仰の融合があります。日本では、インドに由来する信仰である仏教とは別に、神に対する古くからの信仰があり、銅鏡はその神が宿るものとされました。仏教が伝来して以降、ある特定の神に特定の仏を対応させる考え方が広がり、神体である鏡に仏教の像を表すようになったのです。
この鏡像は、純粋な銅鏡の鏡面に仏像を線刻した点で、最も典型的な鏡像の例といえます。一方でおよそ同時期ころより、単なる銅板に像を線刻したものや、像を浮き彫り風に打ち出したものも作られるようになります。13世紀以降は像がますます立体的となり、円盤と像を別々に作って取りつけた「懸仏」（かけぼとけ）が主流となりました。
The surface of this bronze mirror is engraved with the image of the deity Ekadasamukha.
The surface of this bronze mirror has a hairline engraving of the Eleven-Headed Bodhisattva Kannon. The back of the mirror features cast three-dimensional depictions of bush clovers, butterflies, birds and flowing water, all traditionally popular motifs in Japan. An inscription above the motifs lists a date corresponding to 1159 in the Western calendar. The surface format, the composition of the bush clover pattern, and the gentle depiction of Kannon are all characteristic features of mirrors from the late 12th century, so it appears the mirror and the engraving were indeed made around 1159.
Mirrors with hairline engravings of Buddhist and Shinto deities first emerged in Japan in the 10th century. The mirrors were placed in miniature shrines or hung from ropes to serve as objects of worship. There are several theories as to why images were incised onto bronze mirrors, but one theory involves the blending of Buddhism and Shintoism in Japan. Shinto deities were worshipped in Japan since ancient times and it was believed these deities resided in bronze mirrors. The arrival of Buddhism on Japan's shores led to a growing belief that each Shinto deity corresponded to a specific Buddhist deity. This led to the practice of depicting Buddhist images on mirrors, which themselves represented Shinto deities.
With a hairline engraving on a plain bronze surface, this is a typical example of this type of mirror. During the later 12th century, people also began to make simple copper plates with images engraved in lines or carved in relief. From the 13th century onwards, the images grew more three-dimensional and it became standard practice to make the round plaques and images separately before fixing them together.
美濃（岐阜県多治見市・可児市周辺）では慶長年間（1596-1615）に、独創性にあふれ、破格の造形美をもった織部と呼ばれる作風をつくりだしました。本作は、伝統的な扇形を蓋物としてあらわし、織部独特の緑釉と鉄絵具による表現を組み合わせて装飾しています。
Around the year 1600, the Mino kilns in central Japan developed a style of pottery called Oribe ware, named after the samurai lord and tea master Furuta Oribe (1544–1615). Oribe ware broke new ground with its unusual shapes and eye-catching decorations. This example, used to serve food during tea gatherings, imitates the shape of a folding fan.
","id":"cobas-80882","lastUpdatedDate":1784564090464,"linkUrl":"https://colbase.nich.go.jp/collection_items/tnm/G-5771","ownerOrg":"nich","provider":"tnm","temporal":["江戸時代・17世紀","Edo period, 17th century"],"thumbnailUrl":["https://colbase.nich.go.jp/media/tnm/G-5771/image/slideshow_s/G-5771_E0046454.jpg"],"title":"織部扇形蓋物","titleEn":"Lidded Fan-Shaped Dish","titleYomi":"おりべおうぎがたふたもの"},"id":"cobas-80882","rdfindex":{"temporal":["江戸時代"],"type":["陶磁"]},"cobas-0-s":"80882","cobas-1-u":"https://colbase.nich.go.jp/collection_items/tnm/G-5771","cobas-2-s":"G-5771","cobas-4-s":"陶磁","cobas-5-s":"織部扇形蓋物","cobas-6-s":"おりべおうぎがたふたもの","cobas-7-s":"1合","cobas-8-s":"美濃","cobas-11-s":"江戸時代・17世紀","cobas-12-s":"陶製","cobas-13-s":"高11.0 径28.5*23.7","cobas-16-s":"東京国立博物館","cobas-17-h":"美濃（岐阜県多治見市・可児市周辺）では慶長年間（1596-1615）に、独創性にあふれ、破格の造形美をもった織部と呼ばれる作風をつくりだしました。本作は、伝統的な扇形を蓋物としてあらわし、織部独特の緑釉と鉄絵具による表現を組み合わせて装飾しています。
Around the year 1600, the Mino kilns in central Japan developed a style of pottery called Oribe ware, named after the samurai lord and tea master Furuta Oribe (1544–1615). Oribe ware broke new ground with its unusual shapes and eye-catching decorations. This example, used to serve food during tea gatherings, imitates the shape of a folding fan.
"}]}