「都城型」と分類される土馬で、三日月形の馬面が確認できる。馬面の両側面には、線刻で目が描かれている。体部には目立った装飾はなく、抽象化が進んだ形式的な造形と評価できる。土馬は律令祭祀で用いられる祭具の一つであり、井戸や流路などの水辺での出土数が多い。祭祀の際に土馬を意図的に破壊する事例が目立ち、本品で見られる右後脚の欠損も、奈良時代の祭祀行為により生じたと見られる。奈良時代の欠損部位は、発見後の修復で復元されている。
","contributor":["坂田氏寄贈","九州国立博物館"],"temporal":["奈良時代 8世紀"],"location":["伝奈良県"],"provider":"kyuhaku","ownerOrg":"nich","database":"cobas","apiType":"ok","access":"PUBLIC","dclass":"210"},"rdfindex":{"type":["考古"],"temporal":["奈良時代"],"spatial":["日本 > 奈良県"]},"cobas-0-s":"162540","cobas-1-u":"https://colbase.nich.go.jp/collection_items/kyuhaku/J268","cobas-2-s":"J268","cobas-4-s":"考古","cobas-5-s":"土馬","cobas-6-s":"どば","cobas-7-s":"1点","cobas-10-s":"伝奈良県","cobas-11-s":"奈良時代 8世紀","cobas-12-s":"土製","cobas-13-s":"高7.0 縦12.3 横12.3","cobas-15-s":"坂田氏寄贈","cobas-16-s":"九州国立博物館","cobas-17-h":"「都城型」と分類される土馬で、三日月形の馬面が確認できる。馬面の両側面には、線刻で目が描かれている。体部には目立った装飾はなく、抽象化が進んだ形式的な造形と評価できる。土馬は律令祭祀で用いられる祭具の一つであり、井戸や流路などの水辺での出土数が多い。祭祀の際に土馬を意図的に破壊する事例が目立ち、本品で見られる右後脚の欠損も、奈良時代の祭祀行為により生じたと見られる。奈良時代の欠損部位は、発見後の修復で復元されている。
","cobas-18-u":"https://colbase.nich.go.jp/media/kyuhaku/J268/image/slideshow_s/80894.LL.jpg","cobas-19-s":"kyuhaku","cobas-20-s":"eeb7969e20cdb6b82847248e1008d32c","cobas-21-s":"17660","cobas-22-s":"162540"},{"id":"tfam_art_db-1477","common":{"id":"tfam_art_db-1477","title":"白磁象形燭台","titleEn":"Candle Stand in Shape of Elephant, White Porcelain","titleYomi":"はくじぞうがたしょくだい","lastUpdatedDate":1767937192448,"linkUrl":"https://www.fujibi.or.jp/collection/artwork/01477/","thumbnailUrl":["https://www.fujibi.or.jp/webp/assets/images/artwork/500x500/01477.jpg.webp"],"contentsUrl":["https://www.fujibi.or.jp/webp/assets/images/artwork/source/01477.jpg.webp"],"contentsType":"image","contentsRightsType":"cc0","contentsAccess":"internet","category":["art","cultural"],"description":"類例の少ない作品である。本体を象の形に作り、背に6本の筒型のロウソク立てを備えている。台座は長方形で、台座の周りには蓮弁を巡らせている。象の体には様々な飾りが取り付けられ、背には丸いカーペットの敷物が敷かれている。白磁は6世紀後半、河南省鞏義窯や、河北省邢窯で本格的に生産が始まったが、その完成は8世紀後半である。この作品の年代は蓮弁の様式や造形、白磁の釉溜まりなどからみて、唐時代前期、7世紀後半の作と考えられる。象の姿、台座、ロウソク立てに巡らされた蓮弁など、仏教的要素が強く感じられる作品である。","temporal":["唐（7世紀）","Tang dynasty (7 C.)"],"provider":"fujibi","ownerOrg":"ZENBI","database":"tfam_art_db","apiType":"ok","subCategory":["西洋美術","東洋美術","日本美術"],"access":"PUBLIC","dclass":"751"},"rdfindex":{"type":["陶磁"],"temporal":["0601～0700年"]},"tfam_art_db-0-s":"1477","tfam_art_db-10-s":"白磁象形燭台","tfam_art_db-11-s":"Candle Stand in Shape of Elephant, White Porcelain","tfam_art_db-12-s":"はくじぞうがたしょくだい","tfam_art_db-13-s":"1","tfam_art_db-14-s":"唐（7世紀）","tfam_art_db-15-s":"Tang dynasty (7 C.)","tfam_art_db-18-s":"高27.3cm、幅30.9cm、奥行18.7cm","tfam_art_db-19-s":"H 27.3 cm, W 30.9 cm, D 18.7 cm","tfam_art_db-20-s":"類例の少ない作品である。本体を象の形に作り、背に6本の筒型のロウソク立てを備えている。台座は長方形で、台座の周りには蓮弁を巡らせている。象の体には様々な飾りが取り付けられ、背には丸いカーペットの敷物が敷かれている。白磁は6世紀後半、河南省鞏義窯や、河北省邢窯で本格的に生産が始まったが、その完成は8世紀後半である。この作品の年代は蓮弁の様式や造形、白磁の釉溜まりなどからみて、唐時代前期、7世紀後半の作と考えられる。象の姿、台座、ロウソク立てに巡らされた蓮弁など、仏教的要素が強く感じられる作品である。","tfam_art_db-22-s":"陶磁器","tfam_art_db-23-u":"https://www.fujibi.or.jp/collection/artwork/01477/","tfam_art_db-24-u":"https://www.fujibi.or.jp/webp/assets/images/artwork/source/01477.jpg.webp","tfam_art_db-25-u":"https://www.fujibi.or.jp/webp/assets/images/artwork/500x500/01477.jpg.webp"},{"id":"tfam_art_db-1456","common":{"id":"tfam_art_db-1456","title":"灰陶加彩女子","titleEn":"Figure of Lady, Painted Earthenware","titleYomi":"かいとうかさいじょし","lastUpdatedDate":1767937192448,"linkUrl":"https://www.fujibi.or.jp/collection/artwork/01456/","thumbnailUrl":["https://www.fujibi.or.jp/webp/assets/images/artwork/500x500/01456.jpg.webp"],"contentsUrl":["https://www.fujibi.or.jp/webp/assets/images/artwork/source/01456.jpg.webp"],"contentsType":"image","contentsRightsType":"cc0","contentsAccess":"internet","category":["art","cultural"],"description":"俑は男性と女性があるが、はっきりと女性とわかる俑が現れるのは唐時代になってからである。三彩と加彩があり、どちらも宮廷に仕える女性を写した俑が多い。この女性もその一人である。髪を高く結い上げ、たっぷりとした着物を身にまとっている。両の手を前に合わせ、ケープのような長い布で隠している。今は絵具が剥落しているが、顔と衣には朱や緑、黒で彩色が施されていたに違いない。","temporal":["唐（8世紀）","Tang dynasty (8 C.)"],"provider":"fujibi","ownerOrg":"ZENBI","database":"tfam_art_db","apiType":"ok","subCategory":["西洋美術","東洋美術","日本美術"],"access":"PUBLIC","dclass":"914"},"rdfindex":{"type":["陶磁"],"temporal":["0701～0800年"]},"tfam_art_db-0-s":"1456","tfam_art_db-10-s":"灰陶加彩女子","tfam_art_db-11-s":"Figure of Lady, Painted Earthenware","tfam_art_db-12-s":"かいとうかさいじょし","tfam_art_db-13-s":"1","tfam_art_db-14-s":"唐（8世紀）","tfam_art_db-15-s":"Tang dynasty (8 C.)","tfam_art_db-18-s":"高46.7cm、幅12.4cm、奥行14.5cm","tfam_art_db-19-s":"H 46.7 cm, W 12.4 cm, D 14.5 cm","tfam_art_db-20-s":"俑は男性と女性があるが、はっきりと女性とわかる俑が現れるのは唐時代になってからである。三彩と加彩があり、どちらも宮廷に仕える女性を写した俑が多い。この女性もその一人である。髪を高く結い上げ、たっぷりとした着物を身にまとっている。両の手を前に合わせ、ケープのような長い布で隠している。今は絵具が剥落しているが、顔と衣には朱や緑、黒で彩色が施されていたに違いない。","tfam_art_db-22-s":"陶磁器","tfam_art_db-23-u":"https://www.fujibi.or.jp/collection/artwork/01456/","tfam_art_db-24-u":"https://www.fujibi.or.jp/webp/assets/images/artwork/source/01456.jpg.webp","tfam_art_db-25-u":"https://www.fujibi.or.jp/webp/assets/images/artwork/500x500/01456.jpg.webp"},{"id":"tfam_art_db-1453","common":{"id":"tfam_art_db-1453","title":"三彩筋文壺","titleEn":"Jar, Three-colour Glazes","titleYomi":"さんさいすじもんこ","lastUpdatedDate":1767937192448,"linkUrl":"https://www.fujibi.or.jp/collection/artwork/01453/","thumbnailUrl":["https://www.fujibi.or.jp/webp/assets/images/artwork/500x500/01453.jpg.webp"],"contentsUrl":["https://www.fujibi.or.jp/webp/assets/images/artwork/source/01453.jpg.webp"],"contentsType":"image","contentsRightsType":"cc0","contentsAccess":"internet","category":["art","cultural"],"description":"三彩陶器は初めに高火度で素焼きし、その後に鉛釉を施釉して800度前後の低火度で再焼成している。河南省鞏義窯跡の発掘で素焼き、施釉したもの、再焼成した三彩が出土している。この三彩は緑釉、褐釉、藍釉を縦縞に掛け、さらに緑釉のなかに白い花形の円文を散らせている。白い円文は蝋を掛けて釉をはじいたと考えられたが、最近の河南省鞏義窯跡の調査で、模様を円文に描いていることが確認された。","temporal":["唐（7-8世紀）","Tang dynasty (7-8 C.)"],"provider":"fujibi","ownerOrg":"ZENBI","database":"tfam_art_db","apiType":"ok","subCategory":["西洋美術","東洋美術","日本美術"],"access":"PUBLIC","dclass":"210"},"rdfindex":{"type":["陶磁"],"temporal":["7～8世紀"]},"tfam_art_db-0-s":"1453","tfam_art_db-10-s":"三彩筋文壺","tfam_art_db-11-s":"Jar, Three-colour Glazes","tfam_art_db-12-s":"さんさいすじもんこ","tfam_art_db-13-s":"1","tfam_art_db-14-s":"唐（7-8世紀）","tfam_art_db-15-s":"Tang dynasty (7-8 C.)","tfam_art_db-18-s":"高22.3cm、口径11.3cm、胴径22.2cm、底径11.4cm","tfam_art_db-19-s":"H 22.3 cm, Dia. 22.2 cm","tfam_art_db-20-s":"三彩陶器は初めに高火度で素焼きし、その後に鉛釉を施釉して800度前後の低火度で再焼成している。河南省鞏義窯跡の発掘で素焼き、施釉したもの、再焼成した三彩が出土している。この三彩は緑釉、褐釉、藍釉を縦縞に掛け、さらに緑釉のなかに白い花形の円文を散らせている。白い円文は蝋を掛けて釉をはじいたと考えられたが、最近の河南省鞏義窯跡の調査で、模様を円文に描いていることが確認された。","tfam_art_db-22-s":"陶磁器","tfam_art_db-23-u":"https://www.fujibi.or.jp/collection/artwork/01453/","tfam_art_db-24-u":"https://www.fujibi.or.jp/webp/assets/images/artwork/source/01453.jpg.webp","tfam_art_db-25-u":"https://www.fujibi.or.jp/webp/assets/images/artwork/500x500/01453.jpg.webp"},{"id":"cobas-117729","common":{"id":"cobas-117729","title":"水滴","titleEn":"Water Dropper","titleYomi":"すいてき","lastUpdatedDate":1774888004428,"linkUrl":"https://colbase.nich.go.jp/collection_items/tnm/N-81","thumbnailUrl":["https://colbase.nich.go.jp/media/tnm/N-81/image/slideshow_s/N-81_C0056066a.jpg"],"contentsUrl":["https://colbase.nich.go.jp/media/tnm/N-81/image/slideshow_s/N-81_C0056066a.jpg"],"contentsType":"image","contentsRightsType":"ccby","contentsAccess":"internet","category":["cultural","art"],"description":" 水滴と匙、墨をのせる台からなる日本最古の文房具。匙で水をすくう水入れを水盂という。水滴は銅板を袋状に打出して作り、３方に楕円形の区画を設け、鳳凰と唐花文を線彫で表わす。聖徳太子が法華義疏を撰したときに使用したとの伝承がある。
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.
水滴と匙、墨をのせる台からなる日本最古の文房具。匙で水をすくう水入れを水盂という。水滴は銅板を袋状に打出して作り、３方に楕円形の区画を設け、鳳凰と唐花文を線彫で表わす。聖徳太子が法華義疏を撰したときに使用したとの伝承がある。
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.
高火度焼成（こうかどしょうせい）の透明釉を掛けた白磁は、6世紀中頃から後半にかけて、当時政治・経済・文化の中心であった華北地方で完成しました。白磁の飲食器は、金銀やガラス、玉とともに高級官吏（かんり）の墓から出土しており、人々にとって憧れの器であったことがわかります。
","descriptionEn":"These cups are early examples of white porcelain, which was invented in northern China in the 600s. White porcelain has been found in the tombs of elite government officials, indicating that it was a coveted luxury product.
高火度焼成（こうかどしょうせい）の透明釉を掛けた白磁は、6世紀中頃から後半にかけて、当時政治・経済・文化の中心であった華北地方で完成しました。白磁の飲食器は、金銀やガラス、玉とともに高級官吏（かんり）の墓から出土しており、人々にとって憧れの器であったことがわかります。
","cobas-18-u":"https://colbase.nich.go.jp/media/tnm/TG-646/image/slideshow_s/TG-646_E0026452.jpg","cobas-19-s":"tnm","cobas-20-s":"12f08f3c06a62af80737925634848303","cobas-21-s":"145573","cobas-22-s":"146295","cobas-31-s":"Asian Ceramics","cobas-32-s":"Cups","cobas-35-s":"China","cobas-37-s":"Sui dynasty, 7th century","cobas-38-s":"Glazed porcelain","cobas-41-s":"Gift of Dr. Yokogawa Tamisuke","cobas-42-s":"Tokyo National Museum","cobas-43-h":"These cups are early examples of white porcelain, which was invented in northern China in the 600s. White porcelain has been found in the tombs of elite government officials, indicating that it was a coveted luxury product.
清酒の付札。｢清酒」は「濁酒」に対する言葉で、澄んだ酒の意。「中」は酒の等級を示すか。木目の細かな幅広の柾目材を用い、ゆったりとゆとりをもって文字を記しており、立派な風格を感じさせる木簡。
","temporal":["奈良時代","750","770"],"location":["日本","特別史跡平城宮跡(平城宮造酒司地区)"],"coordinates":{"lat":36.459651947021484,"lon":138.01820373535156},"provider":"nich","ownerOrg":"nich","database":"cobas","apiType":"ok","access":"PUBLIC","dclass":"210"},"rdfindex":{"type":[],"temporal":["奈良時代"],"spatial":["日本"]},"cobas-0-s":"166076","cobas-1-u":"https://colbase.nich.go.jp/collection_items/nabunken/6AACVS15000430","cobas-2-s":"6AACVS15000430","cobas-3-s":"国宝","cobas-4-s":"付札","cobas-5-s":"平城宮2319号木簡","cobas-7-s":"1","cobas-9-s":"日本","cobas-10-s":"特別史跡平城宮跡(平城宮造酒司地区)","cobas-11-s":"奈良時代","cobas-12-s":"木製 /","cobas-13-s":"縦154×横(22)×厚さ4 /","cobas-14-s":"清酒中","cobas-17-h":"清酒の付札。｢清酒」は「濁酒」に対する言葉で、澄んだ酒の意。「中」は酒の等級を示すか。木目の細かな幅広の柾目材を用い、ゆったりとゆとりをもって文字を記しており、立派な風格を感じさせる木簡。
","cobas-18-u":"https://colbase.nich.go.jp/media/nabunken/6AACVS15000430/image/slideshow_s/90%E3%80%80%E5%B9%B3%E5%9F%8E%E5%AE%AE2-2319%E3%80%80%E8%A1%A8%E8%A3%8F%E3%80%80%E3%82%AB%E3%83%A9%E3%83%BC%E3%80%806AACVS15000430-C1.jpg","cobas-19-s":"nabunken","cobas-20-s":"0ad3057d7c6d90eb6a4edc39e87f084e","cobas-21-s":"90","cobas-22-s":"166076","cobas-25-s":"750","cobas-26-s":"770"},{"id":"cobas-4446","common":{"id":"cobas-4446","title":"瑜伽師地論巻第二十一（行信願経）","titleEn":"Yugashijiron (Yogacara Bhumi), Volume 21 (Commentary Copied by Gyoshin)","titleYomi":"ユガシジロンカンダイ21(ギョウシンガンキョウ)","lastUpdatedDate":1774888004428,"linkUrl":"https://colbase.nich.go.jp/collection_items/kyohaku/B%E7%94%B268","thumbnailUrl":["https://colbase.nich.go.jp/media/kyohaku/B%E7%94%B268/image/slideshow_s/44337_difile2-L.jpg"],"contentsUrl":["https://colbase.nich.go.jp/media/kyohaku/B%E7%94%B268/image/slideshow_s/44337_difile2-L.jpg"],"contentsType":"image","contentsRightsType":"ccby","contentsAccess":"internet","category":["cultural","art"],"description":"法隆寺の修造に尽力した行信（？1750）の発願による写経の遺品。行信が途中で死没したため、弟子の孝仁等がその志を継いで、功をなし終えたことが奥書より知られる。紀年の「神護景雲元」年（767）が「天平神護三」年の上に書き改めて書かれたのは、この年の八月十六日に改元となったからである。料紙は黄麻紙。
","descriptionEn":"This commentary on yellow hemp paper was an offering by the priest Gyoshin (d. 750), who trained at Horyu-ji Temple. The postscript of this text tells us that Gyoshin died before its completion, and the commentary was copied in its entirety through the efforts of his disciples. The regnal year Jingo Keiun 1 (767) is written over Tenpyo Jingo 3, because the era changed on the sixteenth day of the eighth month of that year.
","contributor":["京都国立博物館 Kyoto National Museum","Kyoto National Museum"],"temporal":["奈良時代・8世紀","Nara ・8th"],"location":["日本","Japan"],"coordinates":{"lat":36.459651947021484,"lon":138.01820373535156},"provider":"京都国立博物館 Kyoto National Museum","ownerOrg":"nich","database":"cobas","apiType":"ok","access":"PUBLIC","dclass":"210"},"rdfindex":{"type":["書跡"]},"cobas-0-s":"4446","cobas-1-u":"https://colbase.nich.go.jp/collection_items/kyohaku/B%E7%94%B268","cobas-2-s":"B甲68","cobas-3-s":"重要文化財","cobas-4-s":"書跡","cobas-5-s":"瑜伽師地論巻第二十一（行信願経）","cobas-6-s":"ユガシジロンカンダイ21(ギョウシンガンキョウ)","cobas-7-s":"1巻","cobas-9-s":"日本","cobas-11-s":"奈良時代・8世紀","cobas-13-s":"縦26cm:横962cm","cobas-14-s":"「法隆寺一切経」の黒印あり・神護景雲元年九月五日 行信願経 行信の発願文あり","cobas-16-s":"京都国立博物館 Kyoto National Museum","cobas-17-h":"法隆寺の修造に尽力した行信（？1750）の発願による写経の遺品。行信が途中で死没したため、弟子の孝仁等がその志を継いで、功をなし終えたことが奥書より知られる。紀年の「神護景雲元」年（767）が「天平神護三」年の上に書き改めて書かれたのは、この年の八月十六日に改元となったからである。料紙は黄麻紙。
","cobas-18-u":"https://colbase.nich.go.jp/media/kyohaku/B%E7%94%B268/image/slideshow_s/44337_difile2-L.jpg","cobas-19-s":"kyohaku","cobas-20-s":"94cc071c58058a06910f6fac69566a0d","cobas-21-s":"2913","cobas-22-s":"4446","cobas-29-s":"書跡:分類:典籍:仏典|書跡:地域:日本|書跡:時代:日本:奈良","cobas-30-s":"Important Cultural Property","cobas-31-s":"Calligraphy","cobas-32-s":"Yugashijiron (Yogacara Bhumi), Volume 21 (Commentary Copied by Gyoshin)","cobas-35-s":"Japan","cobas-37-s":"Nara ・8th","cobas-39-s":"Height26cm:Width962cm","cobas-42-s":"Kyoto National Museum","cobas-43-h":"This commentary on yellow hemp paper was an offering by the priest Gyoshin (d. 750), who trained at Horyu-ji Temple. The postscript of this text tells us that Gyoshin died before its completion, and the commentary was copied in its entirety through the efforts of his disciples. The regnal year Jingo Keiun 1 (767) is written over Tenpyo Jingo 3, because the era changed on the sixteenth day of the eighth month of that year.
","cobas-46-s":"Calligraphy:Category:Books:Buddhist texts|Calligraphy:Region:Japan|Calligraphy:Period:Japan:Nara period"},{"id":"cobas-59093","common":{"id":"cobas-59093","title":"伎楽面 酔胡従","titleEn":"Gigaku Mask: Suikojū (Retainer of a Drunken King of the Western Regions)","titleYomi":"ぎがくめん すいこじゅう","lastUpdatedDate":1774888004428,"linkUrl":"https://colbase.nich.go.jp/collection_items/tnm/C-1818","thumbnailUrl":["https://colbase.nich.go.jp/media/tnm/C-1818/image/slideshow_s/C-1818_E0066753.jpg"],"contentsUrl":["https://colbase.nich.go.jp/media/tnm/C-1818/image/slideshow_s/C-1818_E0066753.jpg"],"contentsType":"image","contentsRightsType":"ccby","contentsAccess":"internet","category":["cultural","art"],"description":"古代の仮面芸能である伎楽＋ぎがく＋で使われた面のうち、ペルシア人の王とその従者が酒に酔うという演目で用いられました。本作は奈良時代に東大寺大仏の完成の儀式で用いられた可能性があります。麻布を貼り重ねた上に、漆や樹液などを混ぜた練り物で成形する技法で作られています。
","descriptionEn":"This mask is made of layers of hemp cloths coated with a paste that is a mixture of lacquer and tree sap. It was worn for a play involving a drunken Persian king and his retainers. It may also have been used during Tōdaiji Temple's consecration ceremony. Extant masks of this type were passed down either at Hōryūji or Tōdaiji Temple in Nara.
古代の仮面芸能である伎楽＋ぎがく＋で使われた面のうち、ペルシア人の王とその従者が酒に酔うという演目で用いられました。本作は奈良時代に東大寺大仏の完成の儀式で用いられた可能性があります。麻布を貼り重ねた上に、漆や樹液などを混ぜた練り物で成形する技法で作られています。
","cobas-18-u":"https://colbase.nich.go.jp/media/tnm/C-1818/image/slideshow_s/C-1818_E0066753.jpg","cobas-19-s":"tnm","cobas-20-s":"12f08f3c06a62af80737925634848303","cobas-21-s":"36324","cobas-22-s":"59093","cobas-29-s":"彫刻:仮面:伎楽面","cobas-31-s":"Sculpture","cobas-32-s":"Gigaku Mask: Suikojū (Retainer of a Drunken King of the Western Regions)","cobas-37-s":"Nara period, 8th century","cobas-38-s":"Dry lacquer","cobas-41-s":"Gift of Mr. Mitsui Takahiro","cobas-42-s":"Tokyo National Museum","cobas-43-h":"This mask is made of layers of hemp cloths coated with a paste that is a mixture of lacquer and tree sap. It was worn for a play involving a drunken Persian king and his retainers. It may also have been used during Tōdaiji Temple's consecration ceremony. Extant masks of this type were passed down either at Hōryūji or Tōdaiji Temple in Nara.
墳墓に副葬するための明器として製作された加彩や施釉の牛車の例は、数多く知られています。この作品は、車の形式や印花文、車輪の形態、あるいは人物などに、隋時代の明器に近い表現がみられることから、唐三彩としては比較的初期の作例と考えられます。
The shapes of the cart and figures resemble works from the Sui dynasty, suggesting this is an early example of pottery with a three-color glaze ([sancai]).
","contributor":["横河民輔氏寄贈","Gift of Dr. Yokogawa Tamisuke","東京国立博物館","Tokyo National Museum"],"temporal":["唐時代・7世紀","Tang dynasty, 7th century"],"location":["中国","China"],"coordinates":{"lat":38.89458084106445,"lon":141.65843200683594},"provider":"tnm","ownerOrg":"nich","database":"cobas","apiType":"ok","access":"PUBLIC","dclass":"751"},"rdfindex":{"type":["陶磁"],"temporal":["中国・唐時代"],"spatial":["海外 > アジア > 中国"]},"cobas-0-s":"146311","cobas-1-u":"https://colbase.nich.go.jp/collection_items/tnm/TG-662","cobas-2-s":"TG-662","cobas-4-s":"東洋陶磁","cobas-5-s":"三彩牛車・馭者","cobas-6-s":"さんさいぎっしゃ ぎょしゃ","cobas-7-s":"1組","cobas-9-s":"中国","cobas-11-s":"唐時代・7世紀","cobas-12-s":"陶製","cobas-13-s":"総高33.7","cobas-15-s":"横河民輔氏寄贈","cobas-16-s":"東京国立博物館","cobas-17-h":"墳墓に副葬するための明器として製作された加彩や施釉の牛車の例は、数多く知られています。この作品は、車の形式や印花文、車輪の形態、あるいは人物などに、隋時代の明器に近い表現がみられることから、唐三彩としては比較的初期の作例と考えられます。
The shapes of the cart and figures resemble works from the Sui dynasty, suggesting this is an early example of pottery with a three-color glaze ([sancai]).
"},{"id":"cobas-58240","common":{"id":"cobas-58240","title":"聖観音菩薩立像（模造）","titleEn":"Standing Sho-kannon Bosatsu (Avalokitesvara) (copy)","titleYomi":"しょうかんのんぼさつりゅうぞう もぞう","lastUpdatedDate":1774888004428,"linkUrl":"https://colbase.nich.go.jp/collection_items/tnm/C-223","thumbnailUrl":["https://colbase.nich.go.jp/media/tnm/C-223/image/slideshow_s/C-223_C0081583.jpg"],"contentsUrl":["https://colbase.nich.go.jp/media/tnm/C-223/image/slideshow_s/C-223_C0081583.jpg"],"contentsType":"image","contentsRightsType":"ccby","contentsAccess":"internet","category":["cultural","art"],"description":" 原品は、薬師寺東院堂の像で銅造。その鋳造技法や銅質などから、同寺金堂の薬師如来三尊像と同時期に造られたものと考えられる。細部の装飾などに、中国・唐時代の影響がみられる。当模造は、山田が木彫技法を使って模したものである。
原品は、薬師寺東院堂の像で銅造。その鋳造技法や銅質などから、同寺金堂の薬師如来三尊像と同時期に造られたものと考えられる。細部の装飾などに、中国・唐時代の影響がみられる。当模造は、山田が木彫技法を使って模したものである。
動物の皮革を木製の型（かた）に押し当てて箱のかたちに成形し、麻布を張って漆を塗り重ねて仕上げる漆皮の技法で作られた被蓋造（かぶせぶたづくり）の箱です。蓋・身ともに縁には補強のための紐（ひも）をめぐらし、角（かど）は大きく削（そ）ぎ面を取っています。正倉院宝物に類似する品があり、奈良時代の製作と考えられます。漆皮は軽量で堅牢なため奈良時代に盛んに用いられましたが、変形しやすいため、平安時代以降は次第に衰退していきました。本品は文様（もんよう）等も見られない簡素な箱ですが、類例の限られる漆皮の遺例として大変貴重です。
","descriptionEn":"The lid for this box is larger than the base and fits completely over it. The box was formed by pressing leather against a wooden mold. Then, the leather was covered with linen and finished with layers of lacquer. Lacquered leather was popular during the Nara period, though production declined in the Heian period because this material was easily deformed.
","contributor":["東京国立博物館","Tokyo National Museum"],"temporal":["奈良時代・8世紀","Nara period, 8th century"],"provider":"tnm","ownerOrg":"nich","database":"cobas","apiType":"ok","access":"PUBLIC","dclass":"709"},"rdfindex":{"type":["芸術・美術"],"temporal":["奈良時代"]},"cobas-0-s":"117739","cobas-1-u":"https://colbase.nich.go.jp/collection_items/tnm/N-91","cobas-2-s":"N-91","cobas-3-s":"重要文化財","cobas-4-s":"法隆寺宝物","cobas-5-s":"漆皮箱","cobas-6-s":"しっぴばこ","cobas-7-s":"1合","cobas-11-s":"奈良時代・8世紀","cobas-12-s":"皮製漆塗","cobas-13-s":"（蓋）縦33.6 横28.1 高6.5 （身）縦32.3 横26.5 高7.4","cobas-16-s":"東京国立博物館","cobas-17-h":"動物の皮革を木製の型（かた）に押し当てて箱のかたちに成形し、麻布を張って漆を塗り重ねて仕上げる漆皮の技法で作られた被蓋造（かぶせぶたづくり）の箱です。蓋・身ともに縁には補強のための紐（ひも）をめぐらし、角（かど）は大きく削（そ）ぎ面を取っています。正倉院宝物に類似する品があり、奈良時代の製作と考えられます。漆皮は軽量で堅牢なため奈良時代に盛んに用いられましたが、変形しやすいため、平安時代以降は次第に衰退していきました。本品は文様（もんよう）等も見られない簡素な箱ですが、類例の限られる漆皮の遺例として大変貴重です。
","cobas-18-u":"https://colbase.nich.go.jp/media/tnm/N-91/image/slideshow_s/N-91_C0012293.jpg","cobas-19-s":"tnm","cobas-20-s":"12f08f3c06a62af80737925634848303","cobas-21-s":"103085","cobas-22-s":"117739","cobas-30-s":"Important Cultural Property","cobas-31-s":"Collection of Hōryūji Treasures","cobas-32-s":"Lacquered Leather Box","cobas-37-s":"Nara period, 8th century","cobas-38-s":"Lacquered hide","cobas-42-s":"Tokyo National Museum","cobas-43-h":"The lid for this box is larger than the base and fits completely over it. The box was formed by pressing leather against a wooden mold. Then, the leather was covered with linen and finished with layers of lacquer. Lacquered leather was popular during the Nara period, though production declined in the Heian period because this material was easily deformed.
"},{"id":"tfam_art_db-1473","common":{"id":"tfam_art_db-1473","title":"三彩弦文壺","titleEn":"Jar with Chevron Pattern, Three-colour Glazes","titleYomi":"さんさいげんもんこ","lastUpdatedDate":1767937192448,"linkUrl":"https://www.fujibi.or.jp/collection/artwork/01473/","thumbnailUrl":["https://www.fujibi.or.jp/webp/assets/images/artwork/500x500/01473.jpg.webp"],"contentsUrl":["https://www.fujibi.or.jp/webp/assets/images/artwork/source/01473.jpg.webp"],"contentsType":"image","contentsRightsType":"cc0","contentsAccess":"internet","category":["art","cultural"],"description":"縞模様の三彩で、緑釉をベースにして、褐釉を充填している作品である。裾から下は素地見せになっている。","temporal":["唐（7-8世紀）","Tang dynasty (7-8 C.)"],"provider":"fujibi","ownerOrg":"ZENBI","database":"tfam_art_db","apiType":"ok","subCategory":["西洋美術","東洋美術","日本美術"],"access":"PUBLIC","dclass":"751"},"rdfindex":{"type":["陶磁"],"temporal":["7～8世紀"]},"tfam_art_db-0-s":"1473","tfam_art_db-10-s":"三彩弦文壺","tfam_art_db-11-s":"Jar with Chevron Pattern, Three-colour Glazes","tfam_art_db-12-s":"さんさいげんもんこ","tfam_art_db-13-s":"1","tfam_art_db-14-s":"唐（7-8世紀）","tfam_art_db-15-s":"Tang dynasty (7-8 C.)","tfam_art_db-18-s":"高14.5cm、口径6.7cm、胴径13.0cm、底径7.4cm","tfam_art_db-19-s":"H 14.5 cm, Dia. 13.0 cm","tfam_art_db-20-s":"縞模様の三彩で、緑釉をベースにして、褐釉を充填している作品である。裾から下は素地見せになっている。","tfam_art_db-22-s":"陶磁器","tfam_art_db-23-u":"https://www.fujibi.or.jp/collection/artwork/01473/","tfam_art_db-24-u":"https://www.fujibi.or.jp/webp/assets/images/artwork/source/01473.jpg.webp","tfam_art_db-25-u":"https://www.fujibi.or.jp/webp/assets/images/artwork/500x500/01473.jpg.webp"},{"id":"tfam_art_db-1472","common":{"id":"tfam_art_db-1472","title":"三彩貼花文長頸瓶","titleEn":"Vase with Long Neck and Applied Medallions, Three-colour Glazes","titleYomi":"さんさいちょうかもんちょうけいへい","lastUpdatedDate":1767937192448,"linkUrl":"https://www.fujibi.or.jp/collection/artwork/01472/","thumbnailUrl":["https://www.fujibi.or.jp/webp/assets/images/artwork/500x500/01472.jpg.webp"],"contentsUrl":["https://www.fujibi.or.jp/webp/assets/images/artwork/source/01472.jpg.webp"],"contentsType":"image","contentsRightsType":"cc0","contentsAccess":"internet","category":["art","cultural"],"description":"唐三彩の器形は、金属器を写したものが多い。この瓶もサハリの瓶を写したものである。肩と胴、そして裾に宝相華文、連珠文を千鳥に貼り付けている。貼花文は型抜きで作り、器表に貼り付けた模様である。模様には緑釉を掛け、それが釉流れとなり、効果的である。","temporal":["唐（7-8世紀）","Tang dynasty (7-8 C.)"],"provider":"fujibi","ownerOrg":"ZENBI","database":"tfam_art_db","apiType":"ok","subCategory":["西洋美術","東洋美術","日本美術"],"access":"PUBLIC","dclass":"751"},"rdfindex":{"type":["陶磁"],"temporal":["7～8世紀"]},"tfam_art_db-0-s":"1472","tfam_art_db-10-s":"三彩貼花文長頸瓶","tfam_art_db-11-s":"Vase with Long Neck and Applied Medallions, Three-colour Glazes","tfam_art_db-12-s":"さんさいちょうかもんちょうけいへい","tfam_art_db-13-s":"1","tfam_art_db-14-s":"唐（7-8世紀）","tfam_art_db-15-s":"Tang dynasty (7-8 C.)","tfam_art_db-18-s":"高23.5cm、口径7.7cm、胴径10.5cm、幅10.9cm、底径8.6cm","tfam_art_db-19-s":"H 23.5 cm, Dia. 10.5 cm","tfam_art_db-20-s":"唐三彩の器形は、金属器を写したものが多い。この瓶もサハリの瓶を写したものである。肩と胴、そして裾に宝相華文、連珠文を千鳥に貼り付けている。貼花文は型抜きで作り、器表に貼り付けた模様である。模様には緑釉を掛け、それが釉流れとなり、効果的である。","tfam_art_db-22-s":"陶磁器","tfam_art_db-23-u":"https://www.fujibi.or.jp/collection/artwork/01472/","tfam_art_db-24-u":"https://www.fujibi.or.jp/webp/assets/images/artwork/source/01472.jpg.webp","tfam_art_db-25-u":"https://www.fujibi.or.jp/webp/assets/images/artwork/500x500/01472.jpg.webp"},{"id":"cobas-81849","common":{"id":"cobas-81849","title":"模造 子日手辛犂","titleEn":"(Copy) Hand-plow for ceremonial use in New Year, Design of birds and flowers and butterflies in gold and silver painting.","lastUpdatedDate":1774888004428,"linkUrl":"https://colbase.nich.go.jp/collection_items/tnm/H-1093","thumbnailUrl":["https://colbase.nich.go.jp/media/tnm/H-1093/image/slideshow_s/H-1093_C0097533.jpg"],"contentsUrl":["https://colbase.nich.go.jp/media/tnm/H-1093/image/slideshow_s/H-1093_C0097533.jpg"],"contentsType":"image","contentsRightsType":"ccby","contentsAccess":"internet","category":["cultural","art"],"description":" 中国の古制に、正月、その年の豊饒を祈るため、天子みずからが田を耕し、皇后が蚕室を掃くという儀式がある。わが国には奈良時代に伝わり、宮中で初子の日(その年最初の子日)に行われた。この鋤は、正倉院に伝わる子日の儀式用の鋤を模造したものである。
中国の古制に、正月、その年の豊饒を祈るため、天子みずからが田を耕し、皇后が蚕室を掃くという儀式がある。わが国には奈良時代に伝わり、宮中で初子の日(その年最初の子日)に行われた。この鋤は、正倉院に伝わる子日の儀式用の鋤を模造したものである。
調（ちょう）として納められた綿（わた）の荷札。貢進元は肥前（ひぜん）国藤津（ふじつ）郡（今の佐賀県鹿島市・太良（たら）町など）。「綿」は蚕の繭から作られる真綿。大宰府（だざいふ）管轄の西海道（さいかいどう）（＝九州）地域からの貢進に伴う木簡だが、これらの木簡の多くは記載内容や書式を同じくし、材に広葉樹を用いるという共通点がある。
","temporal":["奈良時代","750","770"],"location":["日本","特別史跡平城宮跡(平城宮内裏北方官衙地区)"],"coordinates":{"lat":36.459651947021484,"lon":138.01820373535156},"provider":"nich","ownerOrg":"nich","database":"cobas","apiType":"ok","access":"PUBLIC","dclass":"210"},"rdfindex":{"type":[],"temporal":["奈良時代"],"spatial":["日本"]},"cobas-0-s":"166459","cobas-1-u":"https://colbase.nich.go.jp/collection_items/nabunken/6AABUS48001493","cobas-2-s":"6AABUS48001493","cobas-3-s":"国宝","cobas-4-s":"荷札","cobas-5-s":"平城宮294号木簡","cobas-7-s":"1","cobas-9-s":"日本","cobas-10-s":"特別史跡平城宮跡(平城宮内裏北方官衙地区)","cobas-11-s":"奈良時代","cobas-12-s":"木製","cobas-13-s":"縦216×横31×厚さ5","cobas-14-s":"・肥前国□□〔藤津ヵ〕郡調綿壱佰屯／四両／○養老二年∥・○片麻呂","cobas-17-h":"調（ちょう）として納められた綿（わた）の荷札。貢進元は肥前（ひぜん）国藤津（ふじつ）郡（今の佐賀県鹿島市・太良（たら）町など）。「綿」は蚕の繭から作られる真綿。大宰府（だざいふ）管轄の西海道（さいかいどう）（＝九州）地域からの貢進に伴う木簡だが、これらの木簡の多くは記載内容や書式を同じくし、材に広葉樹を用いるという共通点がある。
","cobas-18-u":"https://colbase.nich.go.jp/media/nabunken/6AABUS48001493/image/slideshow_s/137%E3%80%80%E5%B9%B3%E5%9F%8E%E5%AE%AE1-294%E3%80%80%E8%A1%A8%E8%A3%8F%E3%80%80%E3%82%AB%E3%83%A9%E3%83%BC%E3%80%806AABUS48001493-C1.jpg","cobas-19-s":"nabunken","cobas-20-s":"0ad3057d7c6d90eb6a4edc39e87f084e","cobas-21-s":"137","cobas-22-s":"166459","cobas-25-s":"750","cobas-26-s":"770"},{"id":"cobas-148069","common":{"id":"cobas-148069","title":"三彩印花鴛鴦文枕","titleEn":"Pillow with Mandarin Ducks","titleYomi":"さんさいいんかえんおうもんまくら","lastUpdatedDate":1774888004428,"linkUrl":"https://colbase.nich.go.jp/collection_items/tnm/TG-2428","thumbnailUrl":["https://colbase.nich.go.jp/media/tnm/TG-2428/image/slideshow_s/TG-2428_C0050665.jpg"],"contentsUrl":["https://colbase.nich.go.jp/media/tnm/TG-2428/image/slideshow_s/TG-2428_C0050665.jpg"],"contentsType":"image","contentsRightsType":"ccby","contentsAccess":"internet","category":["cultural","art"],"description":"向かいあうつがいの鴛鴦が型押しの技法で表わされ、それぞれが蓮の花の上に乗り、一つの花の茎を銜えています。夫婦和合をあらわす鴛鴦と子孫繁栄を象徴する蓮の組み合わせから、夫婦睦まじく子宝に恵まれるという寓意を読み取ることができます。
This ceramic pillow shows a pair of mandarin ducks perched on lotus blossoms. The ducks and lotus flowers symbolize marital harmony and fertility, respectively.
","contributor":["広田松繁氏寄贈","Gift of Mr. Hirota Matsushige","東京国立博物館","Tokyo National Museum"],"temporal":["唐時代・8世紀","Tang dynasty, 8th century"],"location":["中国","China"],"coordinates":{"lat":38.89458084106445,"lon":141.65843200683594},"provider":"tnm","ownerOrg":"nich","database":"cobas","apiType":"ok","access":"PUBLIC","dclass":"726"},"rdfindex":{"type":["陶磁"],"temporal":["中国・唐時代"],"spatial":["海外 > アジア > 中国"]},"cobas-0-s":"148069","cobas-1-u":"https://colbase.nich.go.jp/collection_items/tnm/TG-2428","cobas-2-s":"TG-2428","cobas-4-s":"東洋陶磁","cobas-5-s":"三彩印花鴛鴦文枕","cobas-6-s":"さんさいいんかえんおうもんまくら","cobas-7-s":"1個","cobas-9-s":"中国","cobas-11-s":"唐時代・8世紀","cobas-12-s":"陶製","cobas-13-s":"高6.0 長さ12.0 幅10.0","cobas-15-s":"広田松繁氏寄贈","cobas-16-s":"東京国立博物館","cobas-17-h":"向かいあうつがいの鴛鴦が型押しの技法で表わされ、それぞれが蓮の花の上に乗り、一つの花の茎を銜えています。夫婦和合をあらわす鴛鴦と子孫繁栄を象徴する蓮の組み合わせから、夫婦睦まじく子宝に恵まれるという寓意を読み取ることができます。
This ceramic pillow shows a pair of mandarin ducks perched on lotus blossoms. The ducks and lotus flowers symbolize marital harmony and fertility, respectively.
"},{"id":"cobas-57819","common":{"id":"cobas-57819","title":"手鑑｢桃花水｣","titleEn":"Album of Exemplary Calligraphy Named Tōkasui","titleYomi":"てかがみ とうかすい","lastUpdatedDate":1774888004428,"linkUrl":"https://colbase.nich.go.jp/collection_items/tnm/B-3063","thumbnailUrl":["https://colbase.nich.go.jp/media/tnm/B-3063/image/slideshow_s/B-3063_E0011636.jpg"],"contentsUrl":["https://colbase.nich.go.jp/media/tnm/B-3063/image/slideshow_s/B-3063_E0011636.jpg"],"contentsType":"image","contentsRightsType":"ccby","contentsAccess":"internet","category":["cultural","art"],"description":" 手鑑(てかがみ)は通例、表は「聖武天皇」に始まる在俗者、裏は「聖徳太子」に始まる出家者の筆が貼込まれる。右上の極札は、主に江戸時代の鑑定結果で伝称上の筆者に過ぎないが、それ自体にも意味があり、また現在でも通用する筆者名も含まれ、研究上の示唆も多い。
手鑑(てかがみ)は通例、表は「聖武天皇」に始まる在俗者、裏は「聖徳太子」に始まる出家者の筆が貼込まれる。右上の極札は、主に江戸時代の鑑定結果で伝称上の筆者に過ぎないが、それ自体にも意味があり、また現在でも通用する筆者名も含まれ、研究上の示唆も多い。
この写経は、13巻本『賢愚経』巻第五の沙弥守戒自殺品（しゃみしゅかいじさつほん）第二十三に相当する断簡です。筆者は聖武天皇（しょうむてんのう、701～756）と伝えますが自筆ではありません。写経のなかで最も雄大かつ力強い書風で、「大聖武」の異名があります。
","descriptionEn":"This fragment containing an episode in which a novice monk (śrāmaṇera) takes his own life to keep the Buddhist precepts was sourced from a thirteen-volume transcription of the [Sutra on the Wise and Foolish]. The handwriting is more majestic and powerful than other transcriptions. Its alternative name [Ōjōmu] (lit. “Great Shōmu”) implies that it was brushed by Emperor Shōmu, but the handwriting is not his.
","contributor":["東京国立博物館","Tokyo National Museum"],"temporal":["奈良時代・8世紀","Nara period, 8th century"],"provider":"tnm","ownerOrg":"nich","database":"cobas","apiType":"ok","access":"PUBLIC","dclass":"210"},"rdfindex":{"type":["芸術・美術"],"temporal":["奈良時代"]},"cobas-0-s":"117673","cobas-1-u":"https://colbase.nich.go.jp/collection_items/tnm/N-11","cobas-2-s":"N-11","cobas-4-s":"法隆寺宝物","cobas-5-s":"賢愚経断簡（大聖武）","cobas-6-s":"けんぐきょうだんかん おおじょうむ","cobas-7-s":"1帖","cobas-11-s":"奈良時代・8世紀","cobas-12-s":"紙本墨書","cobas-13-s":"縦27.0 横10.5","cobas-16-s":"東京国立博物館","cobas-17-h":"この写経は、13巻本『賢愚経』巻第五の沙弥守戒自殺品（しゃみしゅかいじさつほん）第二十三に相当する断簡です。筆者は聖武天皇（しょうむてんのう、701～756）と伝えますが自筆ではありません。写経のなかで最も雄大かつ力強い書風で、「大聖武」の異名があります。
","cobas-18-u":"https://colbase.nich.go.jp/media/tnm/N-11/image/slideshow_s/N-11_C0057879.jpg","cobas-19-s":"tnm","cobas-20-s":"12f08f3c06a62af80737925634848303","cobas-21-s":"102984","cobas-22-s":"117673","cobas-31-s":"Collection of Hōryūji Treasures","cobas-32-s":" Fragment of the Sutra on the Wise and Foolish (Ōjōmu)","cobas-37-s":"Nara period, 8th century","cobas-38-s":"Book, ink on paper","cobas-42-s":"Tokyo National Museum","cobas-43-h":"This fragment containing an episode in which a novice monk (śrāmaṇera) takes his own life to keep the Buddhist precepts was sourced from a thirteen-volume transcription of the [Sutra on the Wise and Foolish]. The handwriting is more majestic and powerful than other transcriptions. Its alternative name [Ōjōmu] (lit. “Great Shōmu”) implies that it was brushed by Emperor Shōmu, but the handwriting is not his.
"},{"id":"cobas-4466","common":{"id":"cobas-4466","title":"仏説長者子制経（光明皇后御願経・五月一日経）","titleEn":"Bussetsu Chojashiseikyo (Sutra Offered by Empress Komyo on the First Day of the Fifth Month)","titleYomi":"ブッセツチョウジャシセイキョウ(コウミョウコウゴウゴガンキョウ・ゴガツツイタチキョウ)","lastUpdatedDate":1774888004428,"linkUrl":"https://colbase.nich.go.jp/collection_items/kyohaku/B%E7%94%B255","thumbnailUrl":["https://colbase.nich.go.jp/media/kyohaku/B%E7%94%B255/image/slideshow_s/119343_difile2-L.jpg"],"contentsUrl":["https://colbase.nich.go.jp/media/kyohaku/B%E7%94%B255/image/slideshow_s/119343_difile2-L.jpg"],"contentsType":"image","contentsRightsType":"ccby","contentsAccess":"internet","category":["cultural","art"],"description":" 光明皇后(七〇一―六〇)が発願し、亡父藤原不比等・亡母橘夫人の追福等のため、更には自己の仏教信仰の信念を誓って、書写せしめた一切経の遺巻。
実際には天平八年(七三八)より十年間余りにわたって書写が行われたが、一般に天平十二年(七四〇)五月一日という願文の日付より『五月一日経』と称する。書写の経緯やその筆致より奈良朝写経の精華とすべき写経である。
This is one manuscript from a set of copied sutras donated by Empress Komyo (701-760) for the memorial service of her deceased parents Fujiwara Fuhito and Lady Tachibana, as well as to confirm her own faith in Buddhism. Although these manuscripts were copied over a period of more than ten years, beginning in 738, they came to be known as the Sutras of the First Day of the Fifth Month, because they were dated on this day in 740. From its format and calligraphic style, this set is considered to represent the zenith of copied sutras from the Nara period.
","contributor":["京都国立博物館 Kyoto National Museum","Kyoto National Museum"],"temporal":["奈良時代・8世紀","Nara ・8th"],"location":["日本","Japan"],"coordinates":{"lat":36.459651947021484,"lon":138.01820373535156},"provider":"京都国立博物館 Kyoto National Museum","ownerOrg":"nich","database":"cobas","apiType":"ok","access":"PUBLIC","dclass":"728"},"rdfindex":{"type":["書跡"]},"cobas-0-s":"4466","cobas-1-u":"https://colbase.nich.go.jp/collection_items/kyohaku/B%E7%94%B255","cobas-2-s":"B甲55","cobas-3-s":"重要美術品","cobas-4-s":"書跡","cobas-5-s":"仏説長者子制経（光明皇后御願経・五月一日経）","cobas-6-s":"ブッセツチョウジャシセイキョウ(コウミョウコウゴウゴガンキョウ・ゴガツツイタチキョウ)","cobas-7-s":"1巻","cobas-9-s":"日本","cobas-11-s":"奈良時代・8世紀","cobas-13-s":"縦26.3cm:横209cm","cobas-14-s":"天平十二年五月一日 光明皇后御願経の奥書あり","cobas-16-s":"京都国立博物館 Kyoto National Museum","cobas-17-h":" 光明皇后(七〇一―六〇)が発願し、亡父藤原不比等・亡母橘夫人の追福等のため、更には自己の仏教信仰の信念を誓って、書写せしめた一切経の遺巻。
実際には天平八年(七三八)より十年間余りにわたって書写が行われたが、一般に天平十二年(七四〇)五月一日という願文の日付より『五月一日経』と称する。書写の経緯やその筆致より奈良朝写経の精華とすべき写経である。
This is one manuscript from a set of copied sutras donated by Empress Komyo (701-760) for the memorial service of her deceased parents Fujiwara Fuhito and Lady Tachibana, as well as to confirm her own faith in Buddhism. Although these manuscripts were copied over a period of more than ten years, beginning in 738, they came to be known as the Sutras of the First Day of the Fifth Month, because they were dated on this day in 740. From its format and calligraphic style, this set is considered to represent the zenith of copied sutras from the Nara period.
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