中国初期金銅仏の二・三の資料

The small bronze Buddha statue (Pl. IV-a) in the collection of the late Mr. MASAKI Naohiko, former Director of the Tokyo Art School (now Tokyo University of Arts), is the only standing figure antedating the one in the collection of the Matsumoto Chōko-kan Museum, Kyoto, which is believed to be a Chinese work in the fifth century. Because the Masaki Collection statue shows a style and technique in common with the bronze seated statue (Fig. 1) in the Architecture Department of the Tokyo University, it represents a style older than that of the Chōko-kan Collection specimen, and can be dated in about 400 A. D. The small bronze Bodhisattva statue (Pl. IV-b) in the collection of Mr. TAZAWA Yutaka is a replica of the standing Bodhisattva statue in the Fujii Yūrin-kan Museum, Kyoto. The curves shown by its side view are similar to those of the standing Bodhisattva statue in the Choko-kan. Both of them must be from the first half of the fifth century. Another small Buddha statue in the Tazawa Collection (Pl. V has a date of 478 (Fig. 2). This seated figure in Dharma-mudra represents the standard form of Buddha images in the earliest age of Chinese Buddhism. A bronze statue in the C. T. Loo Collection dated 338, another bronze statue dated 429 introduced in the Bukkyō Geijutsu, No. 21, and two bronze statues dated 437 and 451 respectively, show the same simple style as typified by the Tazawa Collection piece excepting in their haloes and pedestals. The statues dated 338 and 429, with their pedestals ornamented with figures of lions, are regarded to be from northern China, while those dated 437 and 451, according to inscriptions on them, are works in southern China. The statue dated 478 in the Tazawa Collection is of a later period, and the statues 482 (Fig. 3) and 501 (Fig. 4) are variations of the Tazawa Collection work

キジル第三区摩耶洞将来の壁画―主として徒盧那像及び分舍利図について―

The present writer identifies a fragmental figure from the wall-painting in the Otani collection (Pl. VII) by comparing it with the figures of the scene reproduced in A. Grünwedel, Alt-buddhistische Kultstätten in Chinesisch-Turkestan. Until now, all that was known concerning this piece was that it came from Qyzil. This fragmental figure, is identified with the Brahman Droṇa, habitually represented in the center of the scene depicting “the distribution of the Buddha\u27s relics”. The fragment, he finds, properly fits into the missing section in the upper center of the wall-painting reproduced in Grünwedel\u27s All-Kutscha, Taf. XLVI-XLVII and A. von Le Coq\u27s Die buddhistische Spätantike in Miitelasien, IV, Taf. 6. This is proved (cf. fig. 3) by the horizontal line of the pillar capitals in the background and by the curved line of a mound-like object in front of the Brahman, which present points of similarity with those in the picture at Berlin. As for the cave, however, from which this wall-painting was removed, there is disagreement between Grünwedel and von Le Coq: the latter describes it as being from the Mâyâ Cave of the 2nd group while the former assigns it to the cave of the same name belonging to the 3rd group of the min-ui at Qyzil. The writer points out that it cannot be from the 2nd group cave, because, as he notes, the wall of the cave is 1.62m wide while the wall-painting brought to Berlin actually measures 1.88m in breadth. Thus he finds it would fit the cave of the 3rd group; the reckoning being based on the proportion of the plan of the cave figured by Grünwedel although the width of the wall is not given by him. Moreover, the details of the same wall-painting, such as the ornamentation of the coronets worn by the princes, and the form of the pillar capitals in the background, present points of similarity with the others of the Mâyâ Cave of the 3rd group as shown in the above-mentioned book of von Le Coq, Teil VI, Taf. 14. From these facts the author, concludes that the wall-painting in question, including the fragment of the figure of Drona in the Otani Collection, originally belonged to the Mâyâ Cave, not of the 2nd, but of the 3rd cave group at Qyzil as described by Grünwedel. In connection with the figure in question, the writer adds information concerning the present whereabouts of fragments of the wall-paintings, other than those formerly preserved at the Völkerkunde Museum in Berlin ; namely, a piece at the Musée Guimet in Paris (fig. 7a) and some fragments in the Inoue Collection in Tokyo (cf. “ Ars Buddhica”, No. 2, 1948). As reported by German and other scholars, in the caves at Qyzil there are many wall-paintings depicting traditional, Buddhist scenes relating events which took place immediately after the Buddha\u27s death : e. g., the Nirvāṇa, the cremation, the legend of King Ajatasatru, the sûtra-compilation, etc. The scene of the distribution of the relics which is the subject treated in the present picture is also depicted. Judging from the combination of those subjects and others, the wall-paintings of the Mâyâ Cave of the 3rd group date from the high period of Kuchan painting. In conclusion, Mr. Kumagai discusses the style of the paintings at Qyzil. He brings out ―― a point often emphasized by scholars ―― the more or less close relationship which exists between the Qyzil style and Indian and Iranian style. He calls the attention of the reader to a certain resemblance between the figure of Droṇa in the Otani collection and the mosaic figure of “Christ en Gloire” in Saint Sophia at Istambul

クチャ将来の彩画舍利容器

The Shin Saiiki-ki, record of the Central Asian expeditions by the Ōtani Mission, states that the Reverend Watanabe Tesshin, during the first expedition, discovered on July 9th, 1906 a wooden cinerary casket covered with gold leaf (Fig. 1) at the ruins of a temple on the west side of the River Subasi in Kucha, East Turkistan. The record, however, does not give any description about the casket which has remarkable paintings in colours. Paul Pelliot excavated several specimens of similar caskets of wood at the same spot. In Kizil west of Kucha, Le Coq found another with colour paintings (Fig. 2). The casket under discussion, brought back by the Ōtani Misson, is likely also from Kucha, or somewhere around. Compared with the above-mentioned specimens, the subject piece (Pl. I & Fig. 4) is the most elaborate work, and the motifs of its paintings are rich in variety. Fig 3 show its scaled sketch. Like other specimens, it has a conical cover and a cylindrical container, but this is the only example with the surface covered with hemp cloth. The hemp base is coated with the priming of gofun (white pigment of calcium carbonate obtained by heating), over which contours are drawn in black ink and colours are put within them. The entire surface is subsequently coated with a transparent oil. It is to be noted that this is only example finished in this elaborate technique known in Japan as mitsuda-e (“litharge painting”). This casket, however, have heretofore been left unnoticed, for the paintings are concealed under stripes of blue, vermillion and grey pigments painted over them, the borders being covered with square pieces of gold leaf. The cover has four medallions enclosed in pearl-lace patterns. One of them, herein called a, contains the figure of a winged cherub with a yellow body, blowing a vertical flute. The second one, b, is a green cherub playing the biwa (lyre with pear-shaped body), with four pairs of scarves fluttering on his sides instead of wings; c shows a cherub like a, playirg a kugo (harp); and d is a cherub like b, with a musical interument which appears to be a genkin (lyre with round body) (Cf. Pl. II). Between a and b, and c and d, are each a couple of a parrot and a yamadori (a type of pheasant), with thier necks bent backward and holding either end of a jewelled ribbon in their beaks. Between b and c, and d and a, are the same paired birds, with their necks in ordinary poses and respectively holding something like sprays of trees in their beaks (Fig. 5). Such designs of cherubim are found also on one of the caskets brought back by Pelliot, and on the bronze bowl from West India (Fig. 9) published by A. Coomaraswamy. The cherubim on this casket have shaven heads, with some hair left on the foreheads, temples and vertexs. Examples of this characteristic head ornament antedating this piece are found in the murals at Site 3, Miran; after the present piece, there are examples in painting at Turfan and around (Fig. 6). Angelic figures with scarves instead of wings have earlier example in applied ornaments on terra-cotta objects from Khotan (Fig. 7), etc.; later ones are relatively numerous, for example, those in Turfan painting. The pearl-lace patterns on this casket so characteristic of Sassanian art, in comparsion with those on the broacde from Astana (Fig. 8a) whith boar\u27s-head design, the mural on similar subject in the cave temple at Toyuq (Fig. 8b), the mural of ducks in the cave temple at Kizil, etc., are characterized by the existence of the four square buttons which suggest a later period. In this respect they are closer in age to the brocade with similar patterns from Astana. The sides of the container are ornamented with twenty-one figures of dancers and musicians, from the two banner-bearers, A and P, through C, D, etc. to U counted anti-clockwise (Cf. Pls. III & IV). C to I and S are dancers performing the Gigaku dance, wearing masks and distinctive costumes. Such surface decorations with sences of dance and music, as found also on terra-cotta pieces from Khotan (Fig. 10), must have been derived from those of Bacchants, and obviously contain Hellenistic elements. The examples on the subject casket, however, are vivid descriptions of the manners of Kuchú in those times. For instance, the form of the banner-poles, with their heads shaped like the handles of walking sticks, is in common with those in the wall-painting at the Murtuk cave temple arves (Fig. 11); the masks also have their kin in a fragment brought back by the Ōtani Mission (Fig. 14). The kugo (harp), too, is not bow-shaped like those frequently found in wall-paintings at Kucha and rather rarely seen in Kizil (Fig. 12), but is of the type similar to the one seen in murals at Kara-Khoja (Fig. 13), which was later introduced to Japan through T\u27ang China. From the above-mentioned viewpoints, we are led to think that the design on this casket reveals influence from Inida or Sassanian Persia, which, however, are flavoured with Eastern elements. The same can be said of the techniques of painting. The contouring black lires of the yellow-bodied cherubim, for example, are flanked by paralleling vermilion lines, the two thus forming double contours. This means that the kumadori (“shading”, band of gradating colour running along contours) has here become a line. Because the same technique is emyloped in the wall-painting at Kara-Khoja (Fig. 16), the wall-painting from Turfan brought by the Ōtani Mission (Fig. 17), etc., the style of this painting should be dated in the later part of the Kucha period, namely the seventh century. It is interesting to note that this painting holds proof to the statement of Hsian Chuang, the T\u27ang priest who visited Kucha at the time : “The music and dance of Kucha are better than those of any other country I have visited.” Excepting the wall-paintings, nearly no extant specimen of painting in Kucha is known to date. The author is happy with the opportunity of introducing this rare casket as well as a painting on hemp brought back by the Ōtani Mission (Fig. 15)

ペゼクリク諸窟寺将来の壁画補遺

The publication of the Wall Paintings from Ancieni Shrines in Central Asia, London, 1948, by Mr. J. H. Andrews, about the wall-paintings from Central Asia brought by Sir Stein and now held by the Central Asian Antiquities Museum in New Dehli, has introduced new informations about the cave-temples at Bäzäklik, which cause it necessary for the present writer to give some supplements to his previous articles about the wall-paintings from the Caves Nos. 19, 20, 4, and 11(Nos. CXXII, CXXVI, CXXXVIII, and CLVI of the Bijutsu Kenkyu). Regarding the Cave No. 19, it can be asserted that the Pl. XXVIII J-K in Mr. Andrews\u27 book is from the same wall as the fragments of Arhat figures in the Ōtani Collection, in Seoul and in Port Arthur, and that this wall is the one located opposite of the wall shown in the Pl. XXV in Mr. Andrews\u27 book, these two walls flanking the clay figure of Buddha in nirvana in the innermost part of the cave. Apropos of this, there has been discovered in the Ōtani Collection a fragment of an Arhat image (Plate IV Right) very much similar with the upper half of an Arhat in the Seoul Museum. By consulting the report by Prof. Grünwedel this can perhaps be ascribed to the Cave No. 20. Regarding the Cave No. 4, the previous article by the present writer only stated that the Ōtani Collection contains four fragments of wall-paintings from its cella (hall), but he finds that the D of Pl. XIV C-D among the many wall-paintings in its corridor introduced by Mr. Andrews corresponds to the fragments in the Ōtani Collection and in Seoul (Plate I Left). Mr. Andrews introduces the Pl. XXXI A-D as from the Cave No. 40. These are all but similar to the fragments from the Cave No. 11 in the Ōtani Collection, which Prof. Hackin had ascribed to the Cave No. 40. The fact proves that the present writer\u27s opinion refuting Prof. Hackin was right