通年集中 その他 その他. 単位数: 2. 担当教員/Instructor: 講師（非）. 履修年度: 2024. 科目ナンバリング: LIH-ART603J. 使用言語: 日本語.
東洋・日本美術史特論Ⅲ
奈良仏教絵画史論
The History of Nara’s Buddhist Ppainting
古代から中世にかけて仏教文化の中心地だった奈良は、各時代にわたって描き継がれた仏画の重要作品が数多く伝わっている。こうした奈良の地に視点を据えて古代から中世に至る仏画作品の展開を概観し、その絵画技法や図像、絵画工房、安置儀礼空間の問題などを考察する
Nara, a center of Buddhist culture from ancient times and through the medieval period, has produced and passed down countless masterworks of Buddhist painting in each generation. In light of this importance, the course focuses on the region to explore the development of Buddhist paintings ranging from the [seventh through the sixteenth?] centuries, engaging such problems as painting technique and iconography, painting ateliers, and the enshrinement of paintings in the sacred spaces of rituals.
①絵画技法の継承と伝播、②図像の受容と変容、③絵仏師の工房制作、④礼拝空間で担う機能の問題など、日本仏教絵画史研究の中心課題を理解する。
Developing a grasp of such the central themes of art historical res"Developing a grasp of such the central themes of art historical research into Japanese Buddhist painting as:, including:
1. The inheritance and transmission of Buddhist painting techniques; Painting techniques?Traditions and transformations;2. The reception and evolution of iconography; 3. The construction of ateliers of Buddhist master painters; and 4. The functions of ritual space.
講義レジュメを配付し、代表的な作品、時代背景などを解説する。関連作品はプロジェクターによって提示する。
0．ガイダンス
日本の古代中世絵画史研究において奈良の仏教絵画が担う重要な位置づけを確認。
1．天平絵画の彩色技法
法隆寺金堂壁画、聖徳太子唐本御影、絵因果経、鳥毛立女屏風や香印座など正倉院宝物の絵画作品を通じて、日本仏教絵画の源流ともいうべき奈良時代の絵画技法について考察。
２．奈良時代の儀礼と仏画 ①
法華堂根本曼荼羅の考察により、奈良時代の仏画が仏教儀礼空間においてどのような形で礼拝されたかを明らかにする。
3．奈良時代の儀礼と仏画 ②
薬師寺吉祥天像の考察により、奈良時代の仏画が仏教儀礼空間においてどのような形で礼拝されたかを明らかにする。
4. 南都の平安仏画と宋代図像
達磨寺仏涅槃図の考察を通じて、院政期の奈良を代表する仏画に宋代図像の影響が顕著に認められることを指摘する。
5. 南都仏画と天平復古①
天平絵画を写した白描図像である東大寺戒壇院扉絵図像、東大寺所蔵倶舎曼荼羅の分析を通じて、平安時代後期において奈良時代仏画の図像を復古的に用いた仏画が積極的に描かれたことの意義を明らかにする。
6. 南都仏画と天平復古②
天平絵画を写した白描図像である東大寺戒壇院扉絵図像、東大寺所蔵倶舎曼荼羅の分析を通じて、平安時代後期において奈良時代仏画の図像を復古的に用いた仏画が積極的に描かれたことの意義を明らかにする。
7.中世南都の教学復興と美術①
鎌倉時代初期において奈良を拠点に教学復興や諸寺の伽藍再興を進めた解脱房貞慶。その思想が生み出した仏画作品を通じて、中世南都に広まった仏教絵画の特色を明らかにする。
8.中世南都の教学復興と美術②
鎌倉時代初期において奈良を拠点に教学復興や諸寺の伽藍再興を進めた解脱房貞慶。その思想が生み出した仏画作品を通じて、中世南都に広まった仏教絵画の特色を明らかにする。
9.中世南都の教学復興と美術 ③
鎌倉時代初期、京都・高山寺を拠点として南都仏教の中核を占める華厳教学の復興に努めた明恵。その思想が生み出した仏画作品を通じて、高山寺を中心に広まった華厳教美術や密教美術の特色を明らかにする
10. 春日曼荼羅の成立と展開①
奈良・春日大社への信仰にもとづく礼拝画像である春日宮曼荼羅が、平安時代末期に成立した契機と、南都の絵仏師によって多様に描かれた背景を明らかにする。
11. 春日曼荼羅の成立と展開②
奈良・春日大社への信仰にもとづく礼拝画像である春日宮曼荼羅が、平安時代末期に成立した契機と、南都の絵仏師によって多様に描かれた背景を明らかにする。11. The
12. 春日曼荼羅の成立と展開③
奈良・春日大社への信仰にもとづく礼拝画像である春日宮曼荼羅が、平安時代末期に成立した契機と、南都の絵仏師によって多様に描かれた背景を明らかにする。
13. 南都の寺院縁起としての信貴山縁起絵巻①
絵巻の最高傑作に挙げられる信貴山縁起絵巻が、南都信貴山本尊の霊験を説く日本最古の縁起絵巻であることを確認し、その制作に後白河院が関与したことを明らかにする。
14. 南都の寺院縁起としての信貴山縁起絵巻②
絵巻の最高傑作に挙げられる信貴山縁起絵巻が、南都信貴山本尊の霊験を説く日本最古の縁起絵巻であることを確認し、その制作に後白河院が関与したことを明らかにする。
15.南都の祖師絵伝としての玄奘三蔵絵
玄奘のインド求法の旅を描いた玄奘三蔵絵、玄奘の旅行記である『大唐西域記』をもとに描かれた法隆寺五天竺図の分析を通じて、画面に投影された中世南都の仏教世界観を読み解く。
Distribute lecture resumes and explain representative works, historical backgrounds, etc. Relevant works will be presented by a projector.
0. Introduction and Orientation
Nara’s Buddhist painting is contextualized within the broader fields of ancient and medieval Japanese painting.
1. The Colorful Techniques of Tenpyō Painting
Nara-period painting can be regarded as the fount of Japanese Buddhist painting. We consider Nara-period painting techniques and characteristics through representative works like the murals of the Golden Hall (Kondō) at Hōryūji Temple, the Tang-style sacred portrait of Shōtoku Taishi, the Illustrated Sutra of Cause and Effect, and such Shōsō-in treasures as the folding screens of beauties adorned with feathers or the renowned incense stand paintings.
2. Nara-Period Rituals and Buddhist Painting ①
How were the Buddhist paintings enshrined in ritual spaces worshipped during the Nara period? We will take up issues related to icon reverence through a focus on the Hokkedō konpon mandara.
3. Nara-Period Rituals and Buddhist Painting ②
How were the Buddhist paintings enshrined in ritual spaces worshipped during the Nara period? We will take up issues related to icon reverence through a focus on the Kisshōten icon at Yakushiji.
4. Heian-Period Buddhist Painting in Nara and Song-Dynasty Iconography
Through consideration of the “Nirvana of Śākyamuni Buddha” from Darumaji, we will identify influences of Song-dynasty iconography in Buddhist paintings representative of Nara during the period of cloistered rule (insei).
5. The Revival of the Tenpyō-Period Style in Nara’s Buddhist Painting ①
Through analysis of the Iconographic Drawings for the Door Paintings at the Kaidanin of Tōdaiji, the hakubyō paintings copying Tenpyō-period models, copies of paintings, along with the Kusha Mandara at Tōdaiji, we consider the iconographies of Nara-period Buddhist painting that were revived in the latter part of the Heian period.
6. The Revival of the Tenpyō-Period Style in Nara’s Buddhist Painting ②
Through analysis of the Iconographic Drawings for the Door Paintings at the Kaidanin of Tōdaiji, the hakubyō paintings copying Tenpyō-period models, copies of paintings, along with the Kusha Mandara at Tōdaiji, we consider the iconographies of Nara-period Buddhist painting that were revived in the latter part of the Heian period.
7. The Revival of Scholasticism and Art in Medieval Nanto ①
This lecture will focus on Gedatsu Jōkei, the important monk at the center of the revival of scholasticism in Nara at the start of the Kamakura period and integral to the reconstruction of Nara’s temples. Through the works of Buddhist painting borne of his conceptions, we shed light on the characteristics of Buddhist painting emanating from medieval Nara.
8. The Revival of Scholasticism and Art in Medieval Nanto ②
This lecture will focus on Gedatsu Jōkei, the important monk at the center of the revival of scholasticism in Nara at the start of the Kamakura period and integral to the reconstruction of Nara’s temples. Through the works of Buddhist painting borne of his conceptions, we shed light on the characteristics of Buddhist painting emanating from medieval Nara.
9. The Revival of Scholasticism and Art in Medieval Nanto ③
This lecture will focus on Myōe, the priest based at the Kyoto temple of Kōsanji, who was central to the revival of a tradition at the heart of Nara Buddhism, Kegon scholasticism, at the start of the Kamakura period. Through the works of Buddhist painting borne of his conceptions, we shed light on the characteristics of Buddhist painting emanating from Kōsanji.
10. The Beginnings of Kasuga Shrine Mandalas and their Evolutions ①
Grounded in Kasuga faith, Kasuga Shrine Mandalas offer views of the sacred precincts of Kasuga Shrine in Nara. They emerged late in the Heian period. We will elucidate the context from which these paintings emerged by looking at the many kinds of example of these paintings produced by Buddhist painters of Nara.
11. The Beginnings of Kasuga Shrine Mandalas and their Evolutions ②
Grounded in Kasuga faith, Kasuga Shrine Mandalas offer views of the sacred precincts of Kasuga Shrine in Nara. They emerged late in the Heian period. We will elucidate the context from which these paintings emerged by looking at the many kinds of example of these paintings produced by Buddhist painters of Nara.
12. The Beginnings of Kasuga Shrine Mandalas and their Evolutions ③
Grounded in Kasuga faith, Kasuga Shrine Mandalas offer views of the sacred precincts of Kasuga Shrine in Nara. They emerged late in the Heian period. We will elucidate the context from which these paintings emerged by looking at the many kinds of example of these paintings produced by Buddhist painters of Nara.
13. The Illustrated Miracles of Shigisan and Nara’s Temple Legends ①
The Illustrated Miracles of Shigisan, which conveys the miraculous efficacies of the principal deity enshrined at Nara’s Shigisan, is one of the greatest masterworks of picture scrolls. In addition to establishing it as the oldest example of a scroll of illustrated legends in Japan, we illuminate that the retired emperor Go-Shirakawa was integral to its production.
14. The Illustrated Miracles of Shigisan and Nara’s Temple Legends ②
The Illustrated Miracles of Shigisan, which conveys the miraculous efficacies of the principal deity enshrined at Nara’s Shigisan, is one of the greatest masterworks of picture scrolls. In addition to establishing it as the oldest example of a scroll of illustrated legends in Japan, we illuminate that the retired emperor Go-Shirakawa was integral to its production.
15. The Illustrated Legends of Xuanzang and Nara’s Lineages of Master Painters
Through analysis of the Illustrated Legends of Xuanzang, which depicts the pilgrim monk Xuanzang journeying to India in search of the Buddhist dharma, and the “Map of the0. Introduction and Orientation
Nara’s Buddhist painting is contextualized within the broader fields of ancient and medieval Japanese painting.
レポート：７割
授業参加状況と小課題：３割
Report: 70%
Class participation status and small assignments: 30%
亀田孜『日本仏教美術史敍説』（学芸書林、1970年）
有賀祥隆『仏画の鑑賞基礎知識』（至文堂、1991年）。
『日本美術全集③ 東大寺・正倉院と興福寺（奈良時代Ⅱ）』(小学館、2013年)。
『日本美術全集⑤ 王朝絵巻と貴族のいとなみ（平安時代Ⅱ）』(小学館、2014年)。
『日本美術全集⑧ 中世絵巻と肖像画（鎌倉・南北朝時代Ⅱ）』(小学館、2015年)。
博物館・美術館・社寺などで実際に仏教絵画作品を見てもらいたい。