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墓葬装飾における祥瑞図の展開
http://hdl.handle.net/10959/2877
http://hdl.handle.net/10959/287750454690-0ce7-47de-968c-8e6492f32121
| 名前 / ファイル | ライセンス | アクション |
|---|---|---|
toyobunka_10_229_284.pdf (4.1 MB)
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| Item type | 紀要論文 / Departmental Bulletin Paper(1) | |||||
|---|---|---|---|---|---|---|
| 公開日 | 2013-03-15 | |||||
| タイトル | ||||||
| タイトル | 墓葬装飾における祥瑞図の展開 | |||||
| 言語 | ja | |||||
| タイトル | ||||||
| タイトル | ボソウ ソウショク ニオケル ショウズイズ ノ テンカイ | |||||
| 言語 | ja-Kana | |||||
| タイトル | ||||||
| タイトル | The transition of auspicious omens in Eastern Han's funeral pictorial art | |||||
| 言語 | en | |||||
| 言語 | ||||||
| 言語 | jpn | |||||
| 資源タイプ | ||||||
| 資源タイプ識別子 | http://purl.org/coar/resource_type/c_6501 | |||||
| 資源タイプ | departmental bulletin paper | |||||
| 著者 |
菅野, 恵美
× 菅野, 恵美× Kanno, Emi |
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| 抄録 | ||||||
| 内容記述タイプ | Abstract | |||||
| 内容記述 | Albino fish， phoenix， silver pot， flowing up alcohol spring＿etc， people enthusiastically believed in these auspicious omens durirlg the Han dynasty period， particularly in Eastern Han． The pictures had been increasing as one of an important subject in funeral pictorial art during Eastern Han． This paper focuses on the role of figures of auspicious omens in funeral pictorial art， and on the change of circumstance between Heaven and human． There are two types of styles in auspicious omens figures：“111ustrating style”and“Composing style”． The Illustrating style， showsomen figures depicted in flamed space to show each omen clearly， sometimes adding written explanations． This style comes from catalogues that show what type they are or when they will appear． Auspicious omens were regarded as good response from Heaven to the emperor’s conduct， and they were also considered to legitimize the Handynasty， so that there were several kinds of catalogues， and the spread of these catalogues made the symbolic power of omens hard， and made omens image popular． In the Composing style the omen figure is one of many elements and figures， and together they compose a full picture． This type of omen has for a long time been applied to depict heaven or paradise． In the middle part of Eastern Han， these omens started to be drawn together with subjects of the human world， for example structures， humans， and trees． But as I show， at that time these omen figures look as if there is no relation with other figures of humanity， and seem to be arranged in blanc space． These omens express harmony of“Qi” ene「gy・ In the latter part of Eastern Han small changes happened with their expression：The figure of composing style became more active， they started to interact with other figures in the picture． This change relate with the people’s way of thillking about how auspicious omens would appear． Auspicious omens were not only for the sovereign any more， and Heaven came to respond to people’s virtuous behavior by the arrival of auspicious omens． The figures of auspicious omens are not only representing the peace of Han dynasty by their consistent expression of Qi energy， but they also praise the ancestors， the deceased， or descendants for VlrtuousneSS． | |||||
| 書誌情報 |
ja : 東洋文化研究 en : Journal of Asian cultures 号 10, p. 229-284, 発行日 2008-03-31 |
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| 出版者 | ||||||
| 出版者 | 学習院大学東洋文化研究所 | |||||
| 言語 | ja | |||||
| ISSN | ||||||
| 収録物識別子タイプ | PISSN | |||||
| 収録物識別子 | 13449850 | |||||
| 書誌レコードID | ||||||
| 収録物識別子タイプ | NCID | |||||
| 収録物識別子 | AA11335469 | |||||
| フォーマット | ||||||
| 内容記述タイプ | Other | |||||
| 内容記述 | application/pdf | |||||
| 著者版フラグ | ||||||
| 出版タイプ | VoR | |||||
| 出版タイプResource | http://purl.org/coar/version/c_970fb48d4fbd8a85 | |||||
| URI | ||||||
| 識別子 | http://hdl.handle.net/10959/2877 | |||||
| 識別子タイプ | HDL | |||||
