{"@context":"http://iiif.io/api/presentation/2/context.json","@id":"https://emuseum.nich.go.jp/iiifapi/100013000/manifest.json","@type":"sc:Manifest","label":[{"@value":"e国宝 - 三尊仏龕","@language":"ja"},{"@value":"e-Museum - Niche of a buddha triad","@language":"en"},{"@value":"e国宝 - 三尊佛龛","@language":"zh"},{"@value":"e국보 - 삼존 불감","@language":"ko"}],"metadata":[{"label":[{"@value":"指定区分","@language":"ja"},{"@value":"Designation","@language":"en"},{"@value":"指定等级","@language":"zh"},{"@value":"문화재 지정 구분","@language":"ko"}],"value":[{"@value":"重要文化財","@language":"ja"},{"@value":"Important Cultural Property","@language":"en"},{"@value":"重要文化财","@language":"zh"},{"@value":"중요문화재","@language":"ko"}]},{"label":[{"@value":"分野","@language":"ja"},{"@value":"Category","@language":"en"},{"@value":"类别","@language":"zh"},{"@value":"분야","@language":"ko"}],"value":[{"@value":"彫刻","@language":"ja"},{"@value":"Sculpture","@language":"en"},{"@value":"雕刻","@language":"zh"},{"@value":"조각","@language":"ko"}]},{"label":[{"@value":"名称よみ","@language":"ja"}],"value":[{"@value":"さんぞんぶつがん","@language":"ja"}]},{"label":[{"@value":"指定名称","@language":"ja"}],"value":[{"@value":"石造浮彫三尊仏龕","@language":"ja"}]},{"label":[{"@value":"出土地","@language":"ja"},{"@value":"Excavation","@language":"en"},{"@value":"出土地","@language":"zh"},{"@value":"출토지","@language":"ko"}],"value":[{"@value":"中国・西安市　宝慶寺伝来","@language":"ja"},{"@value":"From Baoqing Temple, Xi’an, China","@language":"en"},{"@value":"中国 西安市宝庆寺旧藏","@language":"zh"},{"@value":"중국 시안시 보경사 전래","@language":"ko"}]},{"label":[{"@value":"員数","@language":"ja"},{"@value":"Quantity","@language":"en"},{"@value":"数量","@language":"zh"},{"@value":"수량","@language":"ko"}],"value":[{"@value":"1面","@language":"ja"},{"@value":" ","@language":"en"},{"@value":"1面","@language":"zh"},{"@value":"1점","@language":"ko"}]},{"label":[{"@value":"品質形状","@language":"ja"},{"@value":"Media","@language":"en"},{"@value":"材质形状","@language":"zh"},{"@value":"재질/형태","@language":"ko"}],"value":[{"@value":"石造浮彫","@language":"ja"},{"@value":"Stone relief","@language":"en"},{"@value":"石制浮雕","@language":"zh"},{"@value":"석조 부조","@language":"ko"}]},{"label":[{"@value":"法量","@language":"ja"},{"@value":"Dimensions","@language":"en"},{"@value":"尺寸","@language":"zh"},{"@value":"크기","@language":"ko"}],"value":[{"@value":"全高104.5","@language":"ja"},{"@value":"Max. height 104.5 cm","@language":"en"},{"@value":"通高104.5","@language":"zh"},{"@value":"총높이 104.5","@language":"ko"}]},{"label":[{"@value":"時代・世紀","@language":"ja"},{"@value":"Period,Century","@language":"en"},{"@value":"年代・世纪","@language":"zh"},{"@value":"시대・세기","@language":"ko"}],"value":[{"@value":"中国・唐時代　8世紀","@language":"ja"},{"@value":"Tang dynasty (China), 8th century","@language":"en"},{"@value":"唐代 8世纪","@language":"zh"},{"@value":"중국 당시대, 8세기","@language":"ko"}]},{"label":[{"@value":"所蔵者","@language":"ja"},{"@value":"Owner","@language":"en"},{"@value":"收藏家","@language":"zh"},{"@value":"소장자","@language":"ko"}],"value":[{"@value":"九州国立博物館","@language":"ja"},{"@value":"Kyushu National Museum","@language":"en"},{"@value":"九州国立博物馆","@language":"zh"},{"@value":"규슈국립박물관","@language":"ko"}]},{"label":[{"@value":"各館作品番号","@language":"ja"},{"@value":"Collection reference no.","@language":"en"},{"@value":"机构管理序号","@language":"zh"},{"@value":"기관관리번호","@language":"ko"}],"value":[{"@value":"C2","@language":"ja"},{"@value":"C2","@language":"en"},{"@value":"C2","@language":"zh"},{"@value":"C2","@language":"ko"}]}],"description":[{"@value":"　宝慶寺石仏群とよばれる30余点の浮彫仏龕の1点で、唐代彫刻を代表する作品の一つ。宝慶寺は、中国・明時代の長安城の南門にあたる永寧門の近くにあった寺で、現在は本作品と一群をなす数点の龕像（がんぞう）を収めた磚塔（せんとう）（レンガ積みの塔）が残るのみである。宝慶寺の仏殿内に安置されていたこれらの作品群は、もともと唐の長安城の大明宮のすぐ南に位置する光宅坊に造営された光宅寺の七宝台に安置されていたものであることが、本作品を含む数点の作品に残る銘文から知られる。また、長安3～4年（703～704）、開元12年（724）の年記があり、8世紀前半の制作にかかることがわかる。\r\n　光宅寺は、儀鳳2年（677）に同地から仏舎利が発見されたという奇跡を記念して建てられた寺で、中国で唯一の女帝となった武則天（ぶそくてん）（在位690～705年）は、ここに七宝台を建造し、石仏群はその荘厳に用いられた。\r\n　本作品も宝慶寺石仏群の1つで、如来坐像を中尊とする三尊形式の作例。宝慶寺石仏群は、三尊形式と独尊形式の大きく2つに分類できる。三尊形式の作例は、中尊が降魔印を結ぶ如来坐像、施無畏印を結ぶ如来坐像、施無畏印を結んで倚坐する如来像に分けられ、独尊像としては十一面観音菩薩立像がある。銘記によって、三尊像のうち施無畏印を結ぶ如来坐像は阿弥陀如来、施無畏印を結ぶ倚坐像は弥勒如来を意図して制作されたらしいことがわかる。降魔印を結ぶ坐像については、宝冠をつける作例や、台座の形式に須弥座と蓮華座の2種があるなどのヴァリエーションがみられるが、これらは当時インドで流行していた釈迦如来像の姿を元にしたとも考えられる。\r\n　本作品は、中尊が右手施無畏印、左手を膝上におき、八角の框座上に二重円相光背を負って結跏趺坐（けっかふざ）する。左脇侍は中尊に向かって合掌し、右脇侍は右手に水瓶をとって蓮台上（左脇侍側は欠損）に立つ。三尊それぞれに天蓋をかけるが、両脇侍は下方から伸びた茎の先についた開敷蓮華（かいふれんげ）を天蓋（てんがい）としている点が特異であり、こうした意匠は他の宝慶寺像には例をみない。\r\n　像の下側の長方形区画に刻出された銘文は、馮鳳翼、莫順之といった内官の名前がずらりと並び、本像が複数の人物によって奉献されたことがわかる。","@language":"ja"},{"@value":"This niche belongs to a set of thirty stone reliefs from Baoqing Temple, and is one of the most representative stone carvings from the Tang dynasty (618–907). Baoqing Temple was a temple located near the south gate of the Chang’an capital during the Ming dynasty (1368–1644). Today, the only structure that remains of the temple is a stone pagoda which held stone niches, including this one. These carvings, which were stored in the main hall of the temple, had originally been part of the Qibaotai pagoda in Guangzhai Temple, a temple in the Guangzhai district located immediately south of the Daming Palace in Chang’an during the Tang dynasty. This information is found on multiple niches from the series in the form of inscriptions, alongside carvings indicating years (703–4, 724) that suggest they were created in the early eighth century.\r\n\r\nThe Guangzhai Temple was allegedly founded in 677 at the location where a Buddhist relic (the cremated remains of Buddha’s body) had been discovered. The Qibotai, on the other hand, was constructed by Empress Wu Zetian (r. 690–705), the only empress regnant in Chinese history, who also installed a series of stone Buddhist reliefs as decoration.\r\n\r\nThis series of Buddhist reliefs features two styles of composition: ones depicting a buddha triad, and ones that depict a single buddha or deity. The former type can be classified further into three depending on the pose and/or hand gesture (<i>mudra</i>) of the central buddha: a buddha seated with legs folded performing the <i>bhumisparsha mudra</i> (Jp. <i>gōma-in</i>) that symbolizes the expulsion of evil, a buddha seated with legs folded performing the <i>abhaya mudra</i> (Jp. <i>semui-in</i>) that symbolizes fearlessness, and a seated buddha with feet touching the ground performing the <i>abhaya mudra</i>. Single-image niches typically feature the bodhisattva Ekadashamukha, the eleven-headed manifestation of Avalokiteshvara (Jp. Kannon). According to the inscriptions on the works, the triads featuring a central buddha with legs folded performing the <i>abhaya mudra</i> represent the buddha Amitabha, while the ones with a buddha seated with feet touching the ground performing the same mudra represented Maitreya Buddha. There are also variations in iconography among the buddhas performing the <i>bhumisparsha mudra</i>; some wear crowns, while others sit upon a <i>shumi</i> pedestal or a lotus pedestal. These may have roots in representations of the historic Buddha, Shakyamuni, that were popular in India at the time.\r\n\r\nThe buddha sits on an octagonal pedestal with legs crossed at the center of this niche, his feet resting above the opposite lap. He holds his right hand in an <i>abhaya mudra</i>, and rests his left on his knee. A double halo illuminates his form from the back. Two attendants stand to either side of him: the one to his left is holding their hands together, while the one on his right stands on a lotus pedestal holding a water jar. Part of the attendant on his left is missing. Parasols hang over all three figures’ heads, but what makes this work unique is in how the “parasols” of the two attendants are in fact formed by blossoming lotuses still attached to stems stretching from below. This feature is, in fact, not found on any of the other niches from Baoqing Temple.\r\n\r\nThe rectangular space at the bottom bears the names of court officials, including Feng Fengyi and Mo Shunzhi, which tells us that the niche was dedicated by multiple people.","@language":"en"},{"@value":"　　宝庆寺石佛群由30余座浮雕佛龛构成，这是其中的一座，系唐代雕刻的代表作品之一。宝庆寺位于明代长安城南门永宁门附近，如今仅剩砖塔，塔内有数座与此佛龛属于同一文物群的龛像。包括这座佛龛在内，多座石佛上的铭文显示，宝庆寺佛殿内的石佛群过去曾被安置于光宅寺的七宝台上。部分作品上还标有长安三至四年（703年-704年）以及开元十二年（724年）等纪年铭文，可知其制作于8世纪上半叶。光宅寺位于唐代长安城大明宫紧南侧的光宅坊，为纪念仪凤二年（677年）在当地发现佛舍利这一奇迹而建造。中国历史上唯一的女皇帝武则天（690年-705年在位）在寺内建造了七宝台，石佛群便是其装饰。此佛龛是以如来坐像为主尊的三尊样式。宝庆寺石佛群的样式可大致分为三尊佛和单尊佛两种。三尊佛中的主尊又分为结降魔印的如来坐像和施无畏印的如来坐像及倚像（坐在椅子上的像），而单尊佛则有十一面观音菩萨立像。根据铭文可知，这些三尊像中，施无畏印的如来坐像似乎代表阿弥陀如来，而同样施无畏印的如来倚像则代表弥勒佛。结降魔印的坐像存在多种样式，有些头戴宝冠，宝座也分须弥、莲花两种形式，应该都是仿效了当时印度流行的释迦牟尼佛像的形态。此佛龛的主尊右手施无畏印，左手放于膝上，结跏趺坐于八角形底座上，身后为同心圆形背光。右侧的胁侍向主尊合掌，左侧的胁侍右手持净瓶，站于莲花台上（右胁侍处缺损）。三尊佛各有华盖，其中两尊胁侍以开敷莲花为华盖，花茎自下而上伸展开来绽放出莲花，这种造像方式独具一格，在宝庆寺石佛中也仅此一例。佛像下方长方形区域内刻有铭文，记录了冯凤翼、莫顺之等一连串宦官的名字，可见此像由多人共同认捐供奉。","@language":"zh"},{"@value":"　보경사 절 석불군으로 불리는 30여 점의 부조 불감 중 하나로, 중국 당대 조각을 대표하는 작품 중 하나다. 보경사 절은 중국 명나라 장안성의 남문에 해당하는 영녕문 근처에 있던 사찰로, 현재는 이 불감과 함께 하나의 작품군을 형성하는 여러 점의 감상(석벽 등을 파낸 벽감에 새긴 불상)이 모셔진 벽돌탑이 남아 있을 뿐이다. \r\n　보경사 절 불당 내에 안치되어 있던 이 작품군은, 원래는 당나라 장안성 대명궁의 바로 남쪽에 위치한 광택방에 조영된 사찰 광택사의 칠보대에 안치되어 있었던 사실을, 이 불감을 포함한 여러 점의 작품에 남겨진 명문을 통해 알 수 있다. 또 장안3년-4년(703-704), 개원 12년(724)이라는 연대 기록이 있어, 8세기 전반에 제작된 것을 알 수 있다. \r\n　광택사 절은 677년에 이 지역에서 불사리가 발견된 기적을 기념하여 세워진 사찰로, 중국 역사상 유일한 여제 무측전(재위 690년-705년)이 이곳에 칠보대를 건립하고, 석불군을 장엄구로 사용했다.  \r\n　이 불감 또한 보경사 절 석불군의 하나로, 여래 좌상을 중존으로 한 삼존 형식의 작례이다. 보경사 절 석불군은 삼존 형식과 독존 형식으로 크게 나눌 수 있다. 삼존 형식의 작례는 중존이 항마인을 결한 여래 좌상, 시무외인을 결한 여래 좌상, 시무외인을 결한 의좌(의자에 앉아 양 다리를 내린 상태) 형태의 여래상으로 나눌 수 있다. 독존상으로는 십일면관음보살 입상이 있다. 명문 기록을 통해, 삼존상 중 시무외인을 결한 여래 좌상은 아미타여래, 시무외인 수인을 한 의좌상은 미륵여래를 의도하여 제작된 것으로 보인다. 항마인을 결한 좌상은, 보관을 쓴 작례와 대좌의 형식이 수미좌, 연화좌의 2종류가 있는 등 다양성을 지니는데, 이는 당시 인도에서 유행한 석가여래상의 모습을 바탕으로 한 것으로 보인다. \r\n　이 불감의 중존은 오른손으로 시무외인을 결하고 왼손은 무릎 위에 올렸놓았으며, 이중 원상 광배를 지니고 대좌를 받치는 팔각 밑받침(광좌) 위에 결가부좌했다.  좌협시는 중존을 향해 합창하였고, 우협시는 오른손에 정병을 들고 연대좌(좌협시 측은 결손)에 섰다. 삼존에는 각각 천개가 덮였는데, 양 협시의 것은 아래쪽부터 뻗어온 줄기 끝에 달린 개부연화를 천개로 삼은 것이 특이하다. 이러한 도상은 보경사의 다른 불상에서는 찾아볼 수 없다.\r\n　하단부 직사각형 구획에 새겨진 명문에는 풍봉익, 막순지 등의 내관 이름이 즐비하여, 이 불감이 다수 인물에 의해 봉헌된 것을 알 수 있다.   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