{"@context":"http://iiif.io/api/presentation/2/context.json","@id":"https://emuseum.nich.go.jp/iiifapi/100031004/manifest.json","@type":"sc:Manifest","label":[{"@value":"e国宝 - 十二天像　帝釈天","@language":"ja"},{"@value":"e-Museum - Taishakuten (Skt. Indra)","@language":"en"},{"@value":"e国宝 - 十二天像　帝释天","@language":"zh"},{"@value":"e국보 - 십이천상 제석천","@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":"絵画","@language":"ja"},{"@value":"Painting","@language":"en"},{"@value":"绘画","@language":"zh"},{"@value":"회화","@language":"ko"}]},{"label":[{"@value":"名称よみ","@language":"ja"}],"value":[{"@value":"じゅうにてんぞう　たいしゃくてん","@language":"ja"}]},{"label":[{"@value":"指定名称","@language":"ja"},{"@value":"Official title","@language":"en"},{"@value":"指定名称","@language":"zh"},{"@value":"지정 명칭","@language":"ko"}],"value":[{"@value":"絹本著色十二天像","@language":"ja"},{"@value":"絹本著色十二天像","@language":"en"},{"@value":"絹本著色十二天像","@language":"zh"},{"@value":"絹本著色十二天像","@language":"ko"}]},{"label":[{"@value":"員数","@language":"ja"},{"@value":"Quantity","@language":"en"},{"@value":"数量","@language":"zh"},{"@value":"수량","@language":"ko"}],"value":[{"@value":"1幅","@language":"ja"},{"@value":"1 hanging scroll","@language":"en"},{"@value":"1幅","@language":"zh"},{"@value":"1폭","@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":"絹本著色　金泥　掛幅","@language":"ja"},{"@value":"Ink and colors on silk　Gold paint (<i>kindei</i>)　Hanging scroll","@language":"en"},{"@value":"绢本着色　金泥　挂轴","@language":"zh"},{"@value":"견본 착색 금니 족자","@language":"ko"}]},{"label":[{"@value":"法量","@language":"ja"},{"@value":"Dimensions","@language":"en"},{"@value":"尺寸","@language":"zh"},{"@value":"크기","@language":"ko"}],"value":[{"@value":"縦122.7　横41.8","@language":"ja"},{"@value":"H 122.7, W 41.8","@language":"en"},{"@value":"纵122.7　横41.8","@language":"zh"},{"@value":"세로 122.7　가로 41.8","@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":"鎌倉時代・13世紀","@language":"ja"},{"@value":"Kamakura period/13th century","@language":"en"},{"@value":"镰仓时代(13世纪)","@language":"zh"},{"@value":"가마쿠라시대(13세기)","@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":"奈良国立博物館","@language":"ja"},{"@value":"Nara National Museum","@language":"en"},{"@value":"奈良国立博物馆","@language":"zh"},{"@value":"나라국립박물관","@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":"512(絵132)","@language":"ja"},{"@value":"512(絵132)","@language":"en"},{"@value":"512(絵132)","@language":"zh"},{"@value":"512(絵132)","@language":"ko"}]},{"label":[{"@value":"その他テキスト","@language":"ja"},{"@value":"Other","@language":"en"},{"@value":"其他","@language":"zh"},{"@value":"그 외 텍스트","@language":"ko"}],"value":[{"@value":"大宝院（三重）旧蔵","@language":"ja"},{"@value":"Provenance: Daiho-in Temple, Mie Prefecture","@language":"en"},{"@value":"原由大宝院（三重县）收藏","@language":"zh"},{"@value":"다이호인(미에현) 구 소장","@language":"ko"}]}],"description":[{"@value":"　十二天は、もとインド古代神などが仏教にとり入れられて護法神となったもの。帝釈天（東）、火天（東南）、焔摩天（南）、羅刹天（西南）、水天（西）、風天（西北）、毘沙門天（北）、伊舎那天（東北）までの天が各方位にあてられてはじめ八方天として成立した。これに梵天（天）、地天（地）、日天（日）、月天（月）が加わって十二天となる。わが国の十二天像の作例は奈良・西大寺本がもっとも早く、ついで大治2年（1127）に、五大尊像と同時に描かれた京都・東寺本がある。これらは後七日御修法（ごしちにちみしほ）などの密教の大法に用いられた。本図のように荷葉座や毛氈座、涌雲上に立ち上部に種子〈しゅじ〉を表すものは、灌頂〈かんじょう〉の儀式に用いられた十二天屏風の形式であり、平安後期から十二天行道に代わって懸用されたものとみられ、先行する作品には建久2年（1191）制作の東寺蔵詫磨勝賀筆本、京都・神護寺、滋賀・聖衆来迎寺本などがある。本図ももとは屏風仕立てであっただろう。\r\n　図様は東寺本や神護寺本（聖衆来迎寺本も同図）とはかなり異なっていて、梵天は四面ではなく一面四臂であり、地天は二臂に盛花ではなく花瓶を執り、日天は日輪を表さず蓮華のみを執るなど図替わりである。描線は謹厳であり、隈取りも強く、着衣上には彩色文様とともに金泥文様も散らす。堅実な画風が好ましく、鎌倉時代十二天屏風の貴重な遺例として注目される。","@language":"ja"},{"@value":"The Twelve Devas are ancient Indian divinities that were incorporated into the Buddhism pantheon as guardian deities. They were originally established as a set of eight representing the eight directions: Taishakuten (Skt. Indra) for the east, Katen (Skt. Agni) for the southeast, Enmaten (Skt. Yama) for the south, Rasetsuten (Skt. Rākṣasa) for the southwest, Suiten (Skt. Varuṇa) for the west, Fūten (Skt. Vāyu) for the northwest, Bishamonten (Skt. Vaiśravaṇa) for the north, and Ishanaten (Skt. Īśāna) for the northeast. Later, four more were added to make twelve: Bonten (Skt. Brahmā) for the heavens, Jiten (Skt. Pṛthvī) for the earth, Nitten (Skt. Sūrya) for the sun, and Gatten (Skt. Candra) for the moon. The earliest paintings of the Twelve Devas produced in Japan are a set preserved at Saidaiji Temple in Nara. This is followed by another set passed down at Tōji Temple in Kyoto, which was created together with images of the Five Great Wisdom Kings in 1127 (Daiji 2). These were used in major esoteric rituals, like the Latter Seven Days Ritual (<i>Goshichinichi no Mishiho</i>) held the second week of the new year.\r\n\r\nIn these paintings, the devas are depicted on lotus-leaf pedestals, felt pedestals, or rising clouds with Sanskrit seed syllables at the top. This composition style can be traced to folding screens displayed during esoteric initiation rites (<i>abhiṣeka</i>) that seem to have replaced an earlier ritual procession of figures wearing masks of the Twelve Devas sometime during the late Heian period (794–1185). Images of the Twelve Devas that predate this set include those produced by the priest-artist Takuma Shōga (dates unknown) in 1191 (Kenkyū 2) that was preserved at Tōji Temple, as well as others passed down at Jingoji Temple in Kyoto and Shōjuraikōji Temple in Shiga. Like those works, these paintings were probably originally mounted on folding screens.\r\n\r\nThe depictions in this set, however, are very different from those passed down at Tōji Temple and Jingoji Temple (Shōjuraikōji Temple’s set is the same). Bonten has one face and four arms instead of four faces, and Jiten holds a vase in  both hands instead of flowers in a basket. Nitten is drawn only with a lotus flower and without a sun wheel. Stylistically, the works feature meticulously drawn lines and heavy shading. The figures’ robes are decorated in patterns in gold paint and colored pigments. The paintings are admired for their solid renderings, and the set is cited as a valuable example of the Twelve Devas produced for folding screens during the Kamakura period (1185–1333).","@language":"en"},{"@value":"　　“十二天”原为古印度神，后被佛教引入成为护法神。先由帝释天(东)、火天(东南)、焰摩天(南)、罗刹天(西南)、水天(西)、风天(西北)、毗沙门天(北)、伊舍那天(东北)这些天尊守护各方位组成八方天，加上梵天(天)、地天(地)、日天(日)和月天(月)，成为十二天。奈良西大寺在日本最早绘制十二天像，其后于大治2年(1127)，京都东寺本同时绘制五大尊像。它们曾被用于后七日御修法等密教大法。本图所示的是脚踩荷叶座、毛毡座和涌云，上部标有种子字的是用于灌顶仪式的十二天屏风样式，据称从平安时代(794-1185)后期起其取代十二天行道而被悬挂，此前的作品有建久2年(1191)制作的东寺藏诧磨胜贺笔本、京都神护寺、滋贺众圣来迎寺本等。本图大概也曾是装饰屏风吧。\r\n　　图样与东寺本和神护寺本(圣众来迎寺本也是同一图绘)大相径庭，图画有所改变。比如梵天为一面四臂而非四面，地天双臂执花瓶而非花束，日天头上不顶光环而只是手执莲华等。绘图线条严谨且着色强烈，衣着上绘有彩色花纹并点缀着金泥花纹。认真仔细的画风令人赏心悦目，作为镰仓时代(1185-1333)十二天屏风中的珍贵遗作而受人注目。","@language":"zh"},{"@value":"　십이천(十二天)은 본디 인도의 고대신으로, 불교에 유입되면서 호법신(護法神)이 되었다. 제석천(帝釋天, 동쪽), 화천(火天, 동남쪽), 염마천(焔摩天, 남쪽), 나찰천(羅刹天, 서남쪽), 수천(水天, 서쪽), 풍천(風天, 서북쪽), 비사문천(毘沙門天, 북쪽), 이사나천(伊舍那天, 동북쪽)으로 각 방위에서 팔방천(八方天)을 이룬다. 이에 범천(梵天, 천), 지천(地天, 지), 일천(日天, 일), 월천(月天, 월)이 더해져 십이천이 된다. 일본의 십이천상 제작은 나라・사이다이지(西大寺)의 사례가 가장 빠르며, 다음으로 다이지 2년(1127)에 오대존상(五大尊像)과 같은 시기에 그려진 교토・토지(東寺)의 것이 있다. 이들은 밀교(密敎)의 대법에 사용되는데, 대표적으로 정월 8일부터 14일까지 토지에서 성대하게 열리는 고시치니치미시호(後七日御修法)가 있다. 본 도상과 같이 하엽좌(荷葉座)와 모전좌(毛氈座), 용운(涌雲) 위에 서서 상단에 종자(種字)를 표현한 것은 관정(灌頂) 의식에 사용된 십이천 병풍의 형식이다. 헤이안 시대(794~1185) 후기부터 십이천행도(十二天行道)를 대신하여 걸린 것으로 보인다. 이에 앞선 작품으로는 켄큐 2년(1191)에 제작된 타쿠마 쇼가(詫磨勝賀, 생몰년미상) 제작본(토지 소장)과 교토・진고지(神護寺), 시가・쇼쥬라이코지(聖衆來迎寺) 소장본이 있다. 본 작품도 원래는 병풍 형식으로 제작되었을 것이다. \r\n　도안은 토지 소장본과 진고지 소장본(쇼쥬라이코지 소장본도 같은 도상)과는 매우 다른 형식을 띠고 있다. 범천은 네 개의 얼굴이 아닌 하나의 얼굴에 네 개의 팔을 지니고 있으며, 지천은 두 개의 팔에 꽃이 아닌 꽃병을 쥐고 있다. 또한 일천은 일륜(日輪)을 짓지 않고 연화를 쥐고 있는 등, 세 곳 도상과는 다른 모습을 하고 있다. 근엄한 그림 선에 강한 채색, 의복 위에는 채색 문양과 함께 금니 문양을 도입하였다. 견실하고 뛰어난 화풍으로 카마쿠라 시대(1185~1333)에 제작된 십이천 병풍의 귀중한 사례라 할 수 있다. 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