{"@context":"http://iiif.io/api/presentation/2/context.json","@id":"https://emuseum.nich.go.jp/iiifapi/100050000/manifest.json","@type":"sc:Manifest","label":[{"@value":"e国宝 - 仏涅槃図","@language":"ja"},{"@value":"e-Museum - The Death of the Buddha","@language":"en"},{"@value":"e国宝 - 佛涅槃图","@language":"zh"},{"@value":"e국보 - 불열반도","@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":"ぶつねはんず","@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":"絹本著色仏涅槃図","@language":"ja"},{"@value":"絹本著色仏涅槃図","@language":"en"},{"@value":"絹本著色仏涅槃図","@language":"zh"},{"@value":"絹本著色仏涅槃図","@language":"ko"}]},{"label":[{"@value":"作者","@language":"ja"},{"@value":"Creator","@language":"en"},{"@value":"作者","@language":"zh"},{"@value":"작자","@language":"ko"}],"value":[{"@value":"陸信忠筆","@language":"ja"},{"@value":"By Lu Xinzhong","@language":"en"},{"@value":"陆信忠执笔","@language":"zh"},{"@value":"육신충 필","@language":"ko"}]},{"label":[{"@value":"作者よみ","@language":"ja"}],"value":[{"@value":"りくしんちゅう","@language":"ja"}]},{"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 and on silk　Gold paint (<i>kindei</i>)　Hanging scroll","@language":"en"},{"@value":"绢本着色　金泥　挂轴","@language":"zh"},{"@value":"비단에 채색 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157.1　横82.9","@language":"ja"},{"@value":"H 157.1, W 82.9","@language":"en"},{"@value":"纵157.1　横82.9","@language":"zh"},{"@value":"세로 157.1　가로 82.9","@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・南宋時代・13世紀","@language":"ja"},{"@value":"Southern Song dynasty, China/13th century","@language":"en"},{"@value":"南宋时代(13世纪)","@language":"zh"},{"@value":"중국・남송(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":"756(絵150)","@language":"ja"},{"@value":"756(絵150)","@language":"en"},{"@value":"756(絵150)","@language":"zh"},{"@value":"756(絵150)","@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":"宝寿院（愛知）旧蔵","@language":"ja"},{"@value":"Provenance: Hoju-in, Aichi Prefecture","@language":"en"},{"@value":"原由宝寿院（爱知县）收蔵","@language":"zh"},{"@value":"호주인(아이치현) 구 소장","@language":"ko"}]}],"description":[{"@value":"　釈迦が跋堤河のほとり沙羅双樹の間に入滅する様子を表したもの。仏伝中の重要な一場面である。涅槃を表した作例は、法隆寺五重塔塔本塑像をはじめ早くからわが国で造像されており、また涅槃図を本尊像とする涅槃会も平安時代の初めには恒例化していた。涅槃図は中国からの影響を受けつつ各時代宗派を通じて盛んに制作され、独自の展開をした。\r\n　本図は涅槃図の中でももっとも特異な形式のもので、中国・南宋代の貿易都市・寧波で描かれ、わが国に請来された。沙羅樹が二本の宝樹のように描かれ、また釈迦の周囲の弟子衆にはさほど悲しみの表情はなく、胡人風の人物が香炉をはさんで涅槃を賛嘆するかのごとく踊るのも異例である。こうした図様が成立した背景に、当時の寧波の成熟した信仰環境を想定する意見がある。\r\n　画面向かって右中程に「慶元府車橋石板巷陸信忠筆」の小楷落款があって、寧波が慶元府と呼ばれていた頃（1195～1276）に職業的画工（仏画師）とされる陸信忠（工房）によって制作されたことがわかる。濃密な彩色と細勁な線描、細緻な彩色文様をあわせ持つきわめて強い表現の仏画であり、中間色を多用したであろう先行仏画からの変貌を感じさせる作例である。陸信忠の款記のある作品の中では、当館の十王図とともにもっとも上質の作例である。\r\n　なお、表具上部に「天王御宝物」の墨書がある。愛知・津島神社別当寺宝寿院に伝来した。","@language":"ja"},{"@value":"The historical buddha Śākyamuni is believed to have attained nirvana upon the death of his physical body. This painting depicts his passing at a place between two sal trees by the Hiraṇyavatī  River. Śākyamuni’s death is one of the most important scenes in the narrative of the historical buddha’s life, and works depicting it were created soon after Buddhism was brought to Japan. An early example is one of the four sculpted tableaux surrounding the central pillar on the ground floor of Hōryūji Temple’s five-story pagoda . Paintings of the scene were also the principal image of worship for ceremonies held on Parinirvana Day in the early Heian period (794–1185). Śākyamuni’s death remained a popular subject in art, and each school of Buddhism developed its own iconographies in the periods that followed while simultaneously drawing inspiration from Chinese art.  \r\n\r\nThis painting is a highly unusual depiction of Śākyamuni’s death. It was created in the Chinese port city of Ningbo during the Southern Song dynasty (1127–1279) and later brought to Japan. The two sal trees are rendered like “seven-treasure trees”  described in sutras, and the disciples surrounding Śākyamuni do not look very sad. The inclusion of two non-Chinese figures, presumably from the north or west of China, dancing on both sides of an incense burner as if they are celebrating Śākyamuni’s entry into nirvana is also unique. Some scholars believe this composition reflects developments in the religious environment in Ningbo at the time.\r\n\r\nThere is a small inscription in standard script near the middle of the viewer’s right. It reveals the painting was created at the studio of a professional artist specializing in Buddhist subjects named Lu Xinzhong (dates unknown) during the period in which Ningbo was known as Qingyuan (1195–1276). The work marks a shift from earlier Buddhist paintings that predominantly used intermediary colors. Instead, it features powerful renderings of its subjects using dense coloration combined with strong, delicate line work and ornate patterning in colored pigments. Among extant works signed by Lu Xinzhong, this painting and another held by the Nara National Museum called <i>The Ten Kings of Hell</i> are the highest quality.\r\n\r\nAn ink inscription on the upper part of the mounting indicates the work was formerly owned by the subtemple Hōju-in of Tsushima Shrine in Aichi Prefecture.","@language":"en"},{"@value":"　　本作品描绘了释迦在跋堤河边的婆罗双树之间圆寂的情景，是佛教传说中的一个重要场景。以法隆寺五重塔塔本塑像为首，日本早有表现涅槃场景的造像，而以涅般图为本尊像的涅槃法会，也于平安时代(794-1185)初期起成为惯例。涅槃图受到来自中国的影响，同时通过各个时代宗派盛行制作并得到独立发展。\r\n　　本图在涅槃图之中也具有非常独特的形式，绘制于中国南宋时代的贸易之都宁波，后被日本求得。娑罗树被描绘成两颗宝树，而释迦周围的众弟子并无悲伤表情，胡人打扮的人物围着香炉起舞，似在赞叹涅槃，这一表现手法也实属罕见。有人设想这种图画形式形成的背景是当时宁波成熟的信仰文化。\r\n　　画面右方中间有小楷落款“庆元府车桥石板巷陆信忠笔”，可知该画是在宁波被称为庆元府时期(1195～1276)由职业画匠(佛画师)陆信忠工房所作。本佛画色彩浓厚，绘画线条细致有力，兼有细腻彩色花纹，表现力极强，也许是大量使用了中间色的缘故，该作令人感受到先期佛画的变迁。在标有陆信忠落款的作品中，该作品与本馆馆藏的十王图并列堪称最为上乘之佳作。\r\n　　再者，裱具上部用墨写有“天王宝物”。此作为爱知津岛神社别当寺宝寿院相传之物。","@language":"zh"},{"@value":"　석가가 인도의 구시나갈라성(拘尸那揭羅城) 밖 발제하(跋堤河)가에 있는 사라수(沙羅樹)의 수풀 속에서 입적(入寂)할 때의 모습을 그렸다. 석가의 생애를 그린 전기 중에서도 가장 중요한 장면이다. 열반을 나타낸 작품은 호류지(法隆寺) 오중탑 안에 있는 소상(塑像)을 시작으로 빠른 단계부터 일본에서 제작되었고, 열반도를 본존으로 하는 열반회(涅槃會)도 헤이안 시대(794~1185) 초기에는 항례화 되었다. 열반도는 중국의 영향을 받으면서도 각 시대의 종파에 의한 독자적인 제작이 활발히 이루어졌다. \r\n　본 도상은 열반도 중에서도 가장 특이한 형식으로, 중국・남송의 무역 도시인 닝보(寧波)에서 제작된 것이 일본으로 반입되었다. 사리수가 두 그루의 보수(寶樹)처럼 그려져 있으며, 석가의 주변에 있는 제자들은 슬픈 표정을 짓는 이가 적다. 또한 호인(胡人)의 복장을 한 인물이 향로를 끼고 열반을 찬탄하듯 춤 추는 것이 독특하다. 이러한 도상이 성립되게 된 배경으로 그 당시 닝보 지역의 성숙한 신항 환경을 상정하는 의견도 있다. \r\n　오른쪽 중앙에는 ‘경원부차교석판항육신충필(慶元府車橋石板巷陸信忠筆)’이라 쓰인 작은 해서체의 낙관이 있어 닝보가 경원부(慶元府)라 불렸을 시기(1195∼1276)에 활동한 직업 화공 육신충(陸身忠)이 제작했음을 알 수 있다. 농밀한 색채와 섬세한 선의 묘사, 세밀한 채색 문양이 어울러진 표현이 매우 강한 불화이다. 중간색을 많이 사용했던 이전의 불화와는 다른 면모를 보이고 있다. 육신충의 관기(款記)가 있는 작품 중에서 나라국립박물관이 소장하고 있는 십왕도(十王圖)와 함께 가장 뛰어난 작품이다. \r\n　표구 윗부분에는 ‘천왕어보물(天王御寶物)’이라는 묵서가 있다. 아이치현에 위치한 츠시마 신사 벳토지 호주인(津嶋神社別當寺寶壽院)에서 전래되었다. 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