{"@context":"http://iiif.io/api/presentation/2/context.json","@id":"https://emuseum.nich.go.jp/iiifapi/100076000/manifest.json","@type":"sc:Manifest","label":[{"@value":"e国宝 - 一字金輪曼荼羅","@language":"ja"},{"@value":"e-Museum - Mandala of the One-Syllable Golden Wheel (Skt. 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Performing the ritual was initially restricted to the abbot of Tōji Temple, however, it was regularly performed at Ninnaji Temple and Enshūji Temple from the latter half of the 11th century onward during the mid-Heian period (794–1185). The esoteric Tendai school used the mandala as well.\r\n\r\nThis painting is based on the following esoteric ritual protocol translated by Amoghavajra (705–774): “Ritual Protocol of Becoming Buddha through Recitation, Anytime, Anywhere, by the Yoga of the One-Syllable Wheel-Turning Ruler” in the <i>Vajraśekhara Sutra</i> (J. Kongōchō kyō). In it, the Buddha Dainichi of the Golden Wheel (J. Dainichi Kinrin) sits in the center on a lion pedestal while making the wisdom-fist mudra with a flaming mandorla behind him. A “wheel treasure” (J. <i>rinbō</i>; Sk. <i>cakraratna</i>) is placed before him and the seven treasures are placed clockwise, beginning with a jewel, followed by a jewel-like woman, a horse, an elephant, a t reasure house official, a military official, and the Goddess of the Buddha’s Eye (Skt. Buddhalocanā).\r\n\r\nThe Buddha Dainichi of the Golden Wheel is depicted with fair skin outlined in dark red with red shading, giving the figure a curved, supple appearance. The robes are beige with scattered patterns in cut gold leaf and colored pigments. The buddha’s personal ornaments are richly decorative, with metallic accents in materials like cut gold leaf. The warm colors in dense pigments are not only elegant but also emanate a sense of strength, which is a particular highlight of the work. In the background, the upper area is painted blue to express an empty void, and the lower area is painted blue with a checkered pattern rendered in cut gold leaf.","@language":"en"},{"@value":"　　作为一字金轮法的本尊像，一字金轮曼荼罗被用于消灾和敬爱的修法。起初这种修法只能授予东寺长者(东寺主持名称)，从平安中期11世纪下半叶起成为仁和寺和圆宗寺的惯例，并开始被用于天台宗密教。\r\n　　此图按照不空所译的《金刚顶经一字顶轮王瑜伽一切时处念诵成佛仪轨》(“时处轨”)进行描绘。即中央的大日金轮头顶火焰佛光，坐于狮子座呈智拳印，正面下方有轮宝，右转依次为珠宝、女宝、马宝、象宝、主藏宝、主兵宝、佛眼法母等七宝。\r\n　　大日金轮像为白肉身，用深色朱线勾勒，施朱色色块，呈现出具有强烈张力的尊容。衣着涂淡白茶色，用细金箔和彩色点缀出花纹。饰物使用了金箔等富有装饰性的物品。强烈暖色调的浓密赋彩华丽优美，同时给人一种力量感，正是本图的魅力之一。画面背景中部偏上用群青描绘制出虚空，下方在群青底色上用细金箔描绘出甃纹(棋盘格花纹)。","@language":"zh"},{"@value":"　일자금륜만다라(一字金輪曼荼羅)는 재난의 종식과 경애를 위해 수행하는 일자금륜법의 본존상으로서 사용되었다. 처음에는 교토의 토지(東寺)의 최고위 승려에게만 허락된 수법(修法)으로 여겨졌지만, 헤이안 시대(794~1185) 중기인 11세기 후반 이후 닌나지(人和寺)과 엔슈지(元宗寺)에서도 항례화되었으며 천태 밀교에서도 사용되게 되었다.\r\n　본 도상은 인도승 불공(不空, 705~774)이 번역한 『금강정경일자정륜왕유가일절시처념송성불의궤(金剛頂經一字頂輪王 瑜伽一切時處念誦成佛儀軌)』(시처궤(時處軌))를 따른 표현이다. 즉 중앙에 화염광배(火炎光背)를 뒤로 하고 대일금륜(大日金輪)이 사자좌(獅子坐) 위에서 지권인(智拳印)을 취한 자세로 앉아있으며, 정면 아래쪽에 윤보(輪寶)를 놓고, 오른쪽 방향으로 주보(珠寶), 여보(女寶), 마보(馬寶), 상보(象寶), 주장보(主藏寶), 주병보(主兵寶), 불안불모(佛眼佛母) 등으로 구성된 칠보를 배치하였다.\r\n　대일금륜상은 흰 육체와 진한 붉은 선으로 표현했으며, 붉게 음영을 주어 강한 느낌의 존상을 만들었다. 의복은 연한 백다색으로 칠하고 금박을 가늘게 잘라 붙이는 키리카네 기법과 채색으로 문양을 흩뜨린다. 장신구에는 키리카네 기법 등을 사용하여 풍부한 장식성을 보인다. 따뜻한 색이 눈에 띄는 농밀한 부채(賦彩)는 우아함과 함께 강한 힘도 느끼게 해주게 하여 본 도상의 매력 중 하나로 꼽을 수 있다. 배경을 보면 중간쯤부터 위는 군청색으로 허공을 표현하고, 아래쪽은 군청색 배경에 키리카네 기법으로 바둑판 문양을 나타내고 있다.","@language":"ko"}],"thumbnail":{"@id":"https://emuseum.nich.go.jp/img/content/100076001002/2/thumbnail.jpeg","@type":"dctypes:Image","height":200,"width":125},"viewingHint":"individuals","viewingDirection":"","license":"https://emuseum.nich.go.jp/about","attribution":[{"@value":"独立行政法人国立文化財機構","@language":"ja"},{"@value":"National Institutes for Cultural Heritage","@language":"en"},{"@value":"国立文化财机构","@language":"zh"},{"@value":"국립문화재기구","@language":"ko"}],"logo":[{"@id":"https://emuseum.nich.go.jp/assets/img/logo.png"}],"rendering":{"@id":"https://emuseum.nich.go.jp/detail?langId=ja&webView=&content_base_id=100076&content_part_id=0&content_pict_id=0","label":[{"@value":"e国宝 - 一字金輪曼荼羅","@language":"ja"},{"@value":"e-Museum - Mandala of the One-Syllable Golden Wheel (Skt. 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