{"@context":"http://iiif.io/api/presentation/2/context.json","@id":"https://emuseum.nich.go.jp/iiifapi/100116000/manifest.json","@type":"sc:Manifest","label":[{"@value":"e国宝 - 地蔵菩薩像","@language":"ja"},{"@value":"e-Museum - Jizō (Skt. Kṣitigarbha)","@language":"en"},{"@value":"e国宝 - 地蔵菩萨像","@language":"zh"},{"@value":"e국보 - 지장보살상","@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":"じぞうぼさつぞう","@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":"絹本著色地蔵菩薩像","@language":"ja"},{"@value":"絹本著色地蔵菩薩像","@language":"en"},{"@value":"絹本著色地蔵菩薩像","@language":"zh"},{"@value":"絹本著色地蔵菩薩像","@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　掛幅　一幅一鋪","@language":"ja"},{"@value":"Ink and colors on silk　Hanging scroll","@language":"en"},{"@value":"绢本着色　挂轴　一幅一铺","@language":"zh"},{"@value":"비단에 채색 족자 1폭1포","@language":"ko"}]},{"label":[{"@value":"法量","@language":"ja"},{"@value":"Dimensions","@language":"en"},{"@value":"尺寸","@language":"zh"},{"@value":"크기","@language":"ko"}],"value":[{"@value":"縦101.0（上10.0補絹）　横36.3","@language":"ja"},{"@value":"H 101.0 (upper 10 cm added later), W 36.3","@language":"en"},{"@value":"纵101.0（上10.0补绢）　横36.3","@language":"zh"},{"@value":"세로 101.0（위10.0후대에 비단을 덧댐）　가로 36.3","@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":"카마쿠라 시대(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":"1174(絵215 A)","@language":"ja"},{"@value":"1174(絵215 A)","@language":"en"},{"@value":"1174(絵215 A)","@language":"zh"},{"@value":"1174(絵215 A)","@language":"ko"}]}],"description":[{"@value":"　尾を引く雲の上に立って飛来する地蔵菩薩を描く。左手に宝珠、右手に錫杖というのは地蔵に普通の持物であるが、足下の蓮華座は左右分かれ、さらに色違いになって動きを強調しており、また細身の長身に若やかで秀麗な相貌が感覚的な魅力を具わらせている。着衣の各部は主に青緑系で細かく彩色し分け、截金と金泥描きを併用した繊巧な文様を施して、華やかさの底に沈静した趣を湛えており、鎌倉時代後期の仏画の特色を示している。地蔵は平安時代から阿弥陀聖衆来迎の重要な一員として表されたが、鎌倉時代には六道救済のほとけとして信仰が高まり、単独にも来迎形で描かれることが多くなった。南都では、春日三宮の本地仏が地蔵とされ、それを本図と共通する図様で表した例が散見するところから、本図も南都の浄土信仰の中で作られた可能性がある。","@language":"ja"},{"@value":"In this painting, the bodhisattva Jizō (Skt. Kṣitigarbha) glides on a cloud holding a sacred jewel in the left hand and his usual attribute of a priest’s staff in the right. The figure’s feet, however, stand on two different-colored lotus pedestals to emphasize movement. Further, the bodhisattva is depicted as a tall slender youth with an elegant countenance, imbuing the work with a certain sensual attraction. The different sections of the robes were mainly painted in a shades of blue and green. They are adorned with delicate patterns created in cut gold leaf and gold paint. These elements produce a subdued grandeur that typifies Buddhist paintings from the late Kamakura period (1185–1333). \r\n\r\nBeginning in the Heian period (794–1185), Jizō became an important member of the accompanying retinue shown in images of the buddha Amida (Skt. Amitābha) descending to greet dying believers who would be reborn in the Pure Land. During the Kamakura period, however, Jizō rose to greater prominence as a figure capable of rescuing beings in all six realms of existence and was often painted alone in the same style, gliding down on clouds in a “welcoming descent.” Under Shinto-Buddhist combinatory thought, the bodhisattva Jizō is viewed as the Buddhist counterpart of the kami residing in the third shrine of Kasuga Taisha Shrine. Paintings related to that belief in Nara occasionally depict Jizō in this same style, suggesting this work may have been produced in a Pure Land context in Nara. ","@language":"en"},{"@value":"　　本图描绘了立于拖尾云上飞来的地藏菩萨。左手所托宝珠、右手所持锡杖都是地藏菩萨常见的持物，但脚下莲华座左右分开且颜色不同以强调动感，细长身体和年轻秀丽的相貌颇具感官魅力。衣着的各部分主要用青绿色仔细上色，并用贴细金箔和金泥勾绘技巧描绘出精巧花纹，华丽的底色与沉静的意境相融合，体现了镰仓时代后期的佛画特色。自平安时代起，地藏菩萨便是阿弥陀众圣来迎中的重要一员，而到了镰仓时代(1185-1333)则被尊奉为救济六道众生之佛，从此出现了大量单独绘制地藏菩萨的来迎图。南都将春日三宫的本地佛尊为地藏菩萨，随处可见与本图相同的图样，本图也可能是在南都净土信仰的时代背景下绘制而成。","@language":"zh"},{"@value":"　꼬리를 끌며 비행하는 구름 위에 서 있는 지장보살을 그렸다. 왼손에는 보주를, 오른손에는 석정을 쥐고 있는 모습은 지장보살이 일반적으로 들고 있는 지물(持物)이다. 그러나 발 밑의 연화좌(蓮華坐)는 좌우로 나뉘었고 채색을 달리 하는 움직임을 강조하고 있다. 또한 가늘고 큰 키에 젊고 수려한 용모가 감작적인 매력을 보이고 있다. 의복의 각 부분에는 주로 청록색으로 세밀하게 나누어 채색하였고 금박을 가늘게 잘라 붙이는 기법인 키리카네 문양과 금니(金泥) 채색을 도입한 섬세한 문양을 함께 도입하였다. 화려한 바닥 부분에는 차분한 멋을 더하였다. 카마쿠라 시대(1185~1333) 후기의 불교 회화의 특징을 보이고 있다. 지장은 헤이안 시대(794~1185)부터 아미타성중내영(阿彌陀聖衆來迎)의 중요한 일원으로서 표현되었으나 카마쿠라 시대에는 육도(六道) 구제의 부처로 크게 숭상받아 단독으로도 내영도의 형태로서 자주 그려졌다. 나라에서는 카스가산노미야(春日三宮)의 본지불이 지장으로 여겨졌다. 이를 본 도상과 공통되는 도상으로서 표현된 사례가 종종 보이는 것으로 보아 본 도상도 나라에서 정토신앙(淨土信仰)이 깊어지는 과정에서 제작되었을 가능성이 있다. 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