{"@context":"http://iiif.io/api/presentation/2/context.json","@id":"https://emuseum.nich.go.jp/iiifapi/100241000/manifest.json","@type":"sc:Manifest","label":[{"@value":"e国宝 - 蓮唐草蒔絵経箱","@language":"ja"},{"@value":"e-Museum - Lacquered Sutra Box with Floral Lotus Motif","@language":"en"},{"@value":"e国宝 - 莲唐草莳绘经箱","@language":"zh"},{"@value":"e국보 - 연당초문 마키에 경상","@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":"国宝","@language":"ja"},{"@value":"National Treasure","@language":"en"},{"@value":"国宝","@language":"zh"},{"@value":"국보","@language":"ko"}]},{"label":[{"@value":"分野","@language":"ja"},{"@value":"Category","@language":"en"},{"@value":"类别","@language":"zh"},{"@value":"분야","@language":"ko"}],"value":[{"@value":"漆工","@language":"ja"},{"@value":"Lacquerware","@language":"en"},{"@value":"漆器工艺","@language":"zh"},{"@value":"칠공예","@language":"ko"}]},{"label":[{"@value":"名称よみ","@language":"ja"}],"value":[{"@value":"はすからくさまきえきょうばこ","@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":"蓮唐草蒔絵経箱","@language":"ja"},{"@value":"蓮唐草蒔絵経箱","@language":"en"},{"@value":"蓮唐草蒔絵経箱","@language":"zh"},{"@value":"蓮唐草蒔絵経箱","@language":"ko"}]},{"label":[{"@value":"員数","@language":"ja"},{"@value":"Quantity","@language":"en"},{"@value":"数量","@language":"zh"},{"@value":"수량","@language":"ko"}],"value":[{"@value":"1合","@language":"ja"},{"@value":"1 piece","@language":"en"},{"@value":"1个","@language":"zh"},{"@value":"1合","@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":"皮製 漆塗 蒔絵","@language":"ja"},{"@value":"Makie lacquer on animal leather","@language":"en"},{"@value":"皮製 涂漆 莳绘","@language":"zh"},{"@value":"옻칠한 가죽 마키에","@language":"ko"}]},{"label":[{"@value":"法量","@language":"ja"},{"@value":"Dimensions","@language":"en"},{"@value":"尺寸","@language":"zh"},{"@value":"크기","@language":"ko"}],"value":[{"@value":"縦31.8 横17.6 高12.1 ","@language":"ja"},{"@value":"L 31.8, W 17.6, H 12.1","@language":"en"},{"@value":"纵31.8 横17.6 高12.1","@language":"zh"},{"@value":"세로31.8 가로17.6 높이12.1","@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":"平安時代・12世紀","@language":"ja"},{"@value":"Heian period/12th century","@language":"en"},{"@value":"平安时代 12世纪","@language":"zh"},{"@value":"헤이안시대 12세기","@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":"646(工122)","@language":"ja"},{"@value":"646(工122)","@language":"en"},{"@value":"646(工122)","@language":"zh"},{"@value":"646(工122)","@language":"ko"}]}],"description":[{"@value":" もと若狭(わかさ)(福井県)小浜(おばま)の神宮寺に伝来した平安時代の経箱で、革を型にあてて成形し、漆を全面に塗布(とふ)して固める漆皮技法によるものである。蓋(ふた)の内外と身の側面を平塵地(へいじんじ)(全面にまばらに金粉をまく)に仕立て、折枝風の蓮唐草文様(はすからくさもんよう)を中心に飛蝶を配した意匠を各面に蒔絵(まきえ)で施している。蓋裏には、表よりはやや疎(まば)らな平塵地に飛蝶をさまざまな姿態に表わしている。蓮華文には内蒔き(輪郭の中に粉を蒔き詰めること)と蒔き分け(粉の色や大きさによって描き分けること)とを併用しているが、蒔絵粉には金と青金(あおきん)の数種類の金粉を用いて、効果的な表現を可能にしている。身の両側面中央には四弁唐花形の紐金具を配しているが、各弁の中を対葉花文(たいようかもん)風(側面から見た葉の形を二枚向かい合わせにしたもの)の透し彫りにするなど、繊細かつ優美な技巧が凝らされている。これら蓮唐草や蝶の意匠は浄土世界を象徴するとの見方もでき、経典を収めるのにふさわしい荘厳といえよう。\r\n 漆皮(しっぴ)技法による経箱は、平安時代後期においては本品が唯一の遺例である。漆皮技法は正倉院宝物に40点を超える事例がみられるほか、京都・東寺(教王護国寺)に伝来した遺品にもみられ、奈良時代を中心に盛行したことがわかるが、平安時代後期以降は次第に衰微していった。本品のように全面に蒔絵装飾を施した例は少なく、漆皮箱の遺例中でも特に貴重である。","@language":"ja"},{"@value":" This sutra box, dated to the late Heian period (794–1185), was originally kept at Jinguji Temple in Obama, Wakasa Province (present-day Fukui Prefecture). The box is made of leather coated with lacquer to produce a hard finish. The entire outer surface of the box and lid was sprinkled lightly with gold powder, creating a ground-pattern effect called hei jin ji, after which they were decorated with designs of floral lotus motif (hasu karakusa mon) and butterflies in makie (metal powder or flakes sprinkled on lacquer). The gold powder of the hei jin ji ground on the interior of the lid is sparsely scattered compared to the exterior, providing a simple backdrop for a multitude of butterflies. The lotus blossoms are depicted in both the uchi maki technique, in which the area sprinkled with metallic powder is clearly outlined, and the maki wake technique, in which the patterned areas are distinguished by using metallic flakes of different colors or sizes. The decoration includes several types of gold and a bluish alloy of gold and silver (ao kin), resulting in a variety of hues that create an efflorescent effect. On two sides of the box are clasps in the shape of a four-petalled Tang flower (kara hana). In the center of each petal is an openwork design composed of a pair of leaves arranged in a flower-like configuration (taiyoka mon). Such delicate details are superb examples of the highly refined and skillfully executed technical qualities of this box. The designs of the lotus arabesques and butterflies symbolize the Buddhist Pure Land, and their understated elegance makes them suitable decoration for the container of Buddhist sutras.\r\n This is the only extant sutra box made of lacquered leather (shippi) that dates from the late Heian period. However, there are more than forty objects using this technique among the Shoso-in Treasures of Todaiji Temple, as well as other examples preserved in the collection of Toji (Kyoo-gokokuji) Temple in Kyoto. The technique of lacquering leather flourished during the Nara period (710–794), though its use gradually diminished after the late Heian period. Very few objects made of lacquered leather are decorated overall with makie, as is the case here, making this sutra box an especially important example among extant lacquered leather boxes.","@language":"en"},{"@value":"本件是若狭(今福井县)小滨的神宫寺收藏的平安时代的「经箱」(指盛放经卷的盒子)。制作方法是采「漆皮技法」,先将皮革置于模子上成型,再遍涂漆使其定型。箱盖的内外和箱身的各个侧面以「平尘地」制成(平尘地指整体撒上稀疏金粉的技法),并在每面以「莳绘」技法施加以折枝式的「莲唐草纹样」为中心(唐草指藤蔓状的植物纹饰,而莲唐草是宝相华唐草及莲花纹结合的纹饰),配上飞舞蝴蝶的图案。盖内侧的平尘地较外侧略为稀疏,并在其上表现蝴蝶飞舞的各种姿态。\r\n莳绘为日本独特的漆工艺技法,先以漆描绘图案,再填上金、银、锡等色粉或颗粒。本经箱的莲唐草纹采用「内莳」和「分莳」并用的技法(内莳指在轮廓之中填满色粉,而分莳指依粉的颜色和颗粒大小分别描绘的莳绘技法),而色粉则使用了金及「青金」(指金银合金)中的数种金粉,达成了有效的表现。箱身两侧面的中央配置有四瓣「唐花」形的金属环(唐花指由中国传入的花瓣纹饰,先端做圆状突出),金属环的各瓣中又透雕「对叶花纹」(从侧面看叶的形状两两相对),由以上可知,在本经箱上所施的技巧极尽纤细优美。莲唐草和蝴蝶的设计也可视为象征净土世界,可说是适合作为经箱的装饰。\r\n本经箱为平安时代后期以漆皮技法制作的经箱中唯一的传世品。在正仓院宝物中采用漆皮技法制作的例子超过四十件,此外在京都的东寺(教王护国寺)也有藏品传世,可见这种技法盛行于奈良时代,但平安时代后期以后逐渐衰微。如同本经箱整体以莳绘装饰的例子甚少,在漆皮箱的传世品中弥足珍贵。","@language":"zh"},{"@value":" 원래는 와카사 오바마(若狭小浜)*의 진구지(神宮寺) 신사에 소장되었던 헤이안 시대의 경함이다. 가죽을 틀에 맞추어 성형하고 전면에 옻칠을 해서 만들었다. 뚜껑의 안팎과 본체의 측면에 금분을 드문드문 입힌 헤이진지(平塵地) 기법을 사용하였고 줄기가 있는 연당초(蓮唐草) 문양과 나비 문양을 배치하였다. 또 그 사이의 여백은 마키에(蒔絵) 기법*으로 장식하였다.\r\n뚜껑 뒷면에는 표면보다 더욱 성기게 헤이진지 기법을 사용한 위에 여러 모습의 나비 문양을 표현하였다. 연화문은 윤곽 안쪽에 금분을 골고루 뿌리거나 금분의 색깔, 크기로서 그림에 변화를 주는 방법 등을 함께 사용했다. 마키에 기법에는 금과 청금(青金)*으로 된 여러 종류의 금분을 사용하여 더욱 우아한 표현 효과를 얻고 있다.\r\n본체 양측면의 중앙에는 꽃잎이 넷인 당화형(唐花形) 쇠장식이 붙어 있으며 각 꽃잎의 안쪽은 꽃잎 두 매가 마주보는 것처럼 투각하는 등 섬세하고 우아한 기교를 보여주고 있다. 연당초 문양이나 나비 문양은 정토 세계를 상징하고 있어 경전을 넣어두는데 잘 어울리는 장엄 장식이라고 말할 수 있다.\r\n이 작품은 옻칠한 가죽으로 제작된 헤이안시대 후기의 경함으로서 유일한 것이다. 옻칠한 가죽 기법을 사용한 작품은 쇼소인(正倉院)의 보물 가운데도 40점이 넘으며 그외 교토 도지(東寺) 절에도 전래된 작품이 있어 나라 시대에 매우 성행한 기법이었음을 알 수 있다. 그러나 헤이안시대 후기 이후에는 점차 쇠퇴하여 이 작품처럼 전체에 마키에 기법을 사용하여 장식한 예는 많지 않다. 옻칠한 가죽 기법의 작품 중에서도 이 작품은 매우 귀중한 것이다.\r\n\r\n*와카사 오바마:지금의 후쿠이(福井)현의 한 지역\r\n*마키에 기법:금이나 은가루로 칠기 표면에 무늬를 넣는 일본 특유의 공예 기법\r\n*청금:금과 은의 합금으로서 푸른 색을 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