{"@context":"http://iiif.io/api/presentation/2/context.json","@id":"https://emuseum.nich.go.jp/iiifapi/100245004/manifest.json","@type":"sc:Manifest","label":[{"@value":"e国宝 - 牛皮華鬘 仁号","@language":"ja"},{"@value":"e-Museum - Leather Pendant #4 ( 仁 ni )","@language":"en"},{"@value":"e国宝 - 牛皮华鬘 #4 ( 仁 ni )","@language":"zh"},{"@value":"e국보 - 쇠가죽 화만 #4 ( 仁 ni )","@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":"ごひけまん にごう","@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":"牛皮華鬘 附 残欠 一括","@language":"ja"},{"@value":"牛皮華鬘 附 残欠 一括","@language":"en"},{"@value":"牛皮華鬘 附 残欠 一括","@language":"zh"},{"@value":"牛皮華鬘 附 残欠 一括","@language":"ko"}]},{"label":[{"@value":"員数","@language":"ja"},{"@value":"Quantity","@language":"en"},{"@value":"数量","@language":"zh"},{"@value":"수량","@language":"ko"}],"value":[{"@value":"1面","@language":"ja"},{"@value":"1 piece","@language":"en"},{"@value":"13面 附 残片一套","@language":"zh"},{"@value":"13점 열세 개, 잔편","@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":"牛皮 彩色 截金","@language":"ja"},{"@value":"Leather with pigments Cut gold leaf (kirikane)","@language":"en"},{"@value":"牛皮 彩色 镶金线","@language":"zh"},{"@value":"쇠가죽","@language":"ko"}]},{"label":[{"@value":"法量","@language":"ja"},{"@value":"Dimensions","@language":"en"},{"@value":"尺寸","@language":"zh"},{"@value":"크기","@language":"ko"}],"value":[{"@value":"縦45.5 横49.8","@language":"ja"},{"@value":"H 45.5, W 49.8","@language":"en"},{"@value":"纵45.5 横49.8","@language":"zh"},{"@value":"세로45.5 가로49.8","@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":"平安時代・11世紀","@language":"ja"},{"@value":"Heian period/11th century","@language":"en"},{"@value":"平安时代 11世纪","@language":"zh"},{"@value":"헤이안시대 11세기","@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":"751(工154)","@language":"ja"},{"@value":"751(工154)","@language":"en"},{"@value":"751(工154)","@language":"zh"},{"@value":"751(工154)","@language":"ko"}]}],"description":[{"@value":" 華鬘(けまん)は古代インドにおいて貴人に捧げられた生花に起源があるといわれ、仏教に採り入れられて堂内の長押(なげし)にかけるなど荘厳具(しょうごんぐ)(仏教のかざり)として用いられるようになった。わが国では生花に代わり、牛皮(ごひ)製、金属製、木製、玉製、絹製などの華鬘代(けまんしろ)が用いられ、団扇形(うちわがた)といわれる横長の楕円形の作例が多い。\r\n この作品は団扇形の牛皮華鬘で、京都・東寺(教王護国寺)に伝来した。現在13面と残欠が残されているが、いずれも牛皮を透し彫りしたのちに漆を塗り、白土下地に彩絵(さいえ)(色彩による文様)を施している。13面の形式は次の二種に大別できる。ひとつは、生花に見立てた宝相華(ほうそうげ)を地文にして、向かい合う2羽の迦陵頻伽(かりょうびんが)(人頭の極楽の鳥)を表わしたもので、中央に生花を束ねた名残(なご)りである総角(あげまき)が表わされている。迦陵頻伽はそれぞれ仏菩薩を讃えるための散華(さんげ)用の花を盛った華籠(けこ)を捧げている。もうひとつは、総角を中心にして全面に宝相華唐草文を表わしたものである。\r\n 13面の作風には差違があり、迦陵頻伽文、宝相華唐草文の華鬘ともそれぞれ少なくとも3~4種の作風が混在しているため、当初から一具であったとは考えがたい。そのうちもっとも作風の優れた「登号」「知号」では、迦陵頻伽の肉身に朱線を用い、着衣には細緻な截金(きりかね)(金箔を細く切り装飾に用いる技法)を用いるなど、本格的な平安仏画の技法がみられる。また宝相華唐草文の華鬘でも、繧繝彩色(うんげんさいしき)(似た色を隣り合わせる暈し技法)に截金を併用している。\r\n 宝相華を地文にして迦陵頻伽を向かい合わせに配置した図様は、12世紀前半の制作と推定される岩手・中尊寺金色院(こんじきいん)の金銅透彫華鬘(こんどうすかしぼりけまん)にもみられるが、おおらかな気風を持つ本品はそれに先行する作例と考えられる。13面が東寺のいずれの堂宇で用いられたものか記録は残っていないが、制作時期は11世紀ころと考えられる。","@language":"ja"},{"@value":" Buddhist pendants (keman), such as these, are thought to have their origins in the fresh flowers that were offered to nobles in ancient India. They were later adopted by Buddhism and used as decoration (shogon) that hung on the horizontal beam (nageshi) of temple halls. In Japan, ornaments made of leather, metal, wood, precious stone, silk, and other materials (keman shiro) were used as substitutes for fresh floral garlands. There are many examples of such objects in wide, round fan-shaped forms.\r\n These pendants, made of leather, originally belonged to Toji (Kyoo-gokokuji) Temple in Kyoto. Today, thirteen ornaments remain, all of them fashioned in openwork leather, which were lacquered, primed with white (hakudo), and then decorated with polychrome patterns. The thirteen can be roughly divided into two types based on their motifs. One type has two Kalavinkas (迦陵頻伽, paradisiacal birds with human heads) facing each other on a ground of composite Buddhist floral motifs (hosoge mon), made to look like real flowers. The center shows a tied string (agemaki) reminiscent of that which would have bound together fresh flowers. The Kalavinkas hold floral baskets (keko) containing blossoms to scatter on the buddhas and bodhisattvas in praise (sange). In the other type, the tied string is placed at the center with composite Buddhist floral scrolls (hosoge karakusa mon) covering the entire surface.\r\n The thirteen pieces exhibit individual differences in style. Since there are at least three or four distinguishable styles in both pendant types, it is difficult to believe that these ornaments originally formed one set. The superior stylistic treatment exhibited in Leather Pendant numbers 7 (登 to) and 8 (知 chi), seen in the use of the red lines on the bodies of the Kalavinka and the delicate cut gold leaf (kirikane) on the robes, reflects traditional techniques of Buddhist painting of the Heian period (794–1185). On the ornaments with only composite Buddhist floral scrolls, rainbow coloring called ungen zaishiki (in which several shades of similar hue are closely brushed together) and delicate patterns of kirikane were applied.\r\n The iconography of two Kalavinkas facing each other on a ground of composite Buddhist floral motifs can also be found on the gilt bronze openwork pendants of Chusonji Temple in Iwate Prefecture, which are presumed to date from the first half of the twelfth century. The resplendent examples in the Nara National Museum are thought to have preceded the Chusonji pieces. Although there is no record as to the hall in which the former pendants were used, they are believed to have been produced sometime in the eleventh century.","@language":"en"},{"@value":"华鬘据说起源于古代印度用来献给贵族的鲜花花圈,后来被佛教用来当作「庄严具」(指佛教的装饰),挂在佛殿横梁或梁柱间的横板等处。在日本以牛皮、金属、木材、玉、绢等不同材质制成华鬘以代替原来的鲜花,形状以「团扇形」的横宽椭圆形居多。\r\n本作是团扇形的牛皮华鬘,为京都东寺(教王护国寺)的传世品。现存共有十三面及部分残片,都是将牛皮透雕涂漆,铺上白土做为底层然后加上彩绘。十三面的样式可分为两大类:一类是以表现鲜花的「宝相华纹」作为底纹(宝相华纹是一种唐草状的连续花纹,流行于中国唐代与日本奈良、平安时代),上面有两只相对的「迦陵频伽」(指佛教极乐净土中人头鸟身的神鸟),中央则表现出以往是用来绑成束鲜花的「总角」(指蝴蝶结形,在日本将这种结形称为总角),而两只迦陵频伽各捧着装有花的花笼,用来散花以礼赞佛菩萨。另外一类则是以总角为中心,全面布满宝相华纹。\r\n十三面的风格各有差异,在绘有宝相华纹与迦陵频伽的华鬘上,至少就混合有三、四种风格,因此很难想象这十三面原来是同一组作品。其中,表现最优美的「登号」与「知号」两面华 中,迦陵频伽的身躯以朱线描绘,衣服镶以细致的「截金」(将金箔细切用来装饰的技法),可以看到平安佛画的代表性技法。此外,在绘有宝相华纹的华鬘上则同时运用了「纭繝彩色」(指邻色渐层晕染的技法)及截金的技法。\r\n在推测为十二世纪前半所制作的岩手中尊寺的金铜透雕华鬘中,也可以见到以宝相华纹为底纹,配上相对的迦陵频伽的图样。但相较之下,本作具有落落大方的气派,因此可视为是更早的作品。这十三面的华鬘,当初到底是用于东寺的哪个佛殿中已无记录可寻,但其制作年代可推测为十一世纪左右。","@language":"zh"},{"@value":" 고대 인도에서 귀인에게 바쳐진 꽃에서 유래한 화만(華鬘)은 불교에서 법당 내부를 장엄하게 장식하는 도구로도 사용되었다. 일본에서는 생화 대신에 쇠가죽, 금속, 나무, 옥, 비단 등이 화만의 재료로 사용되었으며 옆으로 긴 타원형의 부채 모양이 많이 제작되었다.\r\n이 작품은 부채 모양의 쇠가죽 화만으로 교토 도지(東寺) 절에 전래되어온 것이다. 현재 원형을 갖추고 있는 13개 외에 약간의 잔편이 남아 있다. 제작 기법을 보면 쇠가죽을 투각하여 옻칠을 해 바탕을 만든 뒤 그 위에 채색으로 문양을 그려넣은 것이다.\r\n13개의 화만은 크게 두 종류로 나눌 수 있는데 먼저 꽃에 비유한 보상화문(宝相華文) 바탕에 두 마리의 가릉빈가(迦陵頻伽)*를 마주보게 그린 것이 있다. 이러한 형식의 화만에는 중앙에 매듭 모양처럼 된 곳에 꽃을 꽂았던 흔적이 남아 있다. 가릉빈가는 불, 보살을 찬양하기 위한 산화(散華)용 꽃이 담긴 쟁반을 받들고 있다. 또 다른 형식은 중앙의 매듭 모양을 중심으로 보상당초문(宝相唐草文)만 그린 것이다.\r\n이러한 구분에도 불구하고 13개의 화만은 각각 제작기법상의 차이가 엿보인다. 가릉빈가문이나 보상당초문만 해도 서너 종류의 작풍이 뒤섞여 있어 처음부터 한 세트로 제작된 것으로는 보기 어렵다. 이 가운데서 가장 뛰어난 솜씨를 보이고 있는 ‘등호(登号)’‘지호(知号)’는 가릉빈가의 윤곽선에 붉은 먹이 사용되었으며 옷 부분에는 섬세한 재금(截金) 기법*이 구사되는 등 헤이안 시대에 불화의 제작기법들이 그대로 나타나고 있다. 또한 보상당초문 화만에서는 운간채색(繧繝彩色)* 기법 위에 다시 재금 기법이 사용되기도 했다.\r\n보상화문 바탕 위에 가릉빈가를 마주보게 배치한 도안은 12세기 전반의 작품으로 추정되는 이와테(岩手)현 쥬손지(中尊寺) 절의 금동투조화만(金銅透彫華鬘)에서도 나타나고 있다. 그러나 넉넉한 품격이 담긴 이 작품이 시대적으로 앞선 것으로 여겨진다. 이 화만들이 도지 절의 어느 전각(殿閣)을 장식했던 것인가에 대한 기록은 남아 있지 않지만 제작 시기는 11세기경으로 추정된다.\r\n\r\n*가릉빈가:사람의 머리를 하고 있는 극락 세계의 새\r\n*재금 기법:기리가네, 금박을 가늘게 잘라 문양의 장식에 사용한 기법\r\n*운간채색:운겐사이시키, 하나의 색을 점차 엷게 하거나 또는 짙게 하여 농담의 차를 나타내는 기법\r\n","@language":"ko"}],"thumbnail":{"@id":"https://emuseum.nich.go.jp/img/content/100245004001/1/thumbnail.jpeg","@type":"dctypes:Image","height":185,"width":200},"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=100245&content_part_id=4&content_pict_id=0","label":[{"@value":"e国宝 - 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