{"@context":"http://iiif.io/api/presentation/2/context.json","@id":"https://emuseum.nich.go.jp/iiifapi/100247002/manifest.json","@type":"sc:Manifest","label":[{"@value":"e国宝 - 栴檀乾闥婆","@language":"ja"},{"@value":"e-Museum - Sendan Kendatsuba (Skt. Candana Gandharva)","@language":"en"},{"@value":"e国宝 - 栴檀干闼婆","@language":"zh"},{"@value":"e국보 - 전단건달바","@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":"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":"せんだんけんだつば","@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":"紙本著色辟邪絵","@language":"ja"},{"@value":"紙本著色辟邪絵","@language":"en"},{"@value":"紙本著色辟邪絵","@language":"zh"},{"@value":"紙本著色辟邪絵","@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":"紙本着色","@language":"ja"},{"@value":"Ink and colors on paper","@language":"en"},{"@value":"纸本着色","@language":"zh"},{"@value":"종이에 채색","@language":"ko"}]},{"label":[{"@value":"法量","@language":"ja"},{"@value":"Dimensions","@language":"en"},{"@value":"尺寸","@language":"zh"},{"@value":"크기","@language":"ko"}],"value":[{"@value":"縦25.8　横77.2","@language":"ja"},{"@value":"H 25.8, W 77.2","@language":"en"},{"@value":"纵25.8　横77.2","@language":"zh"},{"@value":"세로 25.8　가로 77.2","@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":"헤이안 시대(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":"1106","@language":"ja"},{"@value":"1106","@language":"en"},{"@value":"1106","@language":"zh"},{"@value":"1106","@language":"ko"}]}],"description":[{"@value":" 　中国で信仰された、疫鬼（えっき）を懲らしめ退散させる善神（ぜんじん）を表わしたもので、天刑星（てんけいせい）、栴檀乾闥婆（せんだんけんだつば）、神虫（しんちゅう）、鍾馗（しょうき）、毘沙門天（びしゃもんてん）が描かれている。かつては「益田家本地獄草紙乙巻」と呼ばれた絵巻であったが、戦後に切断されて掛幅装になった。\r\n　天刑星は文字通り天の刑罰を与える星で、陰陽道（おんみょうどう）の鬼神である。わが国では密教修法（加持祈禱の法）にも採り入れられた。ここでは牛頭天王（ごずてんのう）（京都・祇園社の祭神。古くは疫神）をつかんで食らう。\r\n　栴檀乾闥婆はもとはインドの音楽神である。八部衆（はちぶしゅう）のひとりで、『法華経』の観世音菩薩普門品（かんぜおんぼさつふもんぼん）に説かれる観音三十三身のひとつでもある。また童子を十五悪神の危害から護る神格としても信仰を集めた。密教の「童子経曼荼羅（どうじきょうまんだら）」では本図と近い姿に表わされる。\r\n　神虫は蠶（さん）の美称で、善神として早くからその霊異が知られていた。本図は蛾（が）の姿をイメージしたものであろう。\r\n　鍾馗は唐の玄宗（げんそう）を悪鬼から守ったとの説話を生んだ中国の辟邪神で、その像は、目が大きく、頬からあごにかけて濃いひげをはやし、黒い衣服と冠をつけ、長靴をはき、小鬼をつかんでいる。\r\n　毘沙門天はここでは法華経持者を守護する善神として描かれている。本図のような弓を持つ毘沙門天像は中国の唐・宋代の作例が知られている。\r\n　以上のような珍しい図像を集めたこの絵巻は、南都（奈良）と強い関係があり、さらに平安時代を通して宮中で修された仏名会（ぶつみょうえ）（宮廷歳末恒例の懺悔会）に用いられた「地獄変御屏風（じごくへんごびょうぶ）」とも関わりがあると考えられる。他の地獄草紙などと一連の六道絵巻として、平安時代末期、後白河法皇（ごしらかわほうおう）（1127-92）のころに制作され、蓮華王院（れんげおういん）の宝蔵に納められていたものと推測される。この辟邪絵と、『地獄草紙』（東京国立博物館所蔵）・『勘当の鬼図』（福岡市美術館所蔵）の詞書を同筆と見る説がある。\r\n　なおそれぞれの詞書には、各辟邪神の働きが簡便に説明されている。","@language":"ja"},{"@value":"These paintings depict benevolent deities that were believed to vanquish “pestilence demons” (Ch. <i>yigui</i>) in ancient China. They include the God of Heavenly Punishment (J. Tenkeisei), Sendan Kendatsuba (Skt. Candana Gandharva), the Divine Insect (J. Shinchū), the deity Zhong Kui, and the deva Bishamonten (Skt. Vaiśravaṇa). The paintings were originally part of a handscroll passed down by the Masuda family together with another containing <i>Tales of the Buddhist Hells</i>, but the scroll was cut into segments and mounted on hanging scrolls in the postwar period.\r\n\r\nThe God of Heavenly Punishment—literally “the star [that metes out] heavenly punishment”—was a demon-like deity in a belief system called Onmyōdō that drew on elements of astrology as well as the classical Chinese doctrines of yin and yang and the five elements. In Japan, the God of Heavenly Punishment was incorporated into esoteric Buddhist spells and rituals invoking supernatural powers (<i>kajikitō</i>). In this painting, he is shown consuming the Ox-headed deity Gozu Tennō, who was historically a pestilence deity enshrined at Gion Shrine (now Yasaka Shrine) in Kyoto.\r\n\r\nSendan Kendatsuba is a celestial musician (Skt. <i>gandharva</i>) found in Indian religions. <i>Gandharva</i> are one of the eight classes of Buddhist deities (Skt. <i>aṣṭasenā</i>) and are also described as one of the 33 forms the bodhisattva Kannon (Skt. Avalokiteśvara) can take in the <i>Lotus Sutra</i>’s chapter “The Universal Gateway of the Bodhisattva Avalokiteśvara.” This particular <i>gandharva</i> is named Sendan (Skt. Candana) and is believed to protect children from the evils of the 15 malevolent deities. Sendan’s depiction here is similar to the one used in the esoteric Mandala of the Dharani for Prolonging Life, Expiating Sins, and Protecting Children (J. Bussetsu chōju metsuzai gosho dōji darani kyō; Ch. Foshuo changshou miezui huzhu tongzi tuoluoni jing).\r\n\r\nSilkworms are euphemistically referred to as “divine insects.” Miracles were attributed to them early on, as they came to be perceived as a kind of benevolent deity. In this painting, the “Divine Insect” appears to be depicted as a silk moth.\r\n\r\nZhong Kui was a demon-quelling deity from China, who is said to have protected the Tang emperor Xuanzong (685–762; r. 712–756) from evil demons. He is portrayed here with large eyes and a heavy beard growing along his cheeks and chin. He is wearing a black robe, hat, and boots. In the image, Zhong Kui has captured a small demon.\r\n\r\nThe deva Bishamonten is shown here as a benevolent deity who protects adherents to the <i>Lotus Sutra</i>. Other examples of Bishamonten holding a bow are found in Chinese works from the Tang (618–907) and Song (960–1279) dynasties.\r\n\r\nThis handscroll containing these unusual iconographies is strongly linked to Nara. It is thought to be related to painted folding screens depicting scenes of Buddhist hells that were displayed at year-end repentance ceremonies (Butsumyō-e) held at the imperial court during the Heian period (794–1185), which involved a ritual reading of the <i>Sutra of the Buddhas’ Names</i>. Together with other segments of <i>Tales of the Buddhist Hells</i> and similar texts, the paintings are believed to have been part of a series of illustrated handscrolls of the six realms of rebirth commissioned by Emperor Go-Shirakawa (1127–1192; r. 1155–1158) in the late Heian period and kept in the treasure house of Rengeō-in Temple. One view holds that the calligraphy for the <i>Extermination of Evil</i> is brushed in the same hand as that of the <i>Hell Scroll</i> in the Tokyo National Museum and the <i>Disowned Goblin</i> in the Fukuoka Art Museum.\r\n\r\nThe accompanying texts in these paintings briefly describe each deity’s acts in exterminating evil.  ","@language":"en"},{"@value":"　　这五幅图描绘的是在中国受其信仰的专事惩罚和驱散疫鬼的善神：天刑星、栴檀干闼婆、神虫、锺馗和毗沙门天。以往是称为「益田家本地狱草纸乙卷」的画卷，第二次世界大战以后被截断改成挂轴。\r\n　　天刑星如同其名即为施天之刑的星宿，为「阴阳道」的鬼神(阴阳道为日本方术的总称，结合了中国阴阳五行思想与日本固有的咒术信仰)，在日本的密教「修法」(即加持祈祷之法)中也加以采用。图中描绘的是天刑星抓住牛头天王吞食的情景(牛头天王指京都只园社所供奉的神，以往为疫神）。\r\n　　栴檀干闼婆原为印度的音乐神，为八部众之一，也是《法华经》观世音菩萨普门品中所说的观音三十三身之一。也因为能保护儿童免受十五恶神的危害而受到普遍的信仰。密教的「童子经曼荼罗」中与本图有类似的描写(童子经曼荼罗指为驱除儿童的疾病而行童子经法时，所使用的以栴檀干闼婆为主尊的曼荼罗)。\r\n　　神虫为蚕的美称，作为一种善神其灵验很早就为人所知。在图中是以蚕的形象为基础加以表现。\r\n　　锺馗源于为唐玄宗驱逐恶鬼的传说，是中国的辟邪神。在图中锺馗的眼大，从两颊到下颚胡须浓密，着黑袍戴冠，并穿着长靴，一手抓住恶鬼。\r\n　　毗沙门天在此描绘成作为守护法华经信众的善神。类似图中持弓的毗沙门天的表现也可见于中国唐宋的作品。\r\n　　汇集了上述多种罕见图象的本作，当与南都(即奈良)有着密切的关系，而且与平安时代(794-1185)在宫廷中举行的「佛名会」(宫廷岁末惯例的忏悔法会)中所使用的「地狱变御屏风」也有关连。据推测，本作与其他的地狱草纸同为一系列六道画卷的作品，制作于平安时代末期、即后白河法皇(1127－1192)时期，并收藏于莲华王院的宝库中。还有人认为本作与〈地狱草纸〉(东京国立博物馆藏)、〈勘当鬼图〉(福冈市美术馆藏)上的「词书」出自同一手笔(词书指画卷中为了说明画中情景所添加的文字)。\r\n　　此外，各图的词书中有关于各辟邪神司职的简要说明。","@language":"zh"},{"@value":"　예로부터 중국에서 신앙 받아온 것으로, 역신을 벌하고 퇴치하는 선신(善神)의 모습을 그렸다. 천형성(天形星), 전단건달바(栴檀乾闥婆), 신충(神蟲), 종규(鍾馗), 비사문천(毘沙門天)으로 구성되었으며 과거에는 ‘마스다 일가 소장본 지옥초지 을권’이라고 불린 하나의 두루마리 그림이었다. 1945년 이후에 다섯 폭으로 나뉘어 족자 형태로 보관되었다. \r\n　천형성은 문자 그대로 하늘의 형벌을 내리는 별로, 음양도의 귀신이다. 일본에서는 밀교 수법(부처의 힘을 빌려 병, 재난, 부정 따위를 없애기 위한 기도)에도 쓰였다. 여기에서는 소의 머리를 한 천왕인 우두천왕(牛頭天王)을 잡아먹는다. 우두천왕은 교토 기온샤(祇園社)의 제신(祭神)으로, 제신이 되기 전에는 역신이었다. \r\n　전단건달바는 원래 인도의 음악신이다. 불법을 지키는 팔부중(八部衆) 중 하나로, 『법화경(法華經)』관세음보살보문품에 나오는 관음이 모습을 변한 서른세 가지 신체 중 하나다. 또한 동자를 열 다섯 악신의 위해로부터 지키는 신으로도 신앙 받았다. 밀교의 ‘동자경만다라(童子經曼茶羅)’에서는 본 도상과 가까운 모습으로 표현된다. \r\n　신충은 누에의 미칭(美稱)으로 일찍부터 선신으로서 그 영험함이 알려졌다. 본 도상은 나방을 이미지화한 것으로 보인다. \r\n　종규는 중국 당나라 현종(685~762, 재위 712~756)을 악귀로부터 지켰다고 하는 설화에서 탄생한 중국의 벽사신으로 그 용모는 눈이 크고 굵은 턱수염을 길렀으며 검은 옷과 관, 긴 장화를 신고, 작은 귀신을 잡고 있다. \r\n　비사문천은 본 도상에서는 법화경을 지닌 승려를 지키는 모습을 하고 있다. 이와 같이 활을 들고 있는 비사문천의 모습은 중국 당송시대에 제작된 작품이 알려져 있다. \r\n　이와 같이 보기 드문 도상을 모은 두루마리 그림은 나라와 깊은 관계가 있다. 또한 헤이안 시대(794~1185)에 궁중에서 열린 불명회(佛名會, 매년 연말에 열리는 궁정의 참회 의례)에서 쓰인 ‘지옥변어병풍(地獄變御屏風)’과도 관계가 있을 것으로 보인다. 다른 지옥초지 등과 함께 이른바 육도 에마키(六道繪卷) 계통의 그림으로 분류되며, 헤이안 시대 말기에 정권을 잡고 있던 고시라카와(後白河) 법황(1127~1192, 재위, 1155~1158) 시기에 제작되어 교토 렌게오인(蓮華王院)에 안치된 것으로 추정된다. 이 벽사회와 도쿄국립박물관이 소장 중인 『지옥초지(地獄草紙)』, 후쿠오카시미술관이 소장 중인 『감당의 귀신도(勘當之鬼圖)』에 쓰인 그림 해설문과 같은 필체라는 설이 있다. \r\n　또한 각각 문장은 각 벽사신의 행동을 간단하게 설명하고 있다. ","@language":"ko"}],"thumbnail":{"@id":"https://emuseum.nich.go.jp/img/content/100247002002/2/thumbnail.jpeg","@type":"dctypes:Image","height":200,"width":382},"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=100247&content_part_id=2&content_pict_id=0","label":[{"@value":"e国宝 - 栴檀乾闥婆","@language":"ja"},{"@value":"e-Museum - Sendan Kendatsuba (Skt. 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