{"@context":"http://iiif.io/api/presentation/2/context.json","@id":"https://emuseum.nich.go.jp/iiifapi/100720000/manifest.json","@type":"sc:Manifest","label":[{"@value":"e国宝 - 如来坐像","@language":"ja"},{"@value":"e-Museum - Tathāgata (Jp Nyorai)","@language":"en"},{"@value":"e国宝 - 如来坐像","@language":"zh"},{"@value":"e국보 - 여래좌상","@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":"<span>法隆寺</span><span>献納宝物</span>","@language":"ja"},{"@value":"<span>Hōryūji</span><span>Treasures</span>","@language":"en"},{"@value":"<span>法隆寺</span><span>捐献宝物<span>","@language":"zh"},{"@value":"<span>호류지 </span><span>헌납보물</span>","@language":"ko"}]},{"label":[{"@value":"名称よみ","@language":"ja"}],"value":[{"@value":"にょらいざぞう","@language":"ja"}]},{"label":[{"@value":"指定名称","@language":"ja"}],"value":[{"@value":"銅造如来坐像（法隆寺献納）","@language":"ja"}]},{"label":[{"@value":"員数","@language":"ja"},{"@value":"Quantity","@language":"en"},{"@value":"数量","@language":"zh"},{"@value":"수량","@language":"ko"}],"value":[{"@value":"1躯","@language":"ja"},{"@value":"1 statue","@language":"en"},{"@value":"1尊","@language":"zh"},{"@value":"1구","@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":"銅製鋳造鍍金","@language":"ja"},{"@value":"Cast bronze, gold-plated","@language":"en"},{"@value":"铜制铸造镀金","@language":"zh"},{"@value":"동조주조도금","@language":"ko"}]},{"label":[{"@value":"法量","@language":"ja"},{"@value":"Dimensions","@language":"en"},{"@value":"尺寸","@language":"zh"},{"@value":"크기","@language":"ko"}],"value":[{"@value":"坐高23.0　","@language":"ja"},{"@value":"H23.0　","@language":"en"},{"@value":"坐高23.0　","@language":"zh"},{"@value":"좌높이23.0　","@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":"飛鳥時代・7世紀","@language":"ja"},{"@value":"Asuka period/7th century","@language":"en"},{"@value":"飞鸟时代 7世纪","@language":"zh"},{"@value":"아스카시대·7세기","@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":"東京国立博物館","@language":"ja"},{"@value":"Tokyo National Museum","@language":"en"},{"@value":"东京国立博物馆","@language":"zh"},{"@value":"도쿄국립박물관","@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":"N-146","@language":"ja"},{"@value":"N-146","@language":"en"},{"@value":"N-146","@language":"zh"},{"@value":"N-146","@language":"ko"}]}],"description":[{"@value":"右肩を露わにする偏祖右肩衣の像で、胸部や腹部には豊かな肉づけがみられる。一見素朴な作風を示すが、全体に大らかな気分をもち、その着衣形式や平行線を基調とする衣文表現、膝の張りに対して胴が長めに表わされる体形など、中国の隋から初唐にかけての影響が認められる。\n本体・台座仰蓮部を含む一鋳で造り、頭頂まで内部を中空とし、仰蓮部底面の丸穴が外部への開口部となる。頭頂から仰蓮部下端まで鉄心（断面は方形）が貫通し、その上端は肉髻の頂部の後方に一部がのぞき、下端は仰蓮部底面の丸穴からわずかに出る。この丸穴は径2.3cmの小さなもので、本像は、いわゆるくるみ中型に近い鋳造法からなっている。銅厚は頭・体部ともに不均一で、全体に厚手である。像内の鋳肌は荒れており、鬆も多くみられ、腹部の左方には嵌金もみられる。鍍金は頭髪部を除き各所に残るが、彩色は頭髪に群青が認められるのみで、他は不明である。（黒目や上瞼の線は墨描きか）。なお、右手第2～5指の付け根から先を欠失する。また、台座反花以下は木造漆箔のもので、江戸時代の後補である。\n","@language":"ja"},{"@value":"This is a statue of the Hentan-uken-i type, that is, a statue with a robe that leaves the right shoulder exposed. Its breast and belly are well-fleshed. It apparently adopts a simple style, but it has a free atmosphere on the whole and the style of its dressing, its drapery (Emon) based on parallel lines and the shape of its body, the trunk of which is rather long for the length between the knees, all indicate the influence of the Chinese Sui Dynasty and early Tang Dynasty. \nThis statue was, including its body and the part of the upturned lotus flowers of the pedestal, created in one cast and hollowed out up to the top of its head, with a circular hole underneath the upturned lotus flowers opened to the outside. An iron core (its cross section is square) goes through from the top of its head to the bottom of the upturned lotus flowers. The upper end of the iron core is partly exposed at the back of the upper part of the Nikkei (lump on the head) and the lower end projects a little from the circular hole underneath the upturned lotus flowers. As this hole is small at 2.3 cm in diameter, this statue was made by a casting technique similar to so-called Kurumi-nakago. Both the head and the body of the statue are not uniform in bronze thickness, which is rather thick on the whole. The surface of the inside is rough and very porous and metal inlay is found on the left part of the belly. While plating remains in places except for the hair, coloring is found only on the hair, which was painted in ultramarine and thus it is not certain what colors were painted in the other places (the irises and the lines for the upper eyelids seem to have been drawn in black ink). The four fingers of the right hand other than the thumb have been lost near the roots. The Kaeribana (a downward-facing lotus petal decoration) of the pedestal and below it were made of wood to which gold foil was applied with lacquer (Shippaku). They were replaced in the Edo period (1603 - 1868). \n","@language":"en"},{"@value":"这是一尊露出右肩的偏袒右肩着衣式佛像，胸部与腹部可见丰满的肉身。初见风格素朴，但佛像整体不乏大气，其衣着形式、以平行线为基调的衣纹表现手法、双膝紧绷而拉长身体的造形等，都体现了其受到中国隋代至初唐风格的影响。\n包括本体及台座仰莲部分在内为一次铸成，从头顶到脚内部为中空，仰莲部分底面的圆孔向外开口。铁芯(断面为方形) 贯通头顶至仰莲部分下端，肉髻顶部的后方可见铁芯的上端，而下端则从仰莲部分底面的圆孔中稍稍露出。此圆孔的直径仅2.3cm，本像采用近似实芯泥模的铸造技法。佛像的头与身体的铜层厚度不一，整体较厚。像内的铸痕粗糙，多处可见铸造气孔，腹部的左方可见镶金。除了头发部分之外佛像各处有镀金残留，头发为群青，但其他色彩状况已无法辨认。(眼珠和上眼睑可能为墨绘)。右手第2～5指自指根起缺失。另外，台座反花以下为木造漆箔，是江户时代的后补。\n","@language":"zh"},{"@value":"  오른쪽 어깨를 노출한 편조우견의(偏祖右肩衣) 상으로, 가슴과 배 부분을 소담스럽게 표현했다. 언뜻 보기에 소박한 작풍을 느낄 수 있지만, 전체적으로는 대범한 분위기를 띠며 그 착의 형식과 평행선을 기조로 하는 의문 표현, 무릎이 나온 것에 비해 몸이 긴  체형 등에서 중국 수나라~당나라 초기 시대의 영향을 확인할 수 있다.\n  본체와 좌대 연화부까지 한 덩어리로 주조했으며, 머리 꼭대기까지의 내부는 비어있고 연화부 밑면의 둥근 구멍이 주조 구멍이 된다. 머리 꼭대기부터 연화부 하단까지 철심(단면은 방형)이 관통하는데, 그 상단은 육계 꼭대기 부분의 뒤쪽에서 일부 보이며, 하단은 연화부 밑면의 둥근 구멍으로 약간 삐져나온다. 이 둥근 구멍은 지름 2.3cm의 작은 것으로, 따라서 본 상은 주물토를 빼내지 못하는 구조와 비슷하게 주조되었음을 알 수 있다. 동의 두께는 머리•몸 모두 균일하지 않고 전체적으로 두꺼운 편이다. 상 내의 표면은 거칠고 기포도 많으며, 복부의 왼쪽 편에는 땜질한 부분도 보인다. 도금은 두발 부분을 제외한 각 부분에 남아있는데, 채색은 두발에 군청색을 칠한 것만이 확인되었고 다른 곳은 명확하지 않다(눈동자와 눈꺼풀 선은 먹으로 그렸으리라 추측). 한편 오른 손 2~5번째 손가락은 떨어져 나갔다. 또한 대좌의 복련 아래쪽은 목조 칠박으로 만들어졌으며 에도 시대에 후보(後補)된 것이다.\n","@language":"ko"}],"thumbnail":{"@id":"https://emuseum.nich.go.jp/img/content/100720001001/1/thumbnail.jpeg","@type":"dctypes:Image","height":200,"width":150},"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=100720&content_part_id=0&content_pict_id=0","label":[{"@value":"e国宝 - 如来坐像","@language":"ja"},{"@value":"e-Museum - Tathāgata (Jp Nyorai)","@language":"en"},{"@value":"e国宝 - 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