{"@context":"http://iiif.io/api/presentation/2/context.json","@id":"https://emuseum.nich.go.jp/iiifapi/100730000/manifest.json","@type":"sc:Manifest","label":[{"@value":"e国宝 - 菩薩半跏像","@language":"ja"},{"@value":"e-Museum - Bodhisattva sitting with his legs half-crossed","@language":"en"},{"@value":"e国宝 - 菩萨半跏像","@language":"zh"},{"@value":"e국보 - 보살반가상","@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":"法隆寺献納宝物","@language":"ja"},{"@value":"HōryūjiTreasures","@language":"en"},{"@value":"法隆寺捐献宝物","@language":"zh"},{"@value":"호류지 헌납보물","@language":"ko"}]},{"label":[{"@value":"名称よみ","@language":"ja"}],"value":[{"@value":"ぼざつはんかぞう","@language":"ja"}]},{"label":[{"@value":"指定名称","@language":"ja"}],"value":[{"@value":"銅造如来半跏像(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":"像高38.8","@language":"ja"},{"@value":"Statue H38.8","@language":"en"},{"@value":"像高38.8","@language":"zh"},{"@value":"상높이38.8","@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":"飛鳥時代・推古14年(606)または飛鳥時代・天智5年(666)","@language":"ja"},{"@value":"Asuka period/Suiko 14 (606) or Tenji 5 (666)","@language":"en"},{"@value":"飞鸟时代 推古14年(606)或飞鸟时代 天智5年(666)","@language":"zh"},{"@value":"아스카시대·스이코14년(606)혹은 아스카시대·덴라5년(666)","@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-156","@language":"ja"},{"@value":"N-156","@language":"en"},{"@value":"N-156","@language":"zh"},{"@value":"N-156","@language":"ko"}]}],"description":[{"@value":"台座下框に刻銘があり、「丙寅年に高屋大夫が死別した夫人のために発願造立した」ことが知られる。「丙寅年」の年代比定をめぐっては推古14年(606)と天智5年(666)の2説があり定説をみていない。前説では、痩身性の強調された体軀や図式的に処理された衣文などの表現に古様さを認め、装身具も全体に簡素であることから同じ「丙寅年」の銘をもち天智5年に比定される野中寺弥勒菩薩半跏像と同時代のものとは考えられないとする。これに対し、後説は、3面頭飾や胸飾りの形式に白鳳彫刻で通例となる新しい要素がみられるとする。本像における古さと新しさの究明が1つの論点となるように思われるが、その位置づけによっては飛鳥・白鳳彫刻の様式観を大きく変えてしまう可能性もあり、本像は彫刻史の上でも見逃せない作例の1つといえる。痩身の中にも体軀の肉取りには柔軟性が認められ、鋳肌を活かした頭髪や腰から台座後面を覆うように広がる裙の表現にはそれぞれのもつ質感が見事に表わされており、その造形感覚には古代金銅仏の中でもとりわけ優れたものがある。\n本体・台座を含む一鋳で造り、腰まで内部を中空とする。腰より上の体部上半はムクであるが、頭部内の髻下辺にやや大きな空洞(鬆か)が認められる。腰以下の銅厚は全体に厚手でほぼ均一であり、各所に細かい鬆もみられるが、鋳上がりは良好である。中空部内の背面中央に沿って鉄心を抜いた痕跡があり、台座下框には部分的に嵌金を施した個所もみられる。頭飾の裏面と後頭部を除くほぼ全面(銘文の刻線内も含む)に鍍金が残り、彩色は頭髪に群青、眉、口ひげ、顎ひげに墨描きが認められる。\n\n[銘記](台座下框)\n歳次丙寅年正月生十八日記高屋」大夫爲分韓婦夫人名阿麻古願南无頂礼作奏也\n","@language":"ja"},{"@value":"There is an inscription on the lower frame of the pedestal, which says that Taifu Koya made the votive offering for the creation of this image for the repose of the soul of his dead wife in the year of Hinoe Tora. There are two opinions on the exact year of Hinoe Tora, which are 606 and 666 and the issue remains unsettled. The former view (606) argues that the slim body and the schematic representation of the drapery folds show ancient traditional features and decorations that are very simple and that these features make it difficult to think that this image was created in the same year as the seated image of the Maitreya of Yachuji Temple, which also bears the inscription of the year of Hinoe Tora, but was determined to have been created in 666. On the other hand, the latter view (666) argues that the sanmentoshoku (a crown comprising three upstanding ornaments) and the ornament on the chest show new elements of Hakuho sculpture. It seems that a thorough investigation of the old and new elements of this image will become the key to determining when it was created. However, since the positioning of this image may drastically change the view of the Asuka and Hakuho sculpturing style, this image assumes great significance in the history of sculpture. While the modeling of the slim body shows flexibility, the hair, which makes up most of the metal surface and the kun (skirt), which spreads from the hips over to the back of the pedestal, fully demonstrate their own textures. The refined sculptural sense represented in this image stands out even among ancient gilt bronze Buddhist images. \nThe image, including the pedestal, is created in one cast and hollowed out below the hips. While the upper part of the body above the hips is solid, there is a relatively big cavity (probably a mold cavity) inside the head below the topknot. Although the thickness of the copper below the hips is thick and almost even and there are small mold cavities across the image, the overall casting finish is good. There are traces of an iron core having been pulled out along the center back in the hollow area and of inlay treatments on the bottom frame of the pedestal. Gold plating remains on almost the entire surface (including inside the engraved lines of the inscription), except for the reverse side of the head ornament and the back of the head. For coloring, lapis lazuli remains on the hair and the black sumi used on the eyebrows, mustache and beard can still be seen. \n\nInscription (the bottom frame of the pedestal) \n歳次丙寅年正月生十八日記高屋」大夫爲分韓婦夫人名阿麻古願南无頂礼作奏也\n","@language":"en"},{"@value":"台座下框内刻有铭文,可知为“高屋大夫于丙寅年为死别夫人祈愿而造”。关于“丙寅年”的年代比定,现有推古14年(606年)及天智5年(666年)两种说法,但目前尚无定论。前一种说法认为:强调修长体形以及图案化处理的衣纹等属于古式表现手法,且饰物整体简朴,难以认为其与同样有“丙寅年”铭文且比定为天智5年(666年)的野中寺弥勒菩萨半跏像为同时代作品。而后一种说法则认为:三面头饰及胸饰的形式是白凤时期雕刻中常见的新元素。因此探究本像的古式及新式是一大论点,而其年代定位可能会对飞鸟及白凤时代雕刻的样式观产生重大改变,因此本像可以说是雕刻史上不容错过的作品之一。佛像纤细而又柔软的肉身、灵活运用铸痕表现的头发、从腰部展开并覆盖台座后面的的衣裙,都充分表现出各个部位的质感,其造型风格在古代金铜佛像之中尤为出众。\n本体及台座采用一次铸成,腰部以下内部为中空。腰部之上的上半身部分为实芯,头部内部的发髻下缘有较大空洞(可能为铸造气孔)。腰部以下的铜层较厚且整体厚度均匀,各处可见细小铸造气孔,但铸造效果良好。中空部内沿背面中央有铁芯抽出的痕迹,台座下框还有部分施有镶金的部位。除了头饰背面及后头部之外,佛像整体(包括铭文的刻线内部)的镀金基本保留完好,现已确认佛像的头发色彩为群青,眉、髭须、胡须为墨绘。\n\n[铭记](台座下框)\n“岁次丙寅年正月生十八日记高屋”大夫为分韩妇人名阿麻古愿南无顶礼作奏也\n","@language":"zh"},{"@value":" 대좌 하대부에 각명이 남아 있어 「병인년에 다카야 마에쓰키미가 사별한 부인을 위해 발원하고 만들었다」는 것을 알 수 있다. 「병인년」의 연대를 추정하는 데 있어서는 스이코 14년(606)과 덴치 5년(666)이라는 두 가지 설이 있다. 606년이라는 설은, 가냘프게 강조된 체구와 도식적으로 처리된 의문 등의 표현에서 옛 방식을 확인할 수 있고 장신구도 전체적으로 간소한 점을 통해 같은 「병인년」이라는 명이 남아있는 덴치 5년으로 비정된 야추지 절 미륵보살반가상과 동시대의 것이라고는 할 수 없다는 것이다. 이에 비해 666년이라는 설은, 3면 두식과 가슴 장식의 형식에서 하쿠호 조각의 통례인 새로운 요소가 발견된다는 것이다. 본 상의 옛 것과 새것의 공명이 하나의 논점인 듯 여겨지지만, 그 위치 설정에 따라 아스카•하쿠호 조각의 양식관을 크게 바꿀 가능성도 있어 본 상은 조각사에 있어서 간과할 수 없는 작품 중 하나라 할 수 있다. 날씬한 몸이지만 체구의 표현에는 유연성이 보이며 표면을 활용한 두발과 허리부터 대좌 뒷면을 덮는 듯 펼쳐진 군의의 표현에는 각각이 지닌 뛰어난 질감이 있어, 그 조형 감각은 고대 금동불 중에도 매우 우수한 것이다.\n 본체와 대좌가 한 덩어리로 주조되었으며, 허리까지 내부는 비어있다. 허리부터 위쪽의 상반신은 비어있지 않으며, 머리 내부의 상투 아래쪽에 조금 큰 기포가 발견되었다. 허리 아래쪽의 두께는 전체적으로 두꺼운 편이며 거의 균일하고 각 부분에 자잘한 기포도 보이지만 주조 상태는 양호하다. 비어 있는 부분 내부의 뒷면 중앙을 따라 철심을 뽑은 흔적이 있으며, 대좌 하대부에는 부분적으로 땜질한 곳도 발견된다. 두식의 뒷면과 뒷머리를 제외한 거의 전면(명문의 각선 안을 포함)에 도금이 남아있으며, 두발에 군청색을 칠하고, 눈썹과 콧수염, 턱수염에는 먹을 입혔다.\n\n[명기](대좌 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