{"@context":"http://iiif.io/api/presentation/2/context.json","@id":"https://emuseum.nich.go.jp/iiifapi/100951000/manifest.json","@type":"sc:Manifest","label":[{"@value":"e国宝 - 餓鬼草紙","@language":"ja"},{"@value":"e-Museum - Gaki Zoshi (Stories of Hungry Ghosts)","@language":"en"},{"@value":"e国宝 - 饿鬼草纸","@language":"zh"},{"@value":"e국보 - 아귀도[餓鬼草紙]","@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":"がきぞうし","@language":"ja"}]},{"label":[{"@value":"員数","@language":"ja"},{"@value":"数量","@language":"zh"},{"@value":"수량","@language":"ko"}],"value":[{"@value":"1巻","@language":"ja"},{"@value":"一卷","@language":"zh"},{"@value":"1권","@language":"ko"}]},{"label":[{"@value":"品質形状","@language":"ja"},{"@value":"재질/형태","@language":"ko"}],"value":[{"@value":"紙本著色","@language":"ja"},{"@value":"종이에 색","@language":"ko"}]},{"label":[{"@value":"法量","@language":"ja"},{"@value":"Dimensions","@language":"en"},{"@value":"尺寸","@language":"zh"},{"@value":"크기","@language":"ko"}],"value":[{"@value":"縦26.8cm  全長  538.4cm  ","@language":"ja"},{"@value":"Height: 27.1cm Total length: 552.3cm ","@language":"en"},{"@value":"纵26.8厘米  横538.4厘米","@language":"zh"},{"@value":"세로 26.8cm 전체 길이 538.4cm","@language":"ko"}]},{"label":[{"@value":"時代・世紀","@language":"ja"},{"@value":"시대・세기","@language":"ko"}],"value":[{"@value":"平安～鎌倉時代・12世紀","@language":"ja"},{"@value":"헤이안~가마쿠라시대 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":"京都国立博物館","@language":"ja"},{"@value":"Kyoto National Museum","@language":"en"},{"@value":"京都国立博物馆","@language":"zh"},{"@value":"교토국립박물관","@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":"A甲229","@language":"ja"},{"@value":"A甲229","@language":"en"},{"@value":"A甲229","@language":"zh"},{"@value":"A甲229","@language":"ko"}]}],"description":[{"@value":"　六道（天、人、修羅、畜生、餓鬼、地獄）のうち、水や食物を得ることができず苦しむ餓鬼の説話を描いた絵巻物である。戦乱が続いた平安時代末期における社会不安や末法思想を背景につくられたと考えられている。\r\n　第１段は『正法念処経』に説かれる三十六餓鬼のうちの食水餓鬼が、川の水にもありつけず、わずかに川を渡った人間から滴る水しか飲めないという受苦のようすを描く。第２段も『正法念処経』の内容をふまえたもので、餓鬼は親の供養のため撒かれた水だけが飲めるため、笠塔婆に集まっている。本図の活気あふれる群衆や、人間に気づかれず近寄る餓鬼の不気味でどこかユーモラスな表情は、とくにすぐれた出来映えを示す。第３、４段は『盂蘭盆経』にもとづき、釈迦の弟子のひとりである目連が釈迦に教えを受け餓鬼道に堕ちた母を救うという説話を描く。ただし第４段の絵は詞書とは異なり母がなお貪欲にとらわれるようすを描いている。第５段は『大般涅槃経』中の説話で、ガンジス河の水を飲めずに苦しむ餓鬼たちが、仏の力で水を飲めるようになり、さらに説法によって昇天したことを異時同図法で描く。第６段は『救抜焔口餓鬼陀羅尼経』にもとづき、釈迦の弟子のひとりである阿難がいつも口から火を吐く焔口餓鬼より苦しみの訴えを聞いて、釈迦に教わった呪文によって餓鬼を救う内容である。絵は阿難と餓鬼が対面するところ。第７段は阿難から餓鬼救済の方法を受け継いだ僧が施餓鬼（せがき）をおこなう場面が表されている。以上のように、餓鬼の受苦のようすのみならず、救済にかかわる説話を題材としていることは注意される。\r\n　蓮華王院宝蔵に納められていた「六道絵」の一部とみられ、後白河院（一一二七～九二）が制作に関与したと考えられている。岡山藩主池田家の菩提寺である曹源寺に伝来した。 \r\n","@language":"ja"},{"@value":"This narrative scroll depicts the realm of the hungry ghosts (J., gaki), one of the Six Paths of Transmigration (J., rokudô) in Buddhist thought. It was produced in the late Heian period (794-1185), a time of increasing interest in the Six Paths through the dissemination of ideas concerning the “latter days of the law” (J., mappô). According to this widely accepted concept, Buddhist teachings and practices became gradually more difficult after the death of the historical Buddha. The culmination of this process, the final “latter period,” was believed in Japan to have begun in 1052.\n\nThe Kyoto National Museum Hungry Ghosts Scroll contains tales of salvation of the hungry ghosts. The first and second sections relate stories of one of the thirty-six types of hungry ghosts, those who are tormented by thirst and constantly seek water to drink. The first section depicts the suffering of these wretched creatures. The second explains how those who have been born as hungry ghosts are saved by offerings (J., kuyô) made by the living. The central scene of the second section shows people pouring water on a funerary marker (J., sotoba) for the Ullambana (J., Urabon) festival for the dead. The lively depiction of the area outside the temple gate makes this work also notable as a genre painting.\n\nThe third and fourth sections are based on the Ullambana Sutra (J., Urabonkyô), which tells the story of the monk Maudgalyayana (J., Mokuren), one of the ten great disciples of Sakyamuni (J., Shaka), learning from Sakyamuni how to save his mother from the realm of hungry ghosts. \n\nThe textual source of the fifth section is unknown. However, it is recognized as a scene of hungry ghosts suffering from their inability to drink water. Because of the compassion of the Buddha, they are able to cast off their ghoulish bodies and drink water, and then they are born into the land of the Buddha. The story is drawn following an arc rising towards the right, and the picture employs a narrative technique in which the same figures appear at different times within a single scene (J., iji dôzu).\n\nThe sixth section tells how Ananda (J., Anan), another of Sakyamuni’s ten great disciples, heard about the suffering of a hungry ghost who continuously belched flame (J., engu gaki) and taught the ghost an incantation from Sakyamuni to achieve salvation. The seventh section recounts how Ananda passed on this method of salvation to the monks, who then began the ceremony of offering food and drink to the spirits of the dead (J., segaki).\n\nIn this manner, the various sections of the scroll bring together tales from different textual sources. There are also distinct variations in the style and composition of the paintings. Certain sections depict scenes close up, focusing on the human figures, while others convey a sense of space. The depiction of landscape also varies: in contrast with the lively expression of human figures in section two, for example, sections three and four are rendered with a less expressive brush. The thick lines of section one are unlike the very fine lines used in section six. For these reasons, it is thought likely that several groups of artists were involved with the production of this scroll.\n\nFrom medieval sources we know that a set of Paintings of the Six Paths of Transmigration (J., rokudôe) was kept at Rengeô-in (commonly known as Sanjûsangendô), a temple built by the cloistered emperor Goshirakawa (1127-92, r. 1155-58). It is highly possible that the Kyoto National Museum Hungry Ghosts Scroll was part of this set.","@language":"en"},{"@value":"本作是描绘“六道”中的饿鬼世界（六道指地狱、饿鬼、畜生、阿修罗、人、天等六个轮回的世界，而描绘六道世界的绘画称为六道绘）。平安时代后期末法思想盛行，人们对于六道的关心提高，本作就是在这样的背景下所产生。这件京都国立博物馆本汇集了关于救济饿鬼的故事。\n第一及第二段是关于救济食水饿鬼的故事。第一段描写三十六饿鬼中的食水饿鬼受苦的场景。第二段述说透过后世人们的供养，堕入饿鬼道的人也能得到救济，画中描绘的是在盂兰盆节时向佛塔浇水的人们，生动地表现出寺院门前热闹的景象，也值得作为风俗画来欣赏。\n第三及第四段根据《盂兰盆经》的记载，描绘出释迦的弟子目连为了拯救堕入饿鬼道的母亲，经由释迦指点救济的方法，而救出母亲的故事。\n第五段所根据的经典不明，在半圆形的空间内以顺时针方向，采“异时同图”（指在同一个画面中描绘不同时间的数个场景）的画法描绘出苦于无法喝水的饿鬼，因为佛的慈悲脱离饿鬼的身形而得以喝水，并且往生佛土的故事。\n第六段描述的是，阿难听到了口中不断吐火的焰口饿鬼的诉苦，于是向释迦请教救济饿鬼的咒文。而第七段描述的是，僧人经由阿难指点救济饿鬼的方法，开始施舍饿鬼的故事。\n以上可知京博本〈饿鬼草纸〉每段所根据的经典不同，而在画风上也有差异。关于画面的构成，有将视点放在近处以人物为中心的段落，也有特别意识到空间开阔感的段落。关于景物描绘方面，相对于第二段生动的人物表现，第三及第四段的表现就显得用笔生硬，此外相对于第一段较粗的线描，第六段的线描就显得纤细。由此可知每段风格各不相同，推测可能有多数的画家参与本作品的制作。\n根据中世的记录，后白河法皇（指入佛门的退位天皇）所创建的莲华王院（三十三间堂）的宝库中曾收有一批“六道绘”，京博本〈饿鬼草纸〉很可能是其中之一。\n","@language":"zh"},{"@value":"육도(천상, 인간, 수라, 축생, 아귀, 지옥) 가운데 굶주림과 목마름으로 괴로움을 겪는 아귀의 설화를 그린 두루마리 그림. 전란이 계속된 헤이안시대 말기의 불안한 사회 분위기와 말법 사상을 배경으로 제작된 것으로 추정된다.\r\n\r\n제1단은 《정법염처경(正法念處經)》에서 설한 36종류의 아귀 가운데 하나인 식수 아귀가 강물조차 얻지 못한 채 강을 건너온 인간에게서 떨어지는 물만 겨우 마시며 괴로워하는 모습을 그렸다. 제2단 역시 《정법염처경(正法念處經)》의 내용을 토대로 한 것으로, 아귀는 부모를 공양하기 위해 뿌리는 물만 마실 수 있기에 입탑파로 모여드는 모습이다. 그림 속 활기 넘치는 군중과 인간에게 들키지 않게 접근하는 아귀의 섬뜩하면서도 어딘가 익살스러운 표정은 특히 뛰어난 완성도를 보여준다. 제3, 4단은 《우란분경(盂蘭盆經)》을 근거로, 석가의 제자 중 한 명인 목건련이 석가의 가르침을 배워 아귀도에 떨어진 어머니를 구해내는 설화를 그렸다. 단, 설명 글과는 달리 제4단 그림에서 어머니는 여전히 탐욕에 휩싸여 있다. 제5단은 《대반열반경(大般涅槃經)》에 나오는 설화로, 갠지스강의 물을 마시지 못하여 괴로워하는 아귀들이 부처의 자비로 물을 마시게 되는 모습과 설법을 통해 승천하는 모습을 이시동도(異時同圖) 기법*으로 그렸다. 제6단은 《구발염구아귀다라니경(救拔焰口餓鬼陀羅尼經)》을 근거로, 석가의 제자 중 한 명인 아난이 항상 입에서 불을 토하는 염구(焰口) 아귀의 괴로움을 듣고 부처에게 배운 주문을 외워 아귀를 구제한다는 내용이다. 그림은 아난과 아귀가 대면하는 장면이다. 제7단은 아난에게 아귀 구제의 방법을 배운 승려가 시아귀(施餓鬼) 법회*를 베푸는 장면을 나타냈다. 이처럼 아귀가 겪는 괴로움뿐만 아니라 구제에 관한 설화를 제재로 삼은 점이 주목된다.\r\n\r\n렌게오인(蓮華王院) 절 보장(寶藏)에 보관된 육도 그림[六道繪]의 일부로 여겨지며 고시라카와 법황(後白河院, 1127~1192)이 제작에 관여한 것으로 추정된다. 오카야마 번주 이케다(池田) 가문의 보리사인 소겐지(曹源寺) 절에 전해 내려왔다.\r\n\r\n\r\n*이시동도 기법： 동일한 화면 안에 시간상 서로 다른 여러 개의 장면을 함께 그리는 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