{"@context":"http://iiif.io/api/presentation/2/context.json","@id":"https://emuseum.nich.go.jp/iiifapi/101306003/manifest.json","@type":"sc:Manifest","label":[{"@value":"e国宝 - 病草紙断簡(屎を吐く男)","@language":"ja"},{"@value":"e-Museum - “The Man Vomiting Feces” from Diseases and Deformities","@language":"en"},{"@value":"e国宝 - 病草纸断简“吐屎的男子”","@language":"zh"},{"@value":"e국보 - 병초지 단간 <대변을 토하는 남자>","@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":"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":"やまいのそうしだんかん(くそをはくおとこ)","@language":"ja"}]},{"label":[{"@value":"指定名称","@language":"ja"}],"value":[{"@value":"紙本著色病草紙断簡","@language":"ja"}]},{"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":"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":"紙本著色","@language":"ja"},{"@value":"Color on paper","@language":"en"},{"@value":"纸本设色","@language":"zh"},{"@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26.4 横33.7","@language":"ja"},{"@value":"26.4×33.7 cm","@language":"en"},{"@value":"纵26.4 横33.7","@language":"zh"},{"@value":"세로 26.4, 가로 33.7","@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~鎌倉時代 12世紀","@language":"ja"},{"@value":"Heian to Kamakura period, 12th century","@language":"en"},{"@value":"平安-镰仓时代 12世纪","@language":"zh"},{"@value":"헤이안시대-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":"九州国立博物館","@language":"ja"},{"@value":"Kyushu National Museum","@language":"en"},{"@value":"九州国立博物馆","@language":"zh"},{"@value":"규슈국립박물관","@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":"A78","@language":"ja"},{"@value":"A78","@language":"en"},{"@value":"A78","@language":"zh"},{"@value":"A78","@language":"ko"}]}],"description":[{"@value":" 病の症例や治療の様子を集めた絵巻物の断簡。それぞれ、極端に背が低く人々に嘲笑される乞食法師(「侏儒」)、背骨が曲がってしまい下を見て歩くしかない乞食法師(「頭の上がらない乞食法師」)、尻に穴がないため口から排泄する男性(「屎を吐く男」)、顔のあざを嘆く女性(「痣のある女」)を描く。\r\n これら4図を含む「病草紙」全15段は、昭和初期まで一巻の巻物として名古屋の関戸家に伝来していた。同じ巻物に収められていた9段分が京都国立博物館の国宝「病草紙」に充たるほか、のこり2段分は断簡となって個人の所有に帰する。それらを一覧すると、絵は一筆ではなく複数の絵師によるものと推測されるが、いずれも抑揚のあるのびやかな描線で対象を的確にとらえ、少ない筆致で人物の心情まで巧みに描き出している。その卓越した描写は、「伴大納言絵巻」(国宝、東京・出光美術館)の筆者としても知られる宮廷絵師・常盤光長(生没年不詳)のものに共通し、その画風を伝えるものとして稀少である。\r\n また、顔貌や衣文、草花などには、「地獄草紙」や「餓鬼草紙」にきわめて近い表現を見出すことができ、「病草紙」もそれらと共に六道のうちの人道を絵画化した六道絵の一つとして、12世紀末に後白河法皇(1127~92)のもとで制作されたと考えられる。\r\n 近年、般若流支訳『正法念処経』が典拠となっていることが指摘され、六道絵としての「病草紙」の位置づけがより明確になった。しかし、単なる経典の絵画化ではなく、経典の記述にしばられない部分、つまり病者を取り巻く人々の眼差しや健常者と病者との対比を明確に表現することについて、制作を企図した後白河法皇の権力者としての意向が大きく働いていると指摘されている。\r\n いずれも断簡であるものの、優れた作風は常盤光長の様式を伝え、12世紀末に宮廷で制作された絵巻の趣向をよく示している。仏教絵画という枠を越えた、平安時代後期を代表する名品である。","@language":"ja"},{"@value":"These paintings are segments of a handscroll that depicts diseases, deformities, and how they were treated. They feature a beggar monk who is ridiculed for his short stature, a hunchbacked beggar monk who walks looking down, a man who excretes from his mouth because he does not have an anus, and a woman deploring the birthmark on her face.\r\n\r\nDiseases and Deformities was originally a whole scroll owned by the Sekido family in Nagoya. It comprised fifteen sections that have since been separated. Nine of these sections belong to a single scroll segment that has been designated a National Treasure, and currently belongs to Kyoto National Museum. The remaining six have been separated into scroll segments, four of which are described here, while the remaining two belong to private collections.\r\n\r\nA side-by-side comparison of these paintings would suggest that they were painted by multiple artists. Nevertheless, each subject is captured precisely with free and meandering lines that skillfully depict their emotions in just a few brushstrokes. This superb style is a rare match to that of Tokiwa Mitsunaga (exact dates unknown), a twelfth-century court painter who is known for his painting of the courtier Ban Dainagon, itself a National Treasure currently in the collection of the Idemitsu Museum of Art in Tokyo.\r\n\r\nThese scroll segments also contain very similar depictions of facial expressions, clothing designs, and plants as found in the Hell Scroll (Jigoku-zōshi) and the Stories of Hungry Ghosts (Gaki-zōshi). These two works belong to a series of rokudō-e paintings portraying the Buddhist Six Realms of Rebirth (rokudō) created for Retired Emperor Goshirakawa (1127–92) in the late twelfth century. The stylistic similarities in Diseases suggests it may have been the part of this series covering the human realm.\r\n\r\nResearch in recent years has identified Prajnaruchi’s translation of the Sutra for the Remembrance of the True Law (Shōbōnenjo-kyō) as the basis for Diseases, further supporting the theory that it was created as a rokudō-e. Where other rokudō-e draw their subjects strictly from Buddhist scriptures, however, this work addresses issues outside of just the diseases and deformities described in the scriptures. This is done by depicting not just the sick, but also highlighting the contrast between them and the appearances of the healthy onlookers, as well as shedding light on the ridicule they face from those around them. Researchers believe that these aspects of the work can be attributed to Retired Emperor Goshirakawa, who had designed and planned it.\r\n\r\nThough but a part of the entire work, these scroll segments sufficiently embody the style of Tokiwa Mitsunaga, thereby showing us the trends in late-twelfth-century scroll paintings of the imperial court. In that sense, these masterpieces are representative not just of Buddhist painting, but of art in the late Heian period in general.","@language":"en"},{"@value":" 这是汇集各种病症和治疗情况的画卷断简。分别描绘了因矮小而被嘲笑的乞丐法师(《侏儒》),脊背弯曲,走路时只能脸朝下的乞丐法师(《驼背的乞丐法师》),没长肛门只能从口排泄粪便的男子(《吐屎的男人》),因脸上长痦子而怨叹的女性(《长痦子的女人》)。\r\n 昭和初期,包括这四幅图在内的十五幅《病草纸》,以一部画卷形式相传于名古屋关户家。画卷中有九幅为京都国立博物馆收藏国宝《病草紙》,而其余两幅断简为私人所有。整体来看,画卷并非出自一人之手,推测是由多位画家所画。每幅都抑扬有致,笔法舒畅,用简约的笔画将人物的心情描写得淋漓尽致。卓越的绘画技巧与知名宫廷画师常盘光长(生殁年不详)的《伴大纳言画卷》(国宝,东京,出光美术馆)表现一致,而同样画风的作品流传极少。\r\n 从《病草纸断简》上的脸貌和衣纹、草花的表现可以看出它的表现手法酷似《地狱草纸》和《饿鬼草纸》。《病草纸》应该也是将六道中的“人道”描绘成绘画作品的六道画卷之一。据推测,《病草纸》于12世纪末,在白河法皇(1127-92)参与下制作而成。\r\n 近年,有人指出《病草纸》的典故出自般若流支翻译的《正法念处经》。《病草纸》作为六道画内容的地位由此更加明确。《病草纸》并不仅仅是一部将经典以绘画形式描绘出来的作品,对于未受经典的记述所束缚的部分,如明确表现人们向病人投去的目光和健全者与病人之间的对比等方面,掌权者后白河法皇的意图对作品风格起了决定性作用。\r\n 虽都只是断简,却出色地体现了常盘光长的画风,充分显示了12世纪末宫廷制作的画卷风格,并且已超越了佛教画的范围,成为了平安时代后期的代表名作。","@language":"zh"},{"@value":" 질병의 증상과 치료 모습을 모은 두루마리 그림의 단간이다. 각각 키가 너무 작아 사람들에게 비웃음거리가 된 거지 법사 <난쟁이>, 등이 구부러져 아래만 보고 걸어야만 하는 거지 법사<꼽추 거지 법사>, 엉덩이에 구멍이 없어서 입으로 배설하는 남자 <대변을 토하는 남자>, 얼굴의 반점을 한탄하는 여자 <반점이 있는 여자>를 그렸다.\r\n 이 네그림을 포함한 <병초지>는 전체 15단으로, 쇼와 초기까지 1권의 두루마리 그림으로서 나고야의 세키도 가문에 전해 내려오고 있었다. 같은 두루마리에 포함되었던 9 단은 교토국립박물관의 국보 <병초지>며, 나머지 2단은 단간이 되어 개인이 소유하고 있다. \r\n 이 그림들을 살펴보면, 그림은 한 사람이 아닌 여러 화가가 그린 것으로 추측되는데, 모두 강약이 있는 자유로운 묘선으로 대상을 정확하게 파악해, 적은 필치로 인물의 심정까지 절묘하게 그려내고 있다. 그 탁월한 묘사는 <반다이나곤 두루마리 그림(일본 국보, 도쿄·이데미쓰 미술관)>의 작가로도 알려진 궁정 화가 도키와 미쓰나가(생몰년 미상)의 것과 공통되며, 그 화풍을 이어받은 것으로서는 희소한 작품이다.\r\n 또 용모나 옷의 주름, 화초 등에서는 <지옥초지>와 <아귀초지>에 매우 가까운 표현을 발견할 수 있으며, <병초지> 또한 이 그림들과 마찬가지로 육도(六道)중 인도(人道)를 그린 육도회의 하나로, 12세기 말에 고시라카와 상황(1127년-1192년)의 지도 하에 제작된 것으로 생각된다.\r\n 이 작품은, 최근 인도출신 불경 번역 승려 반야루지가 번역한「정법염처경」에 근거한다는 지적이 나오고 있어, <병초지>가 육도회로 더욱 자리매김하게 되었다. 그러나 경전을 단순히 그림으로 표현한 것이 아니고, 경전의 서술에 얽매이지 않는 부분, 즉 병자를 향한 사람들의 시선, 건강한 사람과 병자와의 대비를 명백히 표현하는 것에 대해서, 제작을 기획한 고시라카와 상황의 권력자로서의 의도가 크게 작용했다고 지적되고 있다.\r\n 모두 단간이긴 하나, 뛰어난 작풍은 도키와 미쓰나가의 양식을 전하며, 12세기 말에 궁정에서 제작된 두루마리 그림의 취향을 잘 나타내고 있다. 불교 회화라는 틀을 뛰어넘는, 일본 헤이안시대 후기를 대표하는 명작이다.\r\n","@language":"ko"}],"thumbnail":{"@id":"https://emuseum.nich.go.jp/img/content/101306003001/1/thumbnail.jpeg","@type":"dctypes:Image","height":157,"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=101306&content_part_id=3&content_pict_id=0","label":[{"@value":"e国宝 - 病草紙断簡(屎を吐く男)","@language":"ja"},{"@value":"e-Museum - “The Man Vomiting Feces” from Diseases and Deformities","@language":"en"},{"@value":"e国宝 - 病草纸断简“吐屎的男子”","@language":"zh"},{"@value":"e국보 - 병초지 단간 <대변을 토하는 남자>","@language":"ko"}],"format":"text/html"},"within":{"@id":"https://emuseum.nich.go.jp/iiifapi/101306000/collection.json","@type":"sc:Collection","label":[{"@value":"病草紙断簡","@language":"ja"},{"@value":"Scroll segments from Diseases and Deformities","@language":"en"},{"@value":"病草纸断简","@language":"zh"},{"@value":"병초지 단간","@language":"ko"}]},"sequences":[{"@type":"sc:Sequence","canvases":[{"@id":"https://emuseum.nich.go.jp/iiif/?IIIF=/101306003001.tif/full/full/0/default.jpg","@type":"sc:Canvas","label":"1","height":2348,"width":2993,"images":[{"@type":"oa:Annotation","@context":"http://iiif.io/api/presentation/2/context.json","motivation":"sc:painting","resource":{"@id":"https://emuseum.nich.go.jp/iiif/?IIIF=/101306003001.tif/full/full/0/default.jpg","@type":"dctypes:Image","format":"image/jpeg","service":{"@context":"http://iiif.io/api/image/2/context.json","@id":"https://emuseum.nich.go.jp/iiif/?IIIF=/101306003001.tif","profile":["http://iiif.io/api/image/2/level1.json",{"formats":["jpg"],"qualities":["native","color","gray"],"supports":["regionByPct","sizeByForcedWh","sizeByWh","sizeAboveFull","rotationBy90s","mirroring","gray"]}]},"height":2348,"width":2993},"on":"https://emuseum.nich.go.jp/iiif/?IIIF=/101306003001.tif#xywh=0,0,2993,2348"}],"thumbnail":{"@id":"https://emuseum.nich.go.jp/img/content/101306003001/1/thumbnail.jpeg","@type":"dctypes:Image"}}]}]}