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Identification and Analysis of the First and the Last paintings of dPag bsam ’khri shing: Part 1
https://doi.org/10.24517/00049033
https://doi.org/10.24517/00049033ee07ee4a-ebbb-4620-b12d-0682d83db72a
| 名前 / ファイル | ライセンス | アクション |
|---|---|---|
JCCRS_Oba (35.5 MB)
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| Item type | 紀要論文 / Departmental Bulletin Paper(1) | |||||
|---|---|---|---|---|---|---|
| 公開日 | 2017-11-22 | |||||
| タイトル | ||||||
| タイトル | Identification and Analysis of the First and the Last paintings of dPag bsam ’khri shing: Part 1 | |||||
| 言語 | ||||||
| 言語 | eng | |||||
| キーワード | ||||||
| 主題Scheme | Other | |||||
| 主題 | Tibetan painting | |||||
| キーワード | ||||||
| 主題Scheme | Other | |||||
| 主題 | dPag bsam ‘khri shing | |||||
| キーワード | ||||||
| 主題Scheme | Other | |||||
| 主題 | Bodhisattvāvadānakalpalatā | |||||
| キーワード | ||||||
| 主題Scheme | Other | |||||
| 主題 | Buddhist narrative | |||||
| キーワード | ||||||
| 主題Scheme | Other | |||||
| 主題 | painting | |||||
| キーワード | ||||||
| 主題Scheme | Other | |||||
| 主題 | avadāna | |||||
| キーワード | ||||||
| 主題Scheme | Other | |||||
| 主題 | life story of Shakyamuni | |||||
| 資源タイプ | ||||||
| 資源タイプ識別子 | http://purl.org/coar/resource_type/c_6501 | |||||
| 資源タイプ | departmental bulletin paper | |||||
| ID登録 | ||||||
| ID登録 | 10.24517/00049033 | |||||
| ID登録タイプ | JaLC | |||||
| 著者 |
Oba, Emi
× Oba, Emi |
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| 書誌情報 |
Journal of the International Center for Cultural Resource Studies 巻 2, p. 26-46, 発行日 2016-03 |
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| 出版者 | ||||||
| 出版者 | International Center for Cultural Resource Studies, Kanazawa University | |||||
| 出版者（別名） | ||||||
| 出版者 | 金沢大学人間社会研究域附属国際文化資源学研究センター | |||||
| 抄録 | ||||||
| 内容記述タイプ | Abstract | |||||
| 内容記述 | This paper initially re-examines the identification of the figures depicted in the first and the last paintings of the dPag bsam ’khri shing, or the Bodhisattvāvadānakalpalatā painting set. This study focuses on four sets of paintings from block prints, widely known as the Narthang set, as well as two sets of 41 paintings each. All of the painting sets consist of one central painting with the rest arranged on both sides horizontally. The first and the last painting contain figures that are not represented in narrative scenes. These figures are those of the donor, author of the text, translator, and teachers, all of whom contributed to pro pagating the teaching of dPag bsam ’khri shing. The additional figures are from narratives, such as kings and the father and mother of Śākyamuni. Second, by identifying and analyzing the representations of the figures, the differences among and features of paintings from different provenances are elucidated. These differences show the history of the paintings and the donor’s motives for making a gift of the paintings. Finally, the sources of these figures are analyzed. | |||||
| 著者版フラグ | ||||||
| 出版タイプ | VoR | |||||
| 出版タイプResource | http://purl.org/coar/version/c_970fb48d4fbd8a85 | |||||
