「利用者:Kareha/したがき2」の版間の差分

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| notes = 底本とは違う図版を採録しているため、解説と図版は不対応である。
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== 凡例鳳凰堂寫眞圖 ==
*京都宇治平等院
*本書は、各宗寺の什寶に係る古今の繪畫、彫刻、建築物中に就き、其秀粹なるもの凡一千種を選擇し之を撮影して、木版着色摺又は寫眞版とし、五十種宛を一冊として、漸次發行し、二十冊を以て完結せしむるものとす、
*建築家未詳
*本書の目的は、日本美術を世界に紹介せんとするに在るを以て、主として本邦人の手に成りたる作物を掲ぐるは勿論なるも、本邦美術發達の因子となる神品は、印度、支那等諸外國の製作に係る物と雖、特に之を採擇せり、
[[w:平等院鳳凰堂|鳳凰堂]]は、關白[[w:藤原頼道|頼道]]が、永承六年(西暦一〇五一年)に、山城の國宇治川の左岸に、建築せしめたる、北向の一佛殿にして、藤原時代(西暦第十一世紀)建築物の好模範と稱せらる、其形は、鳳凰の下翔するに象れるなり、其體部に當る中殿は、正面三十四尺を三間に、側面二十六尺を二間に分ち、兩翼に當る中殿は、幅十三尺、長三十二尺餘左右に延び、十八尺前方に折れて、矩形を爲し、尾に象る殿後の歩廊は、幅十四尺、長三十六尺あり、兩翼端に、方十八尺の樓あり、其結構圖の上部に出せる二小圖の如くして、裝像を設く、此建物は瓦葺にして、屋角に銅製の鳳凰を置けり、柱、桁等の外部は、端塗にして、宛然、延暦時代(西暦第八世紀の終)の趣あり、内部の構造は、此圖に由りては知る能はざれど、中殿内部の高は二十六尺あり、折り上げ格天井にして、格像、支輪に至るまで、皆、極彩色の模樣を施せり、中央に金、銀、瑠璃、螺鈿を嵌入したる天蓋ありて、光彩燦然たり、其下の須彌壇、また、螺鈿を嵌し、羽目は金銅の薄板に、牡丹唐獅子を彫む、壇上には、佛工の巨擘[[w:定朝|定朝]](西暦第十一世紀)が刻める、丈六尺の阿彌陀の坐像を安置す、其相好の端嚴殊勝なる、渇仰の念に堪えざらしむ、四周の壁面、及び扉の内面には、九品淨土の曼荼羅を描けり、畫者は繪所の長者宅磨爲成にして、能筆を以て稱せられたる藤原俊房、感無量壽經の文を其上に録せり、承塵上の壁間には五十有餘の菩薩の木造を貼附し、雲中供養の状を示せり、建設以來久しきを經たるが故に、裝飾に蟲蝕朽損多けれど、尚、觀る者をして、嘆賞措く能はざらしむ、惟ふに建立の當時に、此堂に詣れるものは、彌陀の淨土に往生せるが如き想を爲しヽならん、堂前の池を阿字池といふ、蓮花あり、夏時は紅白の花を開き其美觀言う可からず。
*毎冊中の掲載順序は、第一木版着色摺、第二佛、菩薩諸天、明王、祖師等の像、第三佛教的史畫、第四山水、人物、花鳥畫の類、第五建築物とし、外國の製作物は纒て最後に挿入す、又其各部類中の序次は、製作の年代に從へり、若し夫れ全體の分類序次に至りては、全部完成の後を俟たざるべからす、
*本書に採擇せる、各繪畫、彫刻、建築物に就きての傳來、寸法、所藏主、作者の小傳及び佛像等に於ける其佛の本願の説明は、皆極めて明確なるを期したり、然れど紙幅に限りあるに依り、間々省略したる所なしとせず、故に全部完成の後、更らに詳細なる解説を補輯し、以て本書をして圓滿完備のものたらしめんと欲す、
*説明中、和文には必要なる解説にして英文には否らざるものあり、又英文には必要なる解説にして和文には否らざるものあり、故に和文と英文と其詳略必ずしも一ならず、讀者之を諒せよ、
*本書に網羅する繪畫、彫刻、建築物の選擇は、東京美術學校教授今泉雄作氏、和文説明は文學士[[w:藤井宣正|藤井宣正]]氏、英文説明は文科大學講師ドクトル[[w:高楠順次郎|高楠順次郎]]氏、同批評的補説はプロフェッソル.[[w:アーネスト・フェノロサ|フェノロサ]]氏、木版彫刻は森川應翠氏、同色摺は田村鐵之助氏、寫眞版及び印刷は小川一眞氏に於て各々擔當し、編輯上全般の整理は、田島志一氏に任せり、
 
[[Image:Byodoin01ps3000.jpg|center|800px]]
== Introductory Notes ==
<ol>
<li>
<p>The present publication consists, as its title indicates, mainly of illustrations of a thousand objects of art selected from the possessions of Japan's most noted temples, as the best representatives of the works of the reading artists of all periods and schools.</p>
<p>These reproductions are printed either in colours from engraved wooden blocks, or in untinted collotypes prepared from photographic aegatives, Each of twenty volumes that are to complete the set will contain about fifty illustrations.</p>
</li>
<li>
<p>The purpose of this enterprise is make the more serious side of Japanese art better known to the world at large. The selection of specimens is, therefore, confined mainly to those of Japanese origin; but such important works of Indian, Chinese and Corean art are introduced as are necessary historically to explain certain Japanese features.</p>
</li>
<li>
<p>It must be confessed, however, that this publication can hardly claim complete historical, or any other systematic arrangement; the collection of so much heterogeneous materials having rendered inconvenient the following of any single principle. The work aims rather to present materials for future study, than to undertake the study itself. It may show the intelligent reader what he would see, were he to become a visitor at these ancient shrines. But it may be stated that in each volume this general order has been strictly observed:--
<ol>
<li>Chromo-xylographs.</li>
<li>Photographs from statues and paintings of sacred Buddhist subject.</li>
<li>Photographs of works illustrating the history of Buddhism.</li>
<li>Photographs of portraits, and paintings of landscape or other material object.</li>
<li>Photographs of architecture, mostly from Buddhist temples.</li>
</ol>
</p>
<p>In each of these classes the works of foreign artists follow those of Japanese, and the older specimens are placed before those of recent date.</p>
<p>On completion of the series, catalogues of all the illustrations, arranged according to subject, school and historical order, will be issued.</p>
</li>
<li>
<p>The text of the present publication will be confined to brief detached notes in both Japanese and English, accompanying each sacred nature, the place of these in Buddhist belief and ritual has been prominently but briefly noted. We are the more willing to exercise here this restraint, as we have in contemplation an elaborate history of Japanese art and religion, to form a sort of supplement to the volumes, which will thus already have furnished illustration of its principles and conclusions.</p>
</li>
<li>
<p>It may be remarked that the English and Japanese texts are not exactly translations one of another. It has been judged that, in English form of the explanatory notes, greater importance and space should be given to some features which might to abbreviated in the Japanese;--and ''vice versa''.</p>
</li>
<li>
<p>The selection of the works of art whose illustrations are included in the series has been made by Professor Y. Imaidzumi of the Fine Arts Academy of Tokyo. The notes in Japanese and English are prepared respectively by Principal S. Fujii of the Middle School of Saitama, and Doctor [[w:en:Takakusu Junjiro|J. Takakusu]] of the Imperial University of Tokyo, the latter being responsible for the scholarly transliteration of Buddhist names and texts. A final revision of the English text, and special notes in art criticism and history are furnished by Professor [[w:en:Ernest Fenollosa|Ernest F. Fenollosa]] of the Tokyo Higher Normal School, who is one of the best connoisseurs of Japanese art. The noted photographer, Mr. K. Ogawa, the wood-engraver, Mr. O. Morikawa, and the colour-printer, Mr. T. Tamura, are responsible for the execution of the illustrations. Lastly the general editorial work and supervision are in the hands of Mr. S. Tajima of Kyoto.</p>
</li>
</ol>
 
== 底本 ==
*田島志一編 『真美大観 第一册』 日本佛教眞美協會、1899年。
 
[[Category:真美大観|ほうおうとうしやしれい]]
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