フィールドワーク

『集神州三宝感通録』は、初唐時代の仏教史家である南山律師道宣（５９６～６６７）が仏法僧三宝のうえに現れた感通（霊験）を集成したものである。本研究課題では、四年間の計画で、本書の巻下に記された南北朝時代から唐初期に至る間の各地の仏寺に関わる記事十二条と、仏経そのものやその信奉・読誦にともなう感通譚三十八条を取り上げる。すなわち、『大正新脩大蔵経』巻五二所収のテキストを底本とし、当該個所について全文の訳と美術史の観点を重視した註解を可能な限り詳細におこなう。記事は一見、荒唐無稽な霊験説話であるが、現存する寺院建築遺構や仏教美術の遺例を著しく欠いた当該時期の実態や、当時の仏教信仰の事情をうかがう上で、非常に有益な資料である。四年間の初年度にあたる１８年度には、巻下の序文をはじめ、聖寺篇の前半六条を対象とする予定であった。しかし、序文、臨海天台山石梁聖寺条、東海蓬莱山聖寺条、抱罕臨河唐述谷仙寺条の訳と関係資料の蒐集のみにとどまった。また、本研究課題に先行する科研成果報告書として毎年刊行を継続してきた「美術史料として読む『集神州三宝感通録』―釈読と研究」を、作成することが叶わなかった。理由は、他の業務に忙殺されてエフォートを遂行できなかったところにある。他方、２０１８年10月には、台湾の中央研究院歴史語言研究所において、中央研究院歴史語言研究所主題講座として、本研究課題に直接関係した口頭発表「唐代高僧的理想世界―道宣《集神州三宝感通録》分析」をおこない、手ごたえを得た。１８年度には論文三篇の執筆とともに、二冊の図書（『アジア仏教美術論集 東アジアⅡ隋・唐』と『古代寺院の芸術世界』）の責任編集として総論や論考の執筆、４篇の翻訳に予想以上の時間と労力を費やさざるを得なくなり、結果的に本研究課題に割ける時間が著しく少なくなってしまった。また、臨海天台山石梁聖寺条は東アジア仏教の一大拠点である天台山に関する条、抱罕臨河唐述谷仙寺条は現存する甘粛省炳霊寺石窟に関する条であることから、関係資料が多岐にわたり、かつ膨大であるため、注釈の執筆に非常に苦慮したことも、遅滞の一因である。本研究課題にかける時間を確保するために、抱えている仕事を整理するとともに、昨年は開催できなかった研究協力者たちとの研究会形式のミーティングを、毎週一回開催することで、コンスタントにノルマを推進する体制をつくる。また、昨年度に関係資料の蒐集はかなりの程度進めたので、それを踏まえるところからスタートできることは、今年度の利点である。こうした方策によって、今年度は所期の実績を達成することができると考えている

The Sui-Tang period, recognized as one of the pinnacles in Chinese history,can be defined as"Buddhist society"as the Buddhism permeated society widely and deeply.On the base of this common understanding,our Research Project held regular meetings to exchange research.Furthermore,we held two international symposiums,one in 2017 titled“Issues of Sui-Tang Buddhist Society”in Zhejiang University,and another in 2018 titled“Sui-Tang Luoyang Studies”,then held a conference by the entire membership in 2019 in order to report results through this term.While conducting these activities,the representative collated the Fang-shan Stone Sutras of the Tang Period,as well as complete“The Collection of Records on Many Kinds of Stone Sutra”,"The Collection of Records on the Daborejing Stone Sutras”,and“The Collection of Record of Pilgrimage Materials on Stone Sutras”,and published“the Catalogue of Bibliographic Sources of Stone Inscriptions,Tang Period”to serve in comprehending the period

Ji-shenzhou-sanbao -gantong-lu, by dao-xuan in Early Tang, is the compiled text of stories about divine and miraculous efficacy appeared through Buddhist relics or statues. This study deals with the second volume of the text which is mainly consisted of stories about Buddhist statues committed by all over the nation before Dao-xian’s time. This study has two academic significances. First, this paper provides the translated text into modern Japanese for the first time. In addition, the text is annotated in details from an art historical point of view.During last three years, I have worked translation and annotation of 20 articles from Bei-Wei to Tang dynasty. The result was published with the title, Ji-shenzhou-sanbao-gantong-lu studying as the material of art history, vol.9~11, 426 pages in total. It contains translation, 241notes and ten essays

We investigated a lot of collections that German, Russian, British, Otani Expedition brought back from Central Asia, now scattered among Museums throughout the world. On the basis of these materials, we integrated and arranged materials appeared in already published, created basic data on Buddhist Art of Central Asia. Based on these data, we have examined and made clear some unique aspects of the generation and transfiguration of Buddhist Art of Central Asia focusing on the Art of the Faith of Sakya, Maitreya and Amitabha. Our research on Buddhist Art of Central Asia carried out closely linked to related Buddhist studies, having the perspective that the cultural exchange between South Asia, and East Asia. The results of our research project were published in the Final report (April, 2018)

Ji-shenzhou-sanbao-gantong-lu, by Dao-xuan in Early Tang, is the compiled text of stories about divine and miraculous efficacy appeared through Buddhist relics or statues. This study deals with the second volume of the text which is mainly consisted of stories about Buddhist statues committed by all over the nation before Dao-xuan’s time. This study has two academic significances. First, this paper provides the translated text into modern Japanese for the first time. In addition, the text is annotated in details from an art historical point of view.During last three years, I have worked translation and annotation of 30 articles from late Han to Liang. In particular, some of them, such as articles about Buddhist statues of King Asoka, or that of King Udayana from Jiangnan area are noteworthy. The result was published with the title, Ji-shenzhou-sanbao-gantong-lu studying as the material of art history,vol.6-8,316 pages in total.It contains translation,510 notes and three essays

第一に、本研究の日常的な基盤となる定例研究集会を７回おこなった。
第二に、特別研究集会を２回開催した。１回目は、古井龍介・馬場紀寿両氏（東京大東文研）を招いて、インドおよび東南アジアの仏教文明に関する最新の研究状況を学び、意見交換をおこなった。仏教文明の本源と東アジア仏教との差異を知ることができた。２回目は、石見清裕氏（早稲田大）を招いて、中国太原地域の地政学的位置を学んだ。これは、前年度における本研究での太原石窟（仏教・道教）調査を補うものである。
第三に、シンポジウムを早稲田大学で２回開催した。１回目は、９月２８日の「対敵と仏法」である。昨年度の課題を継承して、これまで見失われがちであった仏教の実践的側面、つまり造形物にみられる対敵、調伏、防御の役割を追求した。大島幸代（龍谷大）、三上喜孝（山形大）、長坂一郎（東北芸工大）、黒田智（金沢大）、長岡龍作（東北大）各氏の報告を受けて討論がおこなわれた。２回目は、１２月２１日の「言語・文字の転回からみた『仏教』流伝」である。翻訳を含む言語文字表現の変革と仏教の関係を問題視した。朱慶之（香港教育学院）、吉田豊（京都大）、阿部龍一（ハーバード大）、ジョン・ウイットマン（国立国語研究所）、河野貴美子（早稲田大）各氏による報告および問題提起がなされた。
第四に、研究分担者城倉正祥氏を中心にして、２０１４年２月末から３週間以上、千葉県龍角寺跡の調査をおこなった。かつて多くの文字瓦を出土した本寺院跡は、仏教文明の列島移動において注目されるところであるが、本格的な調査は進んでいなかった。このたびは、最新技術のレーダー探査などを駆使し、廻廊を含む伽藍配置の歴史的変遷などを確認した。また、散布する古代瓦を慎重に回収し、次調査に備えた。

The aim of this research is to elucidate the structure and characteristics of the societies of Six Dynasties and Sui-Tang, based on a recognition that these were essentially Buddhist societies, by examining Buddhist sources in stone.This research advances study of the 4 pillars, 1)the stone sutras of Fangshan,2)stone inscriptions of Buddhist sources in Shanxi,3)stone sutras of Sichuan, and 4)the stone inscriptions of Northern China, through fieldwork and organization of source materials.As 1),locations and titles of over 4,000 stone scriptures from Sui-Tang period were organized.As 2),the focus was set on the Buddhism of Changzhi district of Shanxi.As 3),we grasped the stone inscriptions of Luoyang.As 4),we tried to confirm the locations of the stone sutras of Guanxian in Sichuan. Further deep research will be necessary until the structure of the Buddhist societies of the time period is clarified, but I believe the basic work has been completed as the multiple fruits of this research

In this study, we aimed to verify how Buddhist art that propagated to Japan through the Korean Peninsula from China accepted in Japan by focus on the surface-finishing techniques of cultural properties. In particular, first, we elucidated the details of these techniques by identification of main elements of the pigments and names of the pigments that remain on the surface, by means of non-destructive and non-contact analysis approach with X-ray analysis equipment for existing cultural properties of ancient and medieval in East Asia. Furthermore we extract features of the technique of Japan by comparison of the techniques of Japan and China, the Korean Peninsula.

During the three years as the recipient of the Grants-in-Aid for Scientific Research, the recipient completed a modern-Japanese translation with thorough notes for most of the first volume of Ji shenzhou sanbao gantong lu, written by the Tang dynasty monk, Daoxuan. The topics of the notes, the total of which reached 440 entries, were selected especially with view to explore Art Historical issues. In addition, some of the topics were elaborated into 15 individual studies. The results have been published annually in NARA BIJUTSU. Journal of Nara Art Studies, and accumulated to the total of 462 A4 size pages. The project is also a fundamental research on the history of sar1^^- worshipping in China, from the introduction of Buddhism to Early Tang

This research aimed to consider how Buddhist art propagated to Japan from China via Korea by focusing on the circulation of specific timber species. Specifically, by conducting x-ray analysis on camphor timber in Japan, Korea, and China and surveying the amount of principal elements in each, and then studying the circulation route of camphor timber in eastern Asia, the research uncovered how Japanese Buddhist art originated in China's Southern Dynasty, traveled to Baekche 百済 in the Korean peninsula, and then to Japan.

The purpose of our research is to clarify some aspects of the propagation of the Buddhist Art from India to Japan through the Central Asia, China and Korea, and its transition and development, taking the multifaceted viewpoint of' 'Exchange and Tradition.' We have placed emphasis on the themes such as Jatakas, Biography of Buddha, Jodo art, and the art of Six Realms. They are all main themes of the Buddhist art and furthermore they show their great transition and developments on the way to spread over from India to Eastern Asia.(1) Studies on the Jatakas deal with a aspect of the changes from the narratives based on the thought of the reincarnation by karma in India to the narratives stressing the six practices in China. Moreover, the process that Dipa〓kara Jataka as the beginning episode of Sakyamuni Buddha in Gandhara developed as the thought of the prophecy of future enlightenment (vyakarana) is clarified.(2) Studies on the illustrated biography of Buddha focused on the 'Maravijaya' or the 'enlightenment' and the 'Nirvana' or the 'Death of Buddha' to reach the following conclusion; The discourse on the Maravijaya shows the iconographic features of the Mara, his subordinates, his daughters and the earth goddess seen in every countries or areas and periods to trace the transition from India to the Central Asia, and on to China. A study on Nirvana discusses the development of the narrative representation; it started from the beginning as a part of the biography based on the Palis Mahapalnnivva〓a-suttanta and then connected with the cult of stupas and of the Maitreya in India and Central Asia, and finally and finally developed to the completion of the iconography related with Mahayana texts such as Mahaparinirvana-sutra and during T'ang China.(3) As for the Jodo Art, we examined several topics ; the aspects of the creation of the transformation scene of Pure Land in Gandhara, the relationship between the meditation practice and the Jodo paintings in Central Asia, the relationship between the illustrated Jodo and the Jodo text Guanwuliangshoujing from the Northern Qi to the early T'ang dynasty and the development of the transformation scenes of the Pure land based on the former text in China, Korea and Japan.(4) On the Art of Six realms, we examine the comparative study of the Six realms art in China and Japan, and also focus on the relationship between the Jizojuo-zu and Sui-riku-ga, and the relation between the depiction of the impurity of the human realms such as the illustrated decomposing corpse and the Kusoshi handscroll and the contemplation to clarify the aspects of the respective individuality and link in China and Japan from the viewpoint of 'Exchange and Tradition'

This Research aimed to perform some basic analysis of Buddhist art in China's Sichuan area by gathering relevant historical records and information on actual pieces. In the year 2005, the researcher studied the deity Kshitigarbha, and in the year 2008, Vaisravana and Sahasrabhuja. Needless to say Sichuan is not the only area where the images of these deities were created and worshipped. However, discovering how the popularity of these deities in the Sichuan area show characteristics somewhat different from the other areas in China, the researcher gained firm conviction that studying the ways in which these deities were created and worshipped in Sichuan may provide some important material for understanding Sichuan's local characteristic.
Regarding Kshtigarbha, the researcher analyzed historical manuscripts such as epigraphs of artworks and articles from Changjin 常謹's Dizang-pusaxiang-lingyanji 地蔵菩薩像霊験記, and organized and analyzed the information on existing artworks gathered from on-site surveys and pre-published reports. Through the manuscripts, the researcher observed a merger of Kshtigarbha cult and Sichuan's local cult of the Ten Kings of Hell. Furthermore, existing artworks showed an abundant variation of popular images including those with single deity images, paired images of Kshtigarbha and Avalokiteshvara, triple images such as Kshtigarbha, Avalokiteshvara, and Amitabha, or Kshtigarbha, Avalokiteshvara, and Bhaisajyaguru, and niches with hensouzu 変相図 style composition. Such observations allowed the researcher to follow how the Kshtigarbha cult unfolded during the eighth through eleventh century, and the local characteristics of the Kshtigarbha cult in Sichuan.
The research on Vaisravana images in Sichuan was realized with cooperation from Sachiyo Oshima. Oshima proved how the successive military governors (jiedushi節度史)showed heavy commitment in creating the Vaisravana images, and the popularity of Vaisravana cult in Sichuan area, which touches borders with both 吐蕃 Nanzhao 南詔, through study of the Lu-shang 楽山 Buddha epigraph and collection of historical records such as those on Cheng-du's Baolisi宝暦寺. The study of Sahasrabhuja images, was realized with cooperation from Suijun Ra, who put together a report of the Sahasrabhuja images in the Buddhist cliff image sites in the western half of the Sichuan Basin that hitherto had lacked close analysis.

This inter-disciplinary research was made possible by cooperation from researchers from both literary and scientific fields, and aimed to develop a preservation and restoration method for wooden cultural assets, especially Buddhist sculptures, using medical-use x-ray CT scanner. The biggest advantage of the x-ray CT scanning method is that it allows one to obtain information on the inner structure of cultural properties without physical contact, and thus without risking damage to the actual property. The method is especially effective in cases where the original state of the property is unknown due to restoration activities from later periods. Specifically, by reconstructing slice images from CT scanning, the researchers were able to recreate the original state on the computer monitor. Furthermore, not only does the method provide hints on the time period at which the property was created, but also allows one to examine whether there are any objects concealed within the sculpture, and in cases where such objects exist, their shapes. The method has already been proven effective in restoration activities of wooden Buddhist sculptures.

This research features a precious group of Chinese cultural legacy, the abundant cliff images remaining in the Sichuan area, aiming to create a record of their present state in preparation for the progressing destruction due to erosion and human cause, and to seek an effective recording method for research and preservation efforts. The researchers worked in collaboration with Sichuan University and the Chengdu-city Research Institute of Archaeology, the partnering research institutions in China, and tested variations of research methods through executing a complete enumeration of the cliff images within the targeted areas and then completing a record of their entire contents. The targeted areas were Pujiang and Qionglai, both located in the western part of the Sichuan Basin. The cliff image sites counted eighteen in Pujiang and five in Qionglai, with a grand total of over six hundred grottoes. The basic recording methods used were photography, measurement and description of the Buddhist statues and their attachments including the grotto structures, survey drawings, and rubbings. As a possible replacement for survey drawings with their inevitable shortcomings, the researchers introduced non-contact 3D laser scanning -a pioneering attempt in the genre of archaeological studies of Chinese grottoes- and verified its advantages and disadvantages. Furthermore, the researchers presented a number of research papers using the resulting data, discussing the significance of the artistic activities within the area from the perspective of Buddhist art history, thus contributing a meaningful prospect for regional studies in the genre of Chinese Buddhist art history.

「法隆寺 前編 秘められた聖徳太子の夢」

今年度は、主に地蔵菩薩像の造像と信仰に関する資料の収集と分析をおこなった。中国における地蔵菩薩信仰は玄奘の『十輪経』、実叉難陀の『本願経』訳出を受けて始まり、中唐晩唐期に大きく展開した。したがって、北中国での造像活動の退潮とは対照的に８世紀～10世紀の作品が集中的に残る四川地域は、地蔵関係資料の宝庫と言ってよい。そこで、これまでに筆者が実地調査をしてきた広元（千仏崖、皇沢寺）、巴中（南龕、北龕、西龕仏爺湾、西龕流杯池、水寧寺）、梓潼（臥龍山、西龕寺）、綿陽（碧水寺）、邛崍（石筍山、花置寺、盤陀寺、鶴林寺、天宮寺）、蒲江（飛仙閣、仏尓湾、白岩寺、看灯山）、丹棱（鄭山千仏寺、劉嘴）、夾江（千仏岩、牛仙寺）、楽山（凌雲寺）、資中（重龍山、西岩）、内江（東林寺、翔龍山、聖水寺）、安岳（臥仏院、千仏塞、円覚洞、毘盧洞、華厳洞、玄妙観）、大足（北山仏湾、南山、石門山、宝頂山）、忠県龍灘河仏龕の各摩崖造像から、地蔵関係の造像作例を抽出した。これらは、地蔵菩薩独尊像、地蔵・観音並列像、地蔵・観音・阿弥陀の組み合わせ、地蔵・観音・薬師如来の組み合わせ、地蔵十王像、さらに多尊の変相図的構成の龕など、内容と図像形式の豊富なバリエイションを示し、約３世紀間における展開を跡付けることができるとともに、四川地域内での地域的偏差も確認できた。そして、四川盆地東南部の大足北山仏湾には、それらの各図像類型のほぼすべてが揃っていることから、いわば地理的にも年代的にも四川地域の造像活動の終着点的な位置にあることが見えてきた。地蔵関係のテクスト資料については、『大足石刻銘文録』をはじめ造像題記類からの収集整理と、北宋の常謹が端拱二年（九八九）に撰述した『地蔵菩薩像霊験記』所収の四川地域関係記事の分析をおこなった。なお、本研究課題は、年度途中に追加採択された科学研究費補助金（基盤研究Ｃ)に引き継いだ。

　６・７世紀の中国仏教美術は、既に確立された中国固有の様式と一定の権威をもって影響力を有した外来の西方様式との競合を特徴とし、複雑な様態を呈する。本研究は、当該世紀に制作された作品に認められる定型的表現の成立に、西方起源の様式・図像がいかに関わったかを具体的事例を以って検証することを目指したものであるが、主なる考察の対象を、敦煌莫高窟の壁画と、中国および日本で出土した磚仏・銅板仏などの浮彫り作品に設定した。特に後者を取上げたのは、この時期の絵画作例が西境の敦煌壁画にほぼ限られるという欠に鑑み、中央での状況を伝える資料としての価値に注目したものである。ことに近年奈良県山田寺址から出土した銅板五尊像は、唐朝中央からの舶載品と推定できる上、小画面ながら複雑で精緻な図像構成を見せる。また、西安市内外より出土した約三十余種の磚仏は、当該期の仏教図像の最もシンプルな定型を提示するもので、いずれも絵画作品としての仏説法図や浄土変相図に準ずるものとしてよい。これらの実作例によれば、偏袒右肩・触地印坐仏、通肩・説法印坐仏という新たな如来像形式に加え、この時期に西方より摂取された要素には、脇侍菩薩に見られるトリバンガの体勢、斜め掛けの瓔珞、持物としての大地より伸びる蓮華、マンゴー樹葉形樹蓋、同根連枝の蓮華座、連弧・怪獣装飾付き背屏、小型層塔などのモティーフがあり、いずれもグプタ朝美術に淵源を求めることができる。また、浅い半肉彫りでありながら透視遠近法に近い構図法を採用するなど、三次元的立体表現を実現するための手法が随所に認められる。この時期の西方伝来の表現技法には、敦煌画や法隆寺金堂壁画に観察される暈染彩色があるが、これは動勢や生命感の横溢した形態と不可分な賦彩法であり、したがって文献上「凹凸画法」が確認される６世紀前半の梁代にはすでに、上記の如き所謂初唐様式が萌芽していた蓋然性が高い。

　大幅の壁面や画布を用いた、複雑な構図と多種のモティーフから成る変相図（大構図変相図とも）は、東アジアの仏教美術を特徴付ける一群類である。本研究は、この大画面の変相図が七世紀半ば頃の中国で定型を確立するに至るプロセスと、そこに働いた要件を探ることを目的としたものである。本題の前提として、「変」乃至は「変相」の語義、及びそれが本来如何なる造形に対する称であるかを確認しておく必要があり、僧伝・画史類を中心に、東晋から南北朝時代の史料中に見える早期の用例を拾いつつ検討を加えるとともに、俗文学（変文）研究や美術史学における先行の諸説を整理した。早期の用例はいずれも、仏教説話に取材した主題に基づく造形を変相と称している点で一貫しているが、特に注意すべきは、作品に対する評句に、尊容の生きてそこに在るような描出をいうものがしばしば認められることである。また「変」の本義については、運蔽の所説「変は動なり」（『寂照堂谷響続集』）を再確認する結果を得た。したがって、変相図とは、仏菩薩の出現をはじめとする様々な奇跡的事象が動的に変異する有様を叙事的・叙景的に表したもの、と捉えてよかろう。　叙事的変相図を代表する維摩経変相について、４世紀（遺例では５世紀）以来の画面構成の変化を追うと、雲のモティーフの導入が構図の複雑化、延いては大画面化と深く関連していることに気付く。方向性をもつ動体としての形と霊的エネルギーとしての意味をそなえた宝雲形の雲は、画面の構成員の空間的移動、動勢の強調、顕現や消失の表示など奇跡に関わる幾種もの演出の役割を担う。すなわち変の本義に沿う重要な因子であり、５世紀後半の雲を伴う中国式天人図像の出現、６世紀半以降の仏像様式の写実化に連動した乗雲図像の出現、という宝雲モティーフ自体の発達が、大画面変相図の成立を促す一要件となったことが確かめられる。これは、浄土変相のような叙景的変相図においても無視し得ないものであった。他の要件については今後の課題としたい。