BASIC PROBLEM OF ARCHITECTURAL COLOUR PAINTING PATTERNS IN MEDIEVAL TEMPLE

中世纪寺庙建筑彩绘图案的基本问题

基本信息

批准号：
06650714
负责人：
SAKURAI Toshio
金额：
$ 1.28万
依托单位：
KINKI UNIVERSITY
依托单位国家：
日本
项目类别：
Grant-in-Aid for General Scientific Research (C)
财政年份：
1994
资助国家：
日本
起止时间：
1994 至 1995
项目状态：
已结题

项目摘要

Basic design of religious architecture lies mainly on proportion of each member and its each part. Next comes the importance of architectural decoration of painting and coloring patterns. From the beginning main hall and pagoda were painted and colored inside to express the surrounding world of the main buddha image and to decorate the holly SHARI.In the next stage coloring decoration was added to the outside. Successively, coloring decoration was spread in the Heian period, in the Jyohdo-kyou architecture and then to the main hall of Mikkyou architecture. And there is a difference between the pagoda of Nantorokushuu and that of Mikkyou sect in decoration. In the middle age, there appeared geometiric coloring patterns and it went in fashion.The result made in this study are as followes :1. There are two types of traditional color painting. One is wall-painting, the other is architectural member painting such as painted on column, Nageshi, Kashiranuki, Mume, and so on.2. At first colori … More ng decoration was made for the ceiling to decorate Tengai. The pattern is mainly of vegetable such as rosetta colored in Ungen method. Gradually, animal pattern painting was put on large architectural member. In the Heian period, the wall at the back of the main buddha image they wrote the splendid world of AMIDA-JYOHDO.3. After having introduced Mikkyou sect, buddha image painting was made on column and around them geomeric coloring patterns were added up and down. In this sect pagoda was the first important architecture to express the whole world of DAINICHI-NYORAI so that inner space was highly decorated.4. The geomeric coloring patterns were appeared in the Kamakura period. Hossouge-karakusa pattern changed into Botan-karakusa pattern and Jyoutai-mon as connction pattern was used afterwards.5. Kinranmaki pattern was appeared in the Kamakura period. The pattern to decorate the upper part of column was recognized in the Nara period, but the pattern was not known in detail. The time goes on, Kinranmaki changes into complicated and decorative one. Botan-karakusa pattern also changes into Noshimon.6. In the momoyama period all the surface of the architectural members were fulfillled with every traditional pattern with coloring. The greater part of the member was covered with decorative coloring. But the outside of architecture was not colored.7. It is believed that the main hall in the Zen-sect is usually not colored. But the inner part is decorated with Benigara-coloring, moreover there are some main halls with color painting. It is well known that the upper space of Sanmon in the Zen sect was highly decorated with GOKUSAISHIKI. Less

宗教建筑的基本设计主要在于每个成员及其每个成员的比例。接下来是绘画和着色图案的建筑装饰的重要性。从头开始，主厅和宝塔在里面进行了涂漆，以表达主佛像的周围世界，并装饰冬青树。相反，在Heian时期，Jyohdo-kyou建筑，然后到达Mikkyou Architecture的大厅。 Nantorokushuu的宝塔和装饰中的Mikkyou教派之间存在差异。在中年，出现了几何形状图案，并且以时尚方式进行。这项研究的结果如下：1。传统颜色绘画有两种类型。一个是墙壁的，另一个是建筑成员的绘画，例如在柱上绘制，纳吉西，kashiranuki，mume等。2。最初的颜色……为天花板装饰tengai的天花板做了更多的ng装饰。该模式主要是蔬菜，例如以Ungen方法颜色的Rosetta。逐渐地，将动物图案绘画放在大型建筑成员身上。在海安时期，主要佛像后面的墙壁写着灿烂的世界 - jyohdo.3。在介绍了Mikkyou教派之后，在圆柱上进行了佛像图像绘画，并在它们周围添加并添加了佛像。在这个教派中，宝塔是第一个表达整个Dainichi-nyorai世界的重要建筑，因此内部空间的装饰高度4。地貌着色模式出现在川村时期。 Hossouge-karakusa模式变成了botan-karakusa模式，并用作jyoutai-mon，因为后来使用了连接模式。5。 kinranmaki模式出现在武士库时期。装饰色谱柱上部的模式在NARA时期被识别出来，但该模式在详细范围内尚不清楚。时间持续下去，金兰马基变成了复杂且装饰性的。 Botan-Karakusa模式也变成了Noshimon.6。在Momoyama时期，建筑成员的所有表面都充满了每种传统图案，并带有着色。会员的大部分都覆盖着装饰性着色。但是建筑的外部没有彩色。7。据认为，Zen区中的主厅通常没有彩色。但是内部的部分装饰有贝尼加拉颜色，此外，还有一些带有颜色绘画的主礼堂。众所周知，禅宗教派中的Sanmon的上层空间高度装饰了Gokusaishiki。较少的