THE STUDY OF RESTORATION FOR THE VOTIVE PICTURE TABLETS PAINTING IN PRE MODERN TIMES (EDO PERIOD)

近代（江户时期）供奉图匾画修复研究

• 批准号: 08610327
• 负责人: DATE Hitomi
• 金额: $ 1.6万
• 依托单位: Gangoji Institute For Cultural Property
• 依托单位国家: 日本
• 项目类别: Grant-in-Aid for Scientific Research (C)
• 财政年份: 1996
• 资助国家: 日本
• 起止时间: 1996 至 1997
• 项目状态: 已结题
• 来源: https://kaken.nii.ac.jp/grant/KAKENHI-PROJECT-08610327/
• 关键词: votive picture tablets painting; Kisyuu Thosyogu; stop peeling off the paints; private painters; Dousa (dissolving alumi with glue water); glue; paints; group of Thosyogu; 剥落止め

We investegated the votive picture tablets painting which have taken restorations and Kisyuu Thosyogu's votive picture tablets, continuously as last year. We found through the investgation of kisyuu Thosyogu's tablets, all of them were restorated by private painters of the Kishyuu clan.There is different cercumstance between inherited paintings, fine arts and votive picture tablets. The votive picture tablets painting were in natural condition in temples and shrines, and they were dedicated for thanks or wishes so people hardly consider about restorations. So restoration technique, method, materials were not standardized and the restorations have many problems. Restorations caused destruction or loseing of original painting.The private painters of the Kisyuu clan restorated the votive picture tablets conventionally, but they had to use other way as useual. For example, to stop peeing off the paints. Even if painters understood just to supply glue to stop peeling off, they had trial and error to supply glue to find collect way. The ones which were templetely repainting after removeing original paints have remained good condition still now, but others which were traced the original painting faithfully or to stop pelintg off the paints were in bad condition.I think that were caused by the way of restoration and the painters skill of restoration might be a cause, too.And the flames of votive picture tablets were sometimes renewed when they were restorated.

我们像去年一样，继续调查了已经被取消的许愿画和Kishuu Thosyogu的许愿画。通过对纪修图板的研究发现，这些图板都是纪修家族的私人画家所绘，传承绘画与美术、许愿图板之间存在着不同的关系。在寺庙和神社中的许愿画是在自然状态下绘制的，它们是用于感谢或愿望的，因此人们很少考虑祭祀。修复技术、方法、材料不规范，存在诸多问题。修复造成了原画的破坏或丢失，喜修家族的私人画家们按照传统的方式修复了许愿图牌，但他们不得不使用其他方法。例如，停止从油漆上撒尿。即使画家们理解只是为了防止剥落而提供胶水，他们也要反复试验，以找到收集胶水的方法。那些在撤去原漆后进行了庄严的重绘的，至今还保存完好，而那些忠实地再现原画或为了防止掉漆而重绘的，则保存不好，我想这与修复的方式和画家的修复技巧有关，而那些许愿的画像牌在修复时，有时会重新燃起火焰。

项目成果

伊達仁美: "近世における絵馬(板絵)の補修方法の研究-紀州東照宮の絵馬を例として-" 元興寺文化財研究所創立三十周年記念誌. 166-172 (1997)

伊达仁美：《近代早期许愿牌位（板画）修复方法研究——以纪州东照宫的许愿牌位为例——》纪念元兴寺文化遗产研究所成立30周年期刊166-172（1997）

伊達仁美: "白馬(四ヶ庄)の絵馬-澤渡神明宮・嶺方諏訪神社を主として-" 白馬村誌編纂通信『四ヶ庄』. 5. 2-6 (1998)

伊达瞳：“白马（鹿所）的绘马 - 主要是泽渡神明神社和峰形诹访神社 -”白马村杂志编译新闻“鹿所”5.2-6（1998）。