A comparative study of Jocho-style based on 3D digital data of Buddhist statuary centers round Amida Nyorai (Amitabha Tathagata) of Byodo-in temple and Joruriji temple

研究结果摘要在这项研究中，除了研究雕塑中文化资产的传统方法之外，我们还重点关注使用红外三维激光扫描获得的测量结果，以增加对Jocho风格雕塑发展的了解。同时，我们也考虑到了文化遗产的保存的历史价值以及通过保存可以做出的贡献。在收集有关北曹风格的历史资料时，我们使用了标堂寺和安乐院寺的作品，上面清楚地标明了雕刻家的名字或制作日期，以此为基础，我们可以追溯到镰仓时期的风格发展（1185-1333）。我们比较了平安时代晚期和镰仓时代早期的作品，如属于瑞林寺的地藏菩萨（地藏菩萨），来自石山寺的大日若来（大日若来）的坐像，大日若来（大日若来）的坐像， ...更多信息 ）和东京艺术大学的Kaikei的Dainichi Nyorai（Vairocana）坐像等，进行研究和测量，以跟踪从Jocho到Keiha风格的过渡。此外，我们还收集了大量来自全国各地的珍贵作品的数据，这些作品的生产日期不详。根据这些数据，我们能够证实大田小北在他的著作《佛教造像志》中提出的佛教造像风格分类系统（佛教雕塑技术，Sogeisha，1980年），根据佛像建造的客观测量或计算方法将日本佛教雕塑分为各种风格，同时产生关于雕像的高度/深度比模式的新信息，OTA的工作中几乎没有数据。这项研究对于追溯平安晚期到镰仓早期的和成风格在传播到关东平原地区之后的发展、那里的雕塑家与京都的雕塑家之间的联系、对镰仓风格的接受等都是重要的和有意义的。我们的研究结果表明，虽然OTA在他的书中指出，Jocho风格雕像的kiwari（测量系统）是基于人物的发际线，但从我们的三维数据中获得的微小测量似乎表明，它可能会更少

Summary of Research ResultsIn this research, we have focused on measurements obtained using infrared three-dimensional laser scanning in addition to conventional methods of study of cultural assets in sculpture, to increase understanding of the development of the Jocho style of sculpture. Simultaneously we considered the historical value of the conservation of cultural assets and the contributions that can be made to this through preservation.In the collection of historical data on the Jocho style, we used the works housed in the Byodoin and Anrakujuin Temples, which are clearly marked with the sculptor's name or date of production as a base from which we traced the development of the style into the Kamakura period (1185-1333). We compared works created in the late Heian to early Kamakura periods, such as the Jizo Bosatsu (Ksitigarbha) belonging to Zuirinji Temple, the seated figure of Dainichi Nyorai (Vairocana) from Ishiyamadera Temple, the seated figure of Dainichi Nyorai (Vairocana … More ) from Enjoji Temple and the seated figure of Dainichi Nyorai (Vairocana) by Kaikei belonging to the Tokyo University of the Arts, etc., carrying out studies and measurements to trace the transition from the Jocho to Keiha styles. We also collected data on numerous valuable works from around the country whose dates of production are unknown.Using this data, we have been able to substantiate the system of classification of Buddhist sculpture according to style proposed by OTA Koboku in his book Butsuzo chokoku giho (Buddhist Sculpture Techniques, Sogeisha, 1980), that divides Japanese Buddhist sculpture into various styles according to objective measurements or calculation methods for statue construction, while simultaneously producing new information on the height/depth ratio pattern of statues for which little data was presented in OTA's work. This research is both important and significant in tracing the development of the Jocho style from the late Heian to early Kamakura periods following its spread to the Kanto plain area, the connection that existed between sculptors there and in Kyoto, the acceptance of the Kamakura-style, etc., and promoting analysis of the statues considered to be Jocho-style.The results of our research would indicate that although OTA stated in his book that the kiwari (measuring system) of Jocho-style statues was based on the hairline of the figure, the minute measurements acquired from our three-dimensional data would appear to indicate that it might Less