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

研究成果概述在这项研究中，除了传统的雕塑文化资产研究方法外，我们还重点研究了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，我们考虑了保护文化资产的历史价值以及通过保护可以对此做出的贡献。在收集关于Jocho风格的历史数据时，我们使用了拜都因寺庙和Anrakujuin寺庙中的作品，这些作品清楚地标记着雕塑家的名字或生产日期，作为我们追溯这种风格发展到镰仓时期(1185-1333)的基础。我们比较了平安晚期和镰仓早期的作品，如水仁寺的极佐博萨巴(Ksitigarbha)，石山寺的Dainichi Nyorai(Vairocana)坐像，Dainichi Nyorai(Vairocana…)的坐像更多)来自Enjoji Temple和东京艺术大学Kaikei的Dainichi Nyorai(Vairocana)坐像等，进行研究和测量，以追踪从Jocho到Keiha风格的转变。我们还收集了来自全国各地的大量制作日期未知的珍贵作品的数据。利用这些数据，我们能够证实大田康久在他的著作《武藏佛教雕塑技法》(Butsuzo Choku Giho，1980)中提出的佛教雕塑按风格分类的体系，该书根据造像的客观测量或计算方法将日本佛教雕塑划分为不同的风格，同时产生了关于雕像的高/高比图案的新信息，而大田的作品中提供的数据很少。这项研究对于追溯从平安末期到镰仓早期的Jocho风格在传播到关东平原地区后的发展，那里的雕塑家与京都存在的联系，镰仓风格的接受等等，以及促进对被认为是Jocho风格的雕像的分析，都具有重要和重要的意义。我们的研究结果表明，尽管OTA在他的书中指出Jocho风格的雕像的测量系统(Kiwari)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

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