{"title":"向后看:伊彭的插图生活和中世纪日本因果报应的可见性","authors":"C. Foxwell","doi":"10.1353/AAA.2016.0000","DOIUrl":null,"url":null,"abstract":"Abstract:The Ippen hijiri-e (Illustrated Life of the Holy Man Ippen, 1299) by En’i is distinctive among medieval Japanese hagiographic emaki (picture handscrolls) for its use of a high, distant vantage point in each of the forty-eight scenes. This article situates the Ippen within the development of the landscape handscroll in East Asia. While the Ippen is usually understood as a biographical narative, it can also be seen as an ink landscape journey in handscroll form. A comparison between the Ippen hijiri-e, the Shōjūraigoji Six Realms paintings (before 1307), and the Yamai no sōshi (Scroll of Afflictions, 12th–13th centuries) suggests that the pulled back view also emphasizes the karmic interweaving of actions and individuals in the larger world.","PeriodicalId":41400,"journal":{"name":"ARCHIVES OF ASIAN ART","volume":null,"pages":null},"PeriodicalIF":0.2000,"publicationDate":"2016-04-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/AAA.2016.0000","citationCount":"1","resultStr":"{\"title\":\"The Pulled Back View: The Illustrated Life of Ippen and the Visibility of Karma in Medieval Japan\",\"authors\":\"C. Foxwell\",\"doi\":\"10.1353/AAA.2016.0000\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"Abstract:The Ippen hijiri-e (Illustrated Life of the Holy Man Ippen, 1299) by En’i is distinctive among medieval Japanese hagiographic emaki (picture handscrolls) for its use of a high, distant vantage point in each of the forty-eight scenes. This article situates the Ippen within the development of the landscape handscroll in East Asia. While the Ippen is usually understood as a biographical narative, it can also be seen as an ink landscape journey in handscroll form. A comparison between the Ippen hijiri-e, the Shōjūraigoji Six Realms paintings (before 1307), and the Yamai no sōshi (Scroll of Afflictions, 12th–13th centuries) suggests that the pulled back view also emphasizes the karmic interweaving of actions and individuals in the larger world.\",\"PeriodicalId\":41400,\"journal\":{\"name\":\"ARCHIVES OF ASIAN ART\",\"volume\":null,\"pages\":null},\"PeriodicalIF\":0.2000,\"publicationDate\":\"2016-04-26\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"https://sci-hub-pdf.com/10.1353/AAA.2016.0000\",\"citationCount\":\"1\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"ARCHIVES OF ASIAN ART\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.1353/AAA.2016.0000\",\"RegionNum\":1,\"RegionCategory\":\"艺术学\",\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"0\",\"JCRName\":\"ART\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"ARCHIVES OF ASIAN ART","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1353/AAA.2016.0000","RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"ART","Score":null,"Total":0}
引用次数: 1
摘要
摘要:恩井的《伊本圣人生活画册》(Ippen hijiri-e, 1299年)在中世纪日本的圣徒手卷(图片手卷)中与众不同,因为它在48个场景中都使用了一个高而远的有利位置。本文将Ippen置于东亚山水手卷的发展之中。虽然《笔》通常被理解为传记叙事,但它也可以被视为手卷形式的水墨风景之旅。Ippen hijiri-e, Shōjūraigoji六界画(1307年以前)和Yamai no sōshi(12 - 13世纪的苦难卷轴)之间的比较表明,向后拉的观点也强调了在更大的世界中行为和个人的业力交织。
The Pulled Back View: The Illustrated Life of Ippen and the Visibility of Karma in Medieval Japan
Abstract:The Ippen hijiri-e (Illustrated Life of the Holy Man Ippen, 1299) by En’i is distinctive among medieval Japanese hagiographic emaki (picture handscrolls) for its use of a high, distant vantage point in each of the forty-eight scenes. This article situates the Ippen within the development of the landscape handscroll in East Asia. While the Ippen is usually understood as a biographical narative, it can also be seen as an ink landscape journey in handscroll form. A comparison between the Ippen hijiri-e, the Shōjūraigoji Six Realms paintings (before 1307), and the Yamai no sōshi (Scroll of Afflictions, 12th–13th centuries) suggests that the pulled back view also emphasizes the karmic interweaving of actions and individuals in the larger world.
期刊介绍:
Since its establishment in 1945, Archives of Asian Art has been devoted to publishing new scholarship on the art and architecture of South, Southeast, Central, and East Asia. Articles discuss premodern and contemporary visual arts, archaeology, architecture, and the history of collecting. To maintain a balanced representation of regions and types of art and to present a variety of scholarly perspectives, the editors encourage submissions in all areas of study related to Asian art and architecture. Every issue is fully illustrated (with color plates in the online version), and each fall issue includes an illustrated compendium of recent acquisitions of Asian art by leading museums and collections. Archives of Asian Art is a publication of Asia Society.