皿井 舞

<p>東日本大震災における文化財レスキュー活動で蓄積された日報の全体像を把握するため、活動内容・対象文化財・被害状況・参加者の属性の4 種類の要素をカテゴリ化して因子分析を行い21の因子を抽出した。因子分析の結果として、密なコミュニケーションが非常に重要であることが明らかとなった。またレスキュー活動は文化財の専門家等が行うもの、特定の文化財に限らず何らかの専門的な知識・技術に長けた参加者が行うもの、一般的参加者が実施可能なものの三つに大別された。また因子得点の平均値に基づいて時系列・施設別の特徴も抽出された。本分析によってレスキュー活動記録から震災対策の基礎データが得られることが明らかとなり、震災時の記録の在り方に関しても有益な示唆が得られた。</p>

コレクション : 国立国会図書館デジタルコレクション > 電子書籍・電子雑誌 > 独立行政法人

In previous studies by the National Research Institute of Cultural Properties, Tokyo and Dunhuang Academy, two types of blue colorants have been identified in Mogao Cave 285:a colorant which is supposed to be composed of lapis lazuli, and a colorant which is supposed to be composed of orpiment and indigo. In this study, investigation of the blue coloring material of the wall paintings on the east wall of Mogao Cave 285 was conducted by means of observation using a microscope, X-ray fluorescence spectroscopy and near infrared spectroscopy. The results suggest the existence of another type of blue colorant which is difficult to be classified into either category identified in previous studies.

Tomishima Yoshiyuki, the author of this book and an architectural historian, is a noteworthy scholar who has also published a succession of works on art history and subjects from other related academic fields. This book is such an example, a large tome of some 453 pages based on Tomishima's doctoral thesis. In the work Tomishima establishes a new architectural methodology that includes within its purview not only architectural space itself but also the Buddhist sculptures and paintings that appear within those architectural spaces. This work explores the development of religious ideology that underscores the mikkyô kûkan, or esoteric sect spaces, of ancient and medieval period Japanese temples. This exploration seeks to reveal an actual image of the worldview of the medieval belief systems, in detail, through his clarification of, “i) Formation and Development of Esoteric Mandala Spaces, ii) The Connections between Esoteric Mandala Space and Esoteric Ritual Space and iii) The Actual Religious Fusion that occurs in Esoteric Spaces.” He further seeks to construe “the logic system that links society with religion and the worldview (exoteric-esoteric cosmologies) that embraces them both.” Bibliography: Tomishima Yoshiyuki, Mikkyô Kûkan Shiron, Tokyo: Hôzôkan, 2007.

The Nara national Museum held an exhibition entitled Ko-Mikkyô : The Incipient Stages of japanese Esoteric Buddhism from July 26 through September 4, 2005. This epic-making exhibition was the first to present the arts of so-called zômitsu, the incipient from of esoteric Buddhism prevalent in the Nara period before Kûkai brought the more systematized from of esoteric Buddhism, known as junmitsu, or pure esoteric Buddhism, from China. In fact, the dichotomy of junmitsu and zômitsu is an educational framework created in the modern paradigm, and it should be indicated that it is not necessarily in line with historical facts. Thus, it can be considered that the aim of this exhibition was to clarify our understanding of the actual state of affairs in Nara period Buddhism and Buddhist arts by using the concept of ko-mikkyô, ancient esoteric Buddhism, to reconstruct the environment and places of use for the various visual arts forms that were made suring the Nara period. An additional aim was to consider how such matters then were taken up and continued in Buddhism in the succeeding Heian period.