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강희정(姜熺靜) 한국미술연구소 2009 美術史論壇 Vol.- No.28
The first illustrated art catalogues in Japan, the Selected Relics of Japanese Art(Shinbi Taikan, 『眞美大觀』) was published from 1899. Until 1908, the publisher Shimbi shoin(審美書院) had completed all 20 books in the set. This set of the illustrated art catalogues can be highly valued as the first publication in Japan, which had established the foundation of Japanese art history during the Meiji(明治) period. These series presented almost every significant art works from the earliest times to the end of the Tokugawa(德川) period. The publisher said in the introductory remarks that they collected the important art relics from the Buddhist temples in Nara(奈良) and Kyoto (京都) and the private collections. All the books which bound Japanese style, have two types of plates, the foldout collotype plates on thick paper and the non-foldout collotype plates on thin woven paper folded over a sheet of thicker backing paper. And each plates are protected by a very thin paper like a tissue on which is printed the description and explanation on the plate in Japanese and English. The pictures in the books were photographed and collotyped by Ogawa Kazumasa(小川一眞) who participated in 'the survey and investigation of treasures in Ginki province(近畿寶物調査)' from 1888 with Ernest E. Fenollosa and Okakura Tenshin(罔倉天心). The photographs that Ogawa had taken during those periods were used several times in the publications including the Selected Relics of Japanese Art and the Histoire de l'Art du Japon. The publications with the collotyped photographs of Ogawa show us the first photographic reproduction of cultural property and the visual popularization through those photographs. From the Meiji period, the Japanese bureaucrats and intellectuals who served the government thought that the Buddhism and its art were equal to the Christianism. Therefore they argued the most important culture in Asia was the Japanese Buddhist art which the Japanese had preserved for a long time. In this point of view, the editors of the series, the Selected Relics of Japanese Art, chose the image of the Shakya(釋迦) triad in Kondo(金堂) of Horyuji(法隆寺) as the first plate in the book, volume one. Whether the art works could be a model for the artists was the only significant standard for the selection of the art works for the books. And the editorial boards regarded the ancient ones as the classic, which could be worth while for the scholars to investigate. Shimbishoin informed that the Selected Relics of Japanese Art was awarded the Gold Prize for printing in the 1900 Paris World Exposition. The series, which were the first illustrated art catalogues that fitted with the policy of the Meiji government, were the publication that opened the beginning of reproduction and distribution of cultural assets by photographs. Also the series projected by semi-governmental management were a visual embodiment of the Japanese art history constructed in the Meiji period.
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강희정 ( Hee Jung Kang ) 미술사와 시각문화학회 2005 미술사와 시각문화 Vol.4 No.-
This paper is an attempt to look into the Buddhist sites and sculptures of Bodhgaya in relation to the records of pilgrims from East Asia. In the travel accounts of the pilgrims, Bodhgaya is described as the place where Sakya-muni achieved his enlightenment. Early forms of the temple wltich were described by many pilgrims have vanished, leaving just some traces now covered by the later buildings. Good evidence for the original feature of the Mahabodhi temple was a relief from Bhrhut. Faxian noted that the spot of the Buddha`s enlighten-ment was marked by a tower. On the basis of a terracotta plaque from Kumara, some scholars suggested that this tower was built during the late Kushan period. When the Burmese Mission and the British archaeologists restored the temple in the late 19th century, a mittiature temple excavated near the site provided a source for reconstruction. Thus it came to have four corner towers around the main building. But there has been skepticism regarding the authenticity of the restored shape. Although its basic elements derived from the Maravijaya, the Buddha in bhumisparsa-mudra from Bodhgaya does not seem to be presented in a narrative spirit. Even though Xuanzang described the Buddha in bhamis-paria-mudrti and explained it meaning, there was no such Buddha image prior to the 7th century. Since tbe importance of the site increased for the pilgrims, the Buddha image in bhtlmisparia-mudra was regarded as a ref-erence to the enlightenment and the Vajrasana. Pipalleaves at the top of the Buddha image and a vajra on the lotus seat could be references to the Vajrasana. When the Chinese pilgrims returned to their homeland, they could have taken souvenirs like small votive objects such as votive seals, plaques, or miniature stupas. Many of terra cotta Buddha plaques excavated near Dayanta at Ciensi in Changan bear the inscription of "Indian Buddha image" in Chinese. These plaques remind us so much of small votive objects excavated by Alexander Cunningham in the Mahabodhi temple dur-ing the 19th century. These baked or sun-dried offerings were miniature clay stupas, the Buddhist creed sea lings , and votive plaques, There is no evidence that Faxian or Xuanzang took those sealings or votive objects to China, The material links with Indian remains and East Asian pilgrims leave a number of questions to be explored in depth.
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