{"id":35273,"date":"2021-12-02T05:59:16","date_gmt":"2021-12-01T20:59:16","guid":{"rendered":"http:\/\/kochihen.replan.ne.jp\/?p=35273"},"modified":"2021-12-02T19:05:55","modified_gmt":"2021-12-02T10:05:55","slug":"%e3%80%90%e6%97%a5%e6%9c%ac%e7%94%bb%e3%80%8c%e6%a0%bc%e5%ad%90%e5%a4%a9%e4%ba%95%e9%a1%8d%e8%a3%85%e3%80%8d%e3%81%ae%e7%a9%ba%e9%96%93%e7%be%8e%e3%80%80%e6%b0%b8%e5%b9%b3%e5%af%ba-5%e3%80%91","status":"publish","type":"post","link":"http:\/\/kochihen.replan.ne.jp\/?p=35273","title":{"rendered":"\u3010\u65e5\u672c\u753b\u300c\u683c\u5b50\u5929\u4e95\u984d\u88c5\u300d\u306e\u7a7a\u9593\u7f8e\u3000\u6c38\u5e73\u5bfa-5\u3011"},"content":{"rendered":"

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English version\u2b07<\/p>\n

[Spatial beauty of Japanese painting “lattice ceiling framed” Eiheiji-5]
\nBy the way, the first place you can visit when visiting Eiheiji Temple is “Kasamatsukaku”.
\nIn the vast 156 tatami mat room, the ceiling is latticed, and the part separated by the frame is
\nEach of them is decorated with masterpieces of Japanese painting.
\nIt’s like Western stained glass. This Kasamatsukaku was built in 1945, so
\nI don’t really smell the design code from the Dogen era,
\nOn the other hand, the third photo is a ceiling painting of the Buddha Hall in Kenchoji, Kamakura, which is about the same period, and is a similar lattice painting.
\nIt is displayed on the Jizo Bodhisattva, the principal image of the Northern and Southern Dynasties.
\nThe building itself is said to be from the Edo period.
\nThe ceiling grid as a design code has been seen since the Asuka \/ Nara period,
\nThe ceiling like the one in the picture became a national culture during the Heian period. The width of the lattice tree is narrow and the squares between the lattices are
\nIt is very large and is widely used in Buddhist temples.
\nDrawing a picture in the void seems to be the core expression method of architectural crafts.<\/p>\n

Buddhist temple architecture is about the cultivation of Japanese space sensitivity
\nI think it will become clear that it has continued to play a very important role.
\nThe basis of architecture is to protect humans from the natural environment such as rain, wind, snow, and cold.
\nNext, a very natural act of “coloring the space” will occur.
\nThe Neanderthals painted on the walls of the cave
\nColoring the space must have been the original motive.
\nMankind accepts many experiences from nature during the day. From that image
\nA cutting-edge impression is memorized as an afterimage in my mind, creating a relaxing space like a cave.
\nI think the first motive was to draw up that passion.
\nThe strong impression of the animals that are the target of carnivorousness was struck on the rock campus as it was.
\nFrom such an afterimage that has high empathy as the same human emotion
\nSomething impressed human beings with something like peace and satisfaction.
\nPeople who visited in the first space of Eiheiji felt a sense of openness in the expanse of the space.
\nThen, experience how the hall without pillars is filled with ceiling paintings.
\nMaybe the religious space is for the realm of the human mind
\nThe purpose is to concentrate and talk to all architectural activities.<\/p>\n

Ceiling paintings by 144 famous painters at the time of Showa 5 are drawn.
\nThanks to the efforts of Komuro Suiun and others who painted the large mural painting in front of Mitsuakizo Eiheiji, a master of Japanese painting.
\nAraki Jippo, Ito Shinsui, Kawai Gyokudo, Kamoshita Akirako, Noda Kyuho, Shimada Bokusen, Masuda Gyokujo,
\nIt was drawn by a total of 144 Japanese painters such as Taisei Mizukami, Keichu Yamada, and Shoun Yamamoto.
\nAfter all, the expressive power of Japanese painting suits the spiritual space of Japan.
\nI want to take a closer look at each one as a Japanese painting.<\/p>\n","protected":false},"excerpt":{"rendered":"

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