{"id":36747,"date":"2022-05-07T06:34:54","date_gmt":"2022-05-06T21:34:54","guid":{"rendered":"http:\/\/kochihen.replan.ne.jp\/?p=36747"},"modified":"2022-05-09T19:11:13","modified_gmt":"2022-05-09T10:11:13","slug":"%e3%80%90%e5%a5%88%e8%89%af%e6%9c%9f%e3%81%a8%e7%8f%be%e4%bb%a3%e3%83%bb%e7%be%8e%e6%84%9f%e3%81%ae%e3%80%8c%e5%be%a9%e5%85%83%e3%80%8d%e3%80%80%e5%a5%88%e8%89%af%e3%83%bb%e5%b9%b3%e5%9f%8e%e4%ba%ac","status":"publish","type":"post","link":"http:\/\/kochihen.replan.ne.jp\/?p=36747","title":{"rendered":"\u3010\u5948\u826f\u671f\u3068\u73fe\u4ee3\u30fb\u7f8e\u611f\u306e\u300c\u5fa9\u5143\u300d\u3000\u5948\u826f\u30fb\u5e73\u57ce\u4eac\u63a2\u7d22-21\u3011"},"content":{"rendered":"

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English version\u2b07<\/p>\n

Nara Period and Modern Times, “Restoration” of Aesthetics, Exploration of Heijo-kyo, Nara – 21
\nRestoration” of the prestige architectural interior design from the democratic modern period to the pioneer period of the nation. Especially, it is difficult to find a way to express the products of imagination. …<\/p>\n

A reader friend of mine, Mr. N, expressed his discomfort about the “Four Gods Design” of yesterday.
\nHe expressed his discomfort especially with the expression “blue dragon”.
\nI also wrote about my impression of “a dog or a deer? I also wrote about my impression of the “blue dragon” design.
\nAs a person of our generation born in the Showa period, I would like to leave it for a long time to come.
\nThere are various opinions about the “Four Deities” that adorn the restored Daigoku-den Hall of the Heijo Palace.
\nAnother is the design of a tortoise and snake intertwined as “Genbu” (Genbu).
\nThe artist, Japanese-style painter Uemura Atsuyuki, says that it is completely original.
\nOn the other hand, the contrasting group of photographs shows a Gigaku mask from Horyuji Temple, which dates back to a slightly earlier period.
\nIn this period, when “realistic” sculpture was the norm, these masks are not at all deformed in terms of their intended use.<\/p>\n

In terms of its use, it seems to be a deformed work of expression.
\nIt is somewhat similar to the concept of the design of the four restored deities.
\nHowever, it is difficult to say whether this is the same as the concept of the mural design for the main hall.
\nIt is a question of what was the policy of the client side for the restoration.
\nHowever, we have no clue as to what the client’s policy was in the process of restoration.
\nAs a result, the artist’s expression remains as the idea of “Heisei no Restoration.
\nNaturally, we live in an era of democracy, and each sovereign person is free to decide how he or she perceives the work.
\nHowever, it is a fact that this work will remain as a “means” of architectural and design thought in the Nara period.
\nIt is also a fact that this work will remain as a “means” of architectural and design thought of the Nara period for posterity. Such is the difficulty.
\nI am sure that the people involved in this project must have faced many conflicts.<\/p>\n

Historically, Nara Heijo Palace was built during the Temmu and Jito periods.
\nFujiwara no Fuhito is said to have been in charge of the construction as de facto prime minister.
\nHe was the second son of Nakatomi Kamatatsu, and was educated as a “history (fumihito: scribe)” and a “Chinese” from a group of exiled bureaucrats from Baekje.
\nHe is said to have learned the framework of “Chinese thought” from a group of exiled bureaucrats from Baekje.
\nSpecifically, he was brought up in the house of Tanabe Fumihito Osumi (\u7530\u8fba\u53f2\u5927\u9685).
\nHe inherited their extensive knowledge of Chinese literature, Confucianism, Buddhism, and architecture.
\nHe was the most learned man of his time and had the latest knowledge at the highest level of learning.
\nHe distinguished himself when he was appointed as a “judge” in February of the 3rd year of Emperor Jito’s reign (689).
\nIt can be assumed that the Daigoku-den Hall of the Heijo Palace was constructed based on such knowledge.
\nTherefore, it is natural to assume that the architectural intention was to build an authentic Chinese national facility in Japan.
\nIt is natural to assume that the purpose of the construction was to build an authentic Chinese national facility in Japan.
\nWhat kind of expressions were used for the “four deities” in light of the historical background?
\nEspecially, what kind of expression would have been used for the gods Seiryu (Blue Dragon) and Genbu (Xuanwu), whose imaginative power is indispensable to the nation itself?
\nI wonder what kind of image would have flashed in Fujiwara no Fuhito’s mind when he chose the architectural decoration, which could be called the nation itself.
\nIf we imagine what kind of image came into Fujiwara no Fuhito’s mind when he chose the architectural decoration, which could be said to be the nation itself, this restoration seems somewhat strange.<\/p>\n

However, this is still a “restoration,” and the mother’s expression clues have also been lost.
\nIf we consider that the clues to Mother’s expression have been lost, we can understand that the fantastical and cute expressions of the present day
\nIf we think of it as a “Heisei restoration,” we may understand that it will be handed down to future generations.
\nHowever, in the age of free speech, it is a good opportunity to think about various things.<\/p>\n","protected":false},"excerpt":{"rendered":"

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