Todaiji Temple Research Articles

Revealing the Dye Components in 1250-Year-Old Japanese Textiles Via High-Performance Liquid Chromatography

ABSTRACT Since the mid-eighth century, Shosoin textiles have been continuously handed down in the Shosoin treasure repository of the Todaiji temple, Japan, and the brilliant colors of these ancient textiles have been maintained in good condition thus far. In this study, the chemical stabilities of madders (Rubia akane and R. tinctorum), gromwell (Lithospermum erythrorhizon), and blue indigo dyes remaining in the textiles passed down for more than 1250 years were examined. The dye components remaining in the silk or wool textiles were analyzed by high-performance liquid chromatography equipped with a photodiode array detector. Chromatograms of the extracts from the textiles revealed not only the principal chromophores of the dyes but also 6-hydroxyrubiadin glycosides and shikonin esters in Japanese madder and gromwell, respectively. These results indicated that the chromophore skeletons, glycoside linkages, and ester linkages of the dye components were retained for more than 1250 years after the textiles were stored in the treasure repository. These findings of the chemical stability and the ongoing degradation of ancient natural dyes help in preserving the dye components and slowing down their degradation.

Cultural Exchange between Japan and Silla in Ancient Times - Focusing on the Sahari Kitchen Utensils Made in Silla in the Shosoin Ccollection of Todaiji Temple -

Cultural Exchange between Japan and Silla in Ancient Times - Focusing on the Sahari Kitchen Utensils Made in Silla in the Shosoin Ccollection of Todaiji Temple -

Camellia of the Shuni-e Ceremony at Nigatsu-do in Todaiji Temple

Camellia of the Shuni-e Ceremony at Nigatsu-do in Todaiji Temple

Tracing the Royal, Romantic and Demonic Roots of the Nio Warrior Guardian

The Nio (or Kongo Rikishi 金剛力士) door guardian or dvarapala symbolic figures that guard the famed Todaiji Temple of Nara, trace an ancient history from primitive roots in the narrative figure of the Vajrapani, attendant of the Buddha Shakyamuni across Asia, and even further back. The origins of this figure remain relatively vaguely defined in comparison to the intrigue caused by contemporary and medieval applications of the figure, and this research clarifies some apparent historic connections evidenced through visual symbolism to connect the vajrapani to royalty through the vajra, through dvarapala positioning, associations with the vajra and other aesthetic traits. The study suggests a possible transformation from the channavira, a decorative chain associated with fertility, depicted in early versions of the vajrapani, with the evolved, inhuman musculature of the more modern Nio guardian figures. This study then branches from Grunwedel’s association of the vajrapani with Mara by positing a possible aesthetic connection between early depictions of Mara’s army (tempters through which the Buddha has to pass in order to achieve enlightenment) and the Nio through channavira symbolism, mudras, positioning and body postures of predominantly the Sanchi Stupa. The Nio figures, while seemingly outlying icons of Mahayana Buddhism, have found resounding significance in modern and historic martial societies and religious orders. Clarifying their branching ancestry from the earliest vajra bearers, along with their cultural and historic significance will inform a modern understanding of their symbolic value, and the cultural understandings of existential circumstances that they confer.

The Aspects of Buddhist Education and Learning of Todaiji Temple in 17th-19th Century-Focusing on the introduction situation

The Aspects of Buddhist Education and Learning of Todaiji Temple in 17th-19th Century-Focusing on the introduction situation

中世前期東大寺の財政構造と鎮西米 : 「東大寺年中行事」を素材として

中世前期東大寺の財政構造と鎮西米 : 「東大寺年中行事」を素材として

Ancient Writings from the Nara Period in the Canopy of the Hokke-do Hall at Todaiji Temple

Ancient Writings from the Nara Period in the Canopy of the Hokke-do Hall at Todaiji Temple

Spectroscopic Analysis of Colorants Used for bachiru Carving Technique Found in the Shosoin Treasures

ABSTRACTThe Shosoin treasures, which include the belongings of Emperor Shomu (CE 701–756) and Empress Komyo (CE 701–760), have an honorable origin and have been continuously handed down for generations since the eighth century in the Todaiji temple in Nara, Japan. Some of the beautiful artifacts found among the treasures display the bachiru carving technique, in which a delicate pattern is produced by carving dyed ivory or antler using additional painting. To elucidate the colorants used for dyeing and painting in the bachiru technique, non-invasive scientific analyses using fiber optic reflectance spectrometry in the visible region, X-ray fluorescence spectroscopy, and X-ray diffraction were performed for eight treasures: a go game board, two go pieces, a nyoi (ritual nail pole), a kugo harp, a bird-shaped accessory, a kaburaya arrow, and a ritual ruler. Second derivatization of the reflectance spectra led to characterization of the dyes in the treasures as sappanwood, lac, madder, gromwell, and indigo. Lac and atacamite were respectively identified in the red and green areas of the painting by reflectance spectrometry and X-ray diffractometry. These results indicated the use of a variety of colorants for the bachiru carving technique in the eighth century.

Scientific analysis of Japanese ornamental adhesives found in Shosoin treasures stored since the mid-eighth century

Abstract Shosoin treasures, stored in Japan continuously since the mid-eighth century, represent an important collection of beautifully decorated housing artworks made by gluing a variety of ornaments such as marquetry, metal, crystal, pearl, and amber. The ornamental adhesives used in the treasures were scientifically characterized by nondestructive methods such as attenuated total reflectance Fourier-transform infrared spectroscopy (ATR/FTIR) and X-ray analyses. FTIR spectroscopy was applied to the fragments of the following treasures: a red sandalwood armrest with marquetry decorations dedicated to Great Buddha of the Todaiji temple by Empress Komyo (701–760 AD), two biwa lutes with marquetry decoration, and the imperial ceremonial headdresses of Emperor Shomu (701–756 AD), Empress Komyo and Empress Koken (718–770 AD). Second-derivative transformation of the FTIR spectra identified the adhesives on the marquetry fragments as animal glue. The adhesives on the fragments of metal, crystal, pearl, and amber ornaments from the headdresses were identified as frankincense according to their IR absorbance and the second-derivative spectra. X-ray diffraction experiments and X-ray fluorescence spectrometry of the adhesives on the fragments of metal, crystal and pearl indicated that orpiment (As2S3) was mixed with the adhesives.

Scientific evidence by fluorescence spectrometry for safflower red on ancient Japanese textiles stored in the Shosoin Treasure House repository

Shosoin textiles, handed down from the eighth century in Nara, Japan, have entranced many people with their beautiful colors made from natural dyes. Dye analysis of the Shosoin textiles, including the red carpet laid inside the workshop hall at the Todaiji Temple in Nara, used for the inauguration of the statue of the Great Buddha in the temple in 752 AD; a red undergarment and a gown with a tie-dyed design worn by craftsmen in the Todaiji Temple; and embroidered shoes belonging to Empress Komyo (701–760 AD), were conducted by excitation–emission matrix fluorescence spectrometry equipped with a fiber optics probe. Comparison of the spectra to references identified safflower red (Carthamus tinctorius L.) in the red or orange areas on these original textiles. The spectrometry of the gown and the shoes offered the identification not only of safflower red but also of amur cork tree. This study finds these examples to be the oldest scientifically confirmed presence of safflower red on historic textiles at present.

East End of “Silk Road”—“Shoso-in” of Japan

“Shoso-in” is located behind the Hall of Great Buddha of Todaiji Temple in Nara city of Japan and it is known to the world with its storage of cultural relics of successive dynasties, most of which are valuables handed down from Japan’s royalty, nobility and Buddhist assembly in Nara and Heian periods of Japan. At that time, Japan's central government, princedoms, regional governments, including many large monasteries, had the establishment of “official warehouse”, which served as the main storehouse for storing rice expropriated by the state as well as silk, iron products and other property and the various storerooms were divided into different blocks to form “Shoso-in”. Today, only the Shoso-in of Todaiji Temple stands the test of the long history and others have disappeared. Since the 8th year of Meiji Period, Shoso-in broke away from Todaiji Temple and is under state administration and Japan government ordered to permanently conserve the “treasures” inside. Since then, Japan Shoso-in become an authentic independent “museum”. Shoso-in in Japan is greatly favored by the world, firstly because that it boasts a history of more than 1200 years and is blessed with a great variety of collections, most of which are donated by royalties; secondly because that since the 30th year of Showa when Shoso-in in Japan is relocated from old treasure-house to the newly-structured treasure-house, the cultural relics are better protected. According to the literatures, the collections conserved in Shoso-in almost stand intact and this is rare in the history of world conservation, facilitating the investigation and repair work of researchers.

Dye Analysis of Shosoin Textiles Using Excitation−Emission Matrix Fluorescence and Ultraviolet−Visible Reflectance Spectroscopic Techniques

The dyes of 8th century textiles, treasured for more than 1250 years in the Shosoin treasure repository in Japan, were analyzed by nondestructive methods, i.e., excitation-emission matrix (EEM) fluorescence and ultraviolet-visible (UV-vis) reflectance spectrometry, in combination with natural dye references extracted from plants, which have been widely used from ancient times. In this analysis, five dyes were found in the following objects: embroidered shoes dedicated to Great Buddha of the Todaiji temple by the empress of that time, the cloth lining for a case holding a mirror belonging to the emperor of that time, two rolls of yellow and light green plain-weave silks, and a sleeveless coat used for a musical in a Buddhist ceremony in 752 A.D. EEM fluorescence spectrometry distinguished kihada yellow (Amur cork tree), kariyasu yellow (eulalia), and akane red (Japanese madder). UV-vis spectrometry also distinguished kariyasu yellow, ai blue (knotweed), akane red, and shikon purple (murasaki); the characteristic peaks of these dyes were detected by a second derivatization. The results show that although the dyes used easily degrade with age, EEM fluorescence and UV-vis reflectance spectrometry are useful for distinguishing dyes used in the Shosoin textiles, which had been stored for more than 1250 years.

Molecular pharmacology of insect ion channels and implications for insect toxicology

Safe insecticides are essential if agriculture is to generate adequate supplies of high quality food, maintain the health of farm animals and ensure that human populations secure effective control of major disease vectors. Insect central and peripheral nervous systems contain important molecular targets of chemicals used to control insects. Insecticides with new modes of actions are under development, and several major new target molecules are emerging. Meanwhile, resistance to the current generation of insecticides continues to develop, restricting the long-term utility of these valuable chemicals. Also, methods for investigating the mechanisms of action, safety, and resistance are advancing at an accelerated pace. Modern insecticides offer improved selectivity for the target organism and understanding the mechanisms responsible may yield a future generation of effective control chemicals with reduced environmental impact. The 11th International Congress of Pesticide Chemistry (ICPC), which took place in Kobe, Japan from 6 to 11 August in 2006, chose this year as an opportune time to revisit current developments at the leading edge of research on the molecular pharmacology of ion channels targeted by insect control chemicals. This was the 2nd ICPC meeting to be held in Japan. An earlier symposium was held in Kyoto in 1982. Thus, two of us (Kazuhiko Matsuda of Kinki University, Nara and Yoshihisa Ozoe of Shimane University, Matsue) planned to invite world-leading scientists to Kinki University School of Agriculture (Fig. 1) for a satellite symposium entitled ‘‘Frontiers in Molecular Neurotoxicology’’ on August 4 prior to the start of ICPC 2006. The venue for the meeting, Kinki University School of Agriculture, is located about 6 miles west of the historical city of Nara. The city was built as the capital of Japan in 710 and still today contains many World Heritage sites, notably Todai-ji Temple, Kofukuji Temple, Kasuga-Taisha-Shrine, Gango-ji Temple, Yakushi-ji Temple, Toshodai-ji Temple, Nara Palace Site and Kasugayama Primeval Forest. Kinki University consists of 11 schools and 44 departments and was founded as the Osaka Technical College in 1925. The University started with the School of Engineering and the School of Commerce, both of which have grown to become the modern School of Business and Economics. Its strong links with Agriculture were developed in the second half of the twentieth century and the School of Agriculture was introduced in 1958. In 1989, the location of the School of Agriculture moved from Higashi Osaka to Nara. The aim of the 2006 symposium was to enhance our understanding of the current status and future perspectives in the field of molecular pharmacology of primarily insect ion channels. Authors have adopted various approaches, often in combination, and these K. Matsuda (&) Department of Applied Biological Chemistry, School of Agriculture, Kinki University, 3327-204, Nakamachi, Nara 631-8505, Japan e-mail: kmatsuda@nara.kindai.ac.jp

Digital Restoration of The Original Great Buddha and Main Hall of Todaiji Temple

Digital Restoration of The Original Great Buddha and Main Hall of Todaiji Temple

The Discovery of a Great Sculptor: Kimimaro of the Nara Period (710-793)

The Nara era (710-794) with its sculptures may be considered as one of the best flourishing period, not only in Japanese art history, but also that of the world art. Among these art works we can single out for example the statue of Fuku-Kenjaku Kannon [Fig. 1] and those of the Nikko and Gakko Bosatsu [Figs. 2, 30] in Sangatu-do in Todai-ji temple, executed in dry lacquer or in day, which combine sublimity and the human aspects in one art work. Shitsukongo-shin [Fig. 18], which is stylistically close to the four statues of the warrior, Shitenno [Fig. 16], in Kaidan-in at the same temple, expresses a profound feeling of anger. Also in Shin-Yakusi-ji there are twelve statues of 12 Shinsb and their attitudes are uniquely expressive. Similarly Ganjin, the famous portrait of a blind bonze [Fig. 35] in meditation at Toshodai-ji temple, seems to us to be touched with the deepest humanity, while Gyosin-sozu, portrait of a bonze, at Horyu-ji tempie [Fig. 36] gives us an impression of firm will in a realistic figure. Each statue is considered a masterpiece for its universal artistic, not simply its religious, value, and we can compare this with sculptors from classical Greece or the Italian Renaissance period. Despite such artistic values, the historians of Japanese art have not paid much attention to the particular artists, because, according to them, we don't have primary sources, which would identify the sculptors. However, we already know from many other documents, which mention the names of sculptors who worked for the large temples. For Todai-ji temple, Kuninaka-nomuraji Kimimaro is well known as the head of the studio (Zo Todai-ji-shi). We must try to attribute the artists' names to the concrete works. However historians do not offer satisfactory analyses of the styles of each artist, but they insist on co-production in the studio under one's direction. They do not consider that the sculptures were as personally executed in that period. From their point of view we can not appreciate a personal style in any single piece. Naturally we accept the collaboration of the studio, but in the case of the creation of the main work, it is extremely likely that somebody personally created a figure in a particular and very personal style. In this article we try to propose attributions to Kimimaro, based on studies of style of the various sculptures considered here.

酸性雨による生態系影響などの被害 東大寺など文化財への大気汚染による影響

酸性雨による生態系影響などの被害 東大寺など文化財への大気汚染による影響

An Architectural Drawing on Daibutsu Hall at Kamakura era in Todai-ji Temple

An Architectural Drawing on Daibutsu Hall at Kamakura era in Todai-ji Temple

On the Rebuilding of Todaiji Temple in the Edo Period

On the Rebuilding of Todaiji Temple in the Edo Period

On the Ritual Spaces in the Buddhist Ceremony Called Shuni-e at Todai-ji Temple

On the Ritual Spaces in the Buddhist Ceremony Called Shuni-e at Todai-ji Temple

A Study on the Medieval Manor, Yamato-no-kuni Otogi-no-sho in Nara Basin

One of the most remarkable rural landscapes in south-western Japan is the paddy field which strips are divided by Jori system in ancient times under the Ritsuryo regime. We can observe the trace of its system everywhere in the alluvial plains of these regions. So many manors in Kinki district established from Heian to Kamakura era (late 8th century-early 14th century), Kinai-Type manors, are influenced by this Jori system: Otogi-no-sho and others which belong to the Ichijo-in or Daijo-in branch of Kofuku-ji Temple and the Todai-ji Temple in Nara Basin (Sho means manor).In the case of Otogi-no-sho, we can find historical materials of some archives and a manor plan: so called Otogi-no-sho Jori Tsubotsuke-zu (Zu means plan). The result that the writer reconstituted this manor, he found out the facts as follows:1) In the middle of Kamakura era (the late 13th century) the medieval manor Otogi-no-sho was composed of nineteen myoshu's (Myoshu means the villager who hold paddy fields in the manor). Judging from the location of tsukuda's (Tsukuda means the demesne and the most fertile paddy field in this manor), the writer can classify them into three groups:(a) The group which composed from ten myoshu's: each have tsukuda's in Tsukuda-tsubo (the most fertile paddy field in this manor). They are Azukaridokoro, Gesu-myo, Shoji, Goheizo, Zen'en, Zengaku, Zensho, Zokyo, Ryofutsu and Naramaru.(b) The group which composed from seven myoshu's: each have tsukuda's in Juikka-tsubo (better paddy field in this manor). They are Gotoji, Goheita, Sakan, Shiro, Zosho, Tonai and Heitaro.(c) The group which composed from two myoshu's: each have tsukuda's except in Tsukudatsubo and Juikka-tsubo. They are Kaishin and Togoro.2) In regard to their arable land, probably paddy field (myoden's, jishiden's, kujiden's, etc.), the writer could distinguish them after three conditions: form of strip, location of cultivated land, and condition of irrigation.The myoshu's who hold the arable lands under relatively disadvantageous conditions are included not so much in (a) group as in (b) and (c) groups, because (a) group had the best paddy field in this manor earlier than the rest.3) We can understand that this medieval manor was organized through three steps at least.The facts found in this paper (so-called manorialization) have relation to the historical process in the formation of compact village in Otogi-no-sho.