STUDY ON THE RECONSTRUCTION OF THE FIRST IMPERIAL AUDIENCE HALL, HEIJO PALACE 3 Coloring / Fittings(2010)

Research Report Vol. 82

Nara National Research Institute for Cultural Properties

 

English Contents and Surmmary

 

Contents

　Chapter I Process of review and creation of report

1 Process of review 1

2 Creation of report 3

　Chapter II Walls of the Daigokuden Hall from the perspective of painting data, literary documents, and historical data

1 Introduction 6

2 Walls of the Daigokuden Hall from the perspective through painting data 6

3 Walls of the Daigokuden Hall from the perspective through Yusoku kojitsu (lit. Ancient practices and usages) 9

4 Conclusion 12

　Chapter III Case studys

1 Coloring in the Nara period

A Introduction 13

B Major colorants and “ungen-saishiki” coloring techniques in the Nara period 13

C Exploration of colored relics of Japan in good condition 15

D Summary 17

2 Research on patterns at Shosoin temple

A Purpose of research 23

B Research method 23

C Summary 24

D Future tasks 24

3 Names of colorants of color paint used in ancient times

A Introduction 40

B Names of colorants from the perspective of the historical data of ancient Japan 40

C Names of colorants from the perspective of the historical data of ancient China 42

D Study on ancient colorants and colorant names in Japan 43

E Conclusion 45

4 Materials and structure of murals in the Nara period

A Ancient murals 47

B Exceptions in mural pigments 54

5 Palace murals of China

A Introduction 58

B Han dynasty - Appearance of almost all palace mural motifs. 58

C Wei, Jin, Southern and Northern Dynasties - Northern Dynasty hothouse/warm room and main hall murals of sages and Southern Dynasty prurient murals 60

D Tang dynasty - Portraits of meritorious retainers, achievements of ancient dynasts and retainers, and landscapes 63

E Conclusion 65

6 Coloring of the Daigokuden Hall friezes - Layout of the icons of the four guardian deities

A Introduction 68

B Positions of colored sections in the reconstructed Daigokuden Hall and questions concerning layout of the four guardian deity icons 68

C Layout of the four guardian deity icons as represented on the Goguryeo ancient burial mound murals 70

D Conclusion 74

7 Coloring of the friezes of the Daigokuden Hall from the perspective of historical data

A The four guardian deities and the twelve signs of the Chinese zodiac75

B Comparison with the Daigokuden Hall in the Heian period 78

C The friezes of the reconstructed Daigokuden hall 81

8 Changes in hosoge patterns in the early eighth century

A Introduction 83

B Hosoge patterns on the statues of the Hokkedo/ Kaidando hall of Todaiji temple 83

C Hosoge patterns on the dry lacquer statues of the Hokkedo hall 84

D Comparative study with related domestic data/materials 85

E Study of the data/materials of Tang dynasty/Silla kingdom 85

F Hosoge patterns in approx. early eighth century 86

9 Central decorations of the main ridge inform the perspective of the historical data of ancient China

A Introduction 101

B Changes in the central decoration of the main ridge in Chinese ancient architecture101

C India and the lotus flower 105

D Summary 107

　Chapter IV Process of reconstruction design

1 Coating coloring of wooden parts 108

2 Wall coloring

A Stud wall 113

B Frieze 113

3 Decorative fittings

A Lumber-end fittings 117

B Daiwa fittings 119

C Doorway fittings 119

D Railing fittings 122

E Ogami fittings 124

4 Central decoration of the main ridge 126

5 Futaku (lit. wind bell)

A Introduction 128

B Outlines of heirloom and excavated Futaku of the Hakuho / Nara period 128

C Design of the Futaku of the primary Daigokuden Hall in Heijo-kyu Palace 131

D Conclusion 133

　Chapter V Reconstruction plan 138

Contents and summary in English

 

　Summary

　In 710, the national capital was constructed in the area of the present Nara City. The Nara Palace was located at the center of the northern area of the capital, extending approx. 1.3 kilometers in the east-west direction and one kilometer in the north-south direction. The Nara Palace included not only the imperial residence, but also spaces for rituals and the affairs of State. During the first phase of construction of the Nara Palace, the Daigokuden Hall (“primary Daigokuden Hall”) was built in the center. The Daigokuden Hall was the main building of this Daigokuden Hall complex. The national Capital, however, was relocated to the Kunikyu Palace in 740. At that time, the Daigokuden Hall was also moved to the Kunikyu Palace, and, in later years, reused as the main hall of the Yamashiro-kokubunji Temple (lit. the Buddhist temple of Yamashiro district). However, Daigokuden Hall was dismantled in the intervening years. Although the national capital was relocated again to Heian-kyo in 745, the site on which the Daigokuden Hall was originally built had already been occupied by a new palace; while the platform of the Daigokuden Hall had been largely removed. In 784, the capital was relocated thrice to the Nagaoka-kyo place, and the historic role of Nara Palace terminated. Since then, in the early 9th century, another palace was transiently built at this site, but it continued for only about 15 years before being abandoned. The Nara Palace site has, as a result, reverted to agricultural land use.

　In 1922, the Nara Palace site was designated as a national historic site. Since 1952, subsequently, the Nara National Research Institute for Cultural Properties (“NNRICP”) has continuously undertaken excavation survey research. Furthermore, from 1963, public ownership of the land has proceeded in order to improve the site as a historic site park. With regard to the primary Daigokuden Hall, the NNRICP has implemented related excavation surveys several times, and published an excavation survey report in 1982. In addition, as the part of the total improvement project of the Nara Palace site, the reconstruction of the Daigokuden Hall was planned. After 1989, the Daigokuden Hall reconstruction plan commenced its specific review; and, in 1993, the reconstruction principles for the Daigokuden Hall were determined. Since then, after the completion of studies and designs for reconstructing the Daigokuden Hall, reconstruction commenced in 2001. This work will be completed in March, 2010.

　This report explains the studies implemented by the NNRICP including the grounds for reconstruction designs for the Daigokuden Hall. The report comprises four volumes, explaining the following items:

　　1 Platform / Foundation

　　2 Wooden parts

　　3 Coloring / fittings

　　4 Roof/tiles

　While, each volume includes the following content:

　　I Process of review and creation of report

　　II Direct data/reference materials relating to Daigokuden Hall of the Nara Palace

　　III Case study

　　IV Process of reconstruction

　　V Reconstruction plan

　The content of the case study indicate details of the basic research implemented in parallel with the reconstruction review. In addition, some findings of studies made after the completion of the reconstruction design are also included. Incidentally, please note that the reconstruction plan shown in the report only indicates the theoretical form of the ancient architecture, and that the building as it will actually be reconstructed has been changed slightly, taking into consideration factors of structural reinforcement and maintenance.

 

　This report is the third of four volumes, detailing the results of studies on coloring and fittings.

　We could not find any direct data/materials related to coloring and fittings during excavation surveys of the Daigokuden Hall. Moreover, there exists no data consisting of paintings or literary documents regarding the coloring or fittings of the Daigokuden Hall (of the Heijo-kyu Palace) scheduled for reconstruction. Due to these conditions and constraints, the coloring and fittings of existing Buddhist temple architecture of the Nara period, data representing the painting of the Daigokuden Hall of the Heian-kyu Palace, and aspects of coloring of ancient Chinese palace architecture were examined in order to facilitate the Daigokuden Flail reconstruction plan. In addition, we studied the “existence or nonexistence”, relationship with painting motifs and pigments to coloring. As for fittings, “existence or nonexistence” and designs were reviewed.

　Incidentally, considering the frame of this report, Chapter II should probably contain direct data/materials related to the reconstruction project. However, as such data/materials do not, to all intents, exist at all, this report unavoidably includes study results of the aspects of the walls of the Heian-kyu Palace, based mainly on data and literary documents.

　Studies were also implemented on similar cases, not only those directly leading to the designs for reconstruction but also those to project the overall picture of ancient technologies/skills. Study subjects and their outlines are as follows:

 

　1 Coloring in the Nara period

　Coloring in the Nara period was envisaged, reviewing as basic data each full color used for: (i) existing ancient Buddhist architecture; (ii) Buddhist statues of the same period (Nara period): (iii) treasures of Shosoin temple; and, (iv) the Chinese Buddhist caves,. Subsequently, in light of painting motif, pigment, and coloring principle, coloring techniques in the eighth century were determined. The colors used for the Buddhist architecture in the eighth century are white, yellow, red, purple, blue, green, black, gold, and silver. It was also proven that Ungen-saishiki coloring was used in those days which enables stereoscopic representations using gradation with some colors such as blue, red, green, and purple, among the colors above. Furthermore, with regard to painting motifs, it was hypothesized that the hosoge (imaginary precious flower) pattern seen in the existing Buddhist temple architecture now was likely to have been used for palaces.

 

　2 Research on the treasures of Shosoin temple

　The patterns shown on the treasures of Shosoin temple were listed. For this listing, these patterns were categorized into types based on pattern motifs, and each list was created.

 

　3 Names of colorants used for ancient colored paints

　Based mainly on literary documents/materials of the eighth century as basic data, the colors and materials were examined and reviewed, comparing them to aspects of those in ancient China. Since there are various names and appellations of such colors, each name was listed, and materials and material methods for each color name were examined. A comparative study with case examples of China was also implemented, and, accordingly, it was concluded that further studies on adhesive materials would be necessary.

 

　4 Materials and structure of murals in the Nara period

　Colors that were applied to murals in the Nara period were examined, using scientific analyses. Furthermore, based on the results of analysis of the murals of burial mounds constructed during the Tang dynasty, the applied ingredients of each color (green, blue, red, yellow, orange, black, and bistre) were determined, and raw materials and manufacturing methods reviewed. In the same manner, analyses of the murals was implemented: (i) of the Japanese burial mounds, (ii) of existing ancient architecture, and, (iii) excavated archaeological relics, in order to figure out raw materials and manufacturing methods. In addition, colored wall bodies were discussed.

 

　5 Chinese palace murals

　Aspects of murals of palace architecture were examined, based on Chinese literary documents. During the Han dynasty, almost all painting motifs of palace murals such as fierce gods, saints, meritorious retainers, etc., which lasted even through the post-Han dynasty eras, were lined up. During the Wei, Jin, and the Northern dynasty (of the Southern and Northern dynasties), only exemplary persons of admirable character were drawn on murals of the main hall of palaces, while even bad persons were drawn on the murals of other buildings. Meanwhile, with regard to the Southern dynasty era, it is verifiable that prurient paintings were drawn on multistoried buildings. However, descriptions/recordings about the murals of the main hall remain unidentifiable. After entering the Tang dynasty, despite some identified cases in which meritorious retainers were drawn on murals of the buildings other than the main hall, there are no identifiable documentary descriptions/recordings indicating that some paintings were drawn on murals of the main hall.

 

　6 Coloring applied to Daigokuden Hall's friezes - Study of the icons of the four guardian deities

　It was hypothesized that the four guardian deities may have been drawn on the four friezes (specifically, the lower walls located beneath the ceiling) on the four corners inside the Daigokuden Hall, and the disposition of the icons of the guardian deities was reviewed. Due to architectural and structural factors, the short vertical posts referred to as “Tsuka” struts stand in the center of each frieze on the north, south, east and west faces. Consequently, it is impossible to draw the four guardian deities in the center of any of these faces. Reviewing the ancient burial mounds of the Goguryeo kingdom (Korea), in some stone chambers representing buildings, a pair of the four guardian deities is drawn on the opposing sides across the central component. Additionally, in some cases, as an example, a pair of the four guardian deities is drawn on the opposing sides across the entrance of stone chambers, suggesting that the painting of a pair of the four guardian deities was general practice of that time. Through these processes, in the Daigokuden Hall as well, it was established that a pair of the four guardian deities was probably drawn on the opposing sides across a “Tsuka” strut.

 

　7 Coloring for the friezes of the Daigokuden Hall seen from historical data

　The mode of expression and style of the four guardian deities as well as the twelve signs of the Chinese zodiac were examined, in light of murals, painting historical data, and artifact historical data. Furthermore, reviewing literary documents and historical data, the painting motif of folding screens placed during rituals performed at the hall of the Heian-kyu Palace were examined. Based on such studies, it was extrapolated that the three painting motifs; that is, the four guardian deities, “the Sun and Moon” and the 12 signs of the Chinese zodiac, were the most likely and appropriate for drawing on the friezes of the Daigokuden Hall.

 

　8 Changes in hosoge patterns at the beginning of the eighth century

　It is probable that the hosoge patterns mentioned previously were used for fittings and other ornaments decorating the Daigokuden Hall. Accordingly, to examine and grasp the tendency of hosoge patterns, we traced such patterns found on statues of Buddha, artifacts, etc., as well as decorative fittings discovered through excavation surveys. In addition, tangible designs/patterns of the hosoge were envisaged by implementing comparative research with those of Korea and China. In consequence, it was found that Japan experienced an epoch in hosoge patterns in the 730s, and that the hosoge patterns used in the early eighth century, when the Daigokuden Hall was constructed, originated from those in the prime era in the Tang dynasty, and brought to Japan by the Japanese envoys to the Tang Dynasty.

 

　9 Central decoration of the main ridge examined from the perspective of data/materials of ancient China

　The central decoration located on the main ridge was examined, reviewing the caves, painting data, and artifact data of China and India. Accordingly, it was established that in the pre-Sui dynasty periods, birds and flames were the main motifs of such decorations, and that after the Sui dynasty, such decorations gradually changed to depictions of sacred gems. The sacred gem patterns were extremely varied, combining gyoku (Buddhist wishing stones)/buds and flames/lights. It is generally understood that the gyoku symbolizes wisdom, and flames represents “Qi (life energy)”. Incidentally, such sacred gems were originally created in India. It is probable that Buddhism was introduced into China in the first century BC, and, after that, in the seventh century, Buddhism came to China again as a megatrend. In the wake of this second introduction, decorating using the sacred gem motif presumably gained currency in China as well, and was thus introduced into Japan.

 

　Based on the range of basic studies and inferences noted above, the coloring and fittings of the Daigokuden Hall have been restored:

　Pigment red of the colcothar group (iron oxide/red ocher group) was applied to wooden parts, and the walls were painted white. Meanwhile, lotus flowers were drawn on the ceiling boards inside the hall, along the lines of the main hall of Horyuji temple and the east pagoda of Yakushiji temple. Based upon the Takamatsuzuka Tumulus and Kitora Tumulus, the four guardian deities and the twelve signs of the Chinese zodiac have been drawn on the friezes.

　The door fittings were reconstructed after the fashion of the south-store doors of Horyuji temple’s Kofugura store, which is the oldest door of ancient architectural style inexistence. The fittings decorating the edges of the rafters/hip rafters were designed to be openwork (fretwork) featuring the hosoge patterns having referenced those of the fitting of the hip rafter end excavated from Daikan-daiji temple. The hosoge patterns apparent on the relics from Daikan-daiji temple were also applied to the decorative fittings including the daiwa fitting (the plate placed on the top of a head-penetrating tie beam), railing fitting, ogami fitting (triangular frame-shaped like hands joined in prayer), etc.

　Along the lines of those found at the Ise Grand Shrine, sacred gems were used to decorate the top rail of the railing. These sacred gems are yellow, blue, red, white, and black, and each color was determined based on the Ying-Yang and the five element doctrine.

　For the details of design, the futaku (lit. wind bell) hung from the edge of the hip rafters was based on the futaku excavated from Yukinodera temple, as well as the futaku found at an archaeological site dating back to the time period of the closing of the Daigokuden Hall,. In addition, the fusho (an internal wooden plate of the futaku) was restored with reference to the fusho excavated from the Misu-haiji site.

　For reconstructing the central decoration provided in the center part of the main ridge, the sacred gems of the Yumedono hall (lit. “Hall of Dreams”) of Horyuji temple were used as a point of reference.

 

2010年2月16日　発行

奈良文化財研究所学報　第82冊

平城宮第一次大極殿の復原に関する研究

3　彩色・金具