九州大学 研究者情報
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BOGEL CYNTHEA(ぼーげる しんしあ) データ更新日:2021.06.15

教授 /  人文科学研究院 哲学部門 人文科学研究院


原著論文
1. Cynthea Bogel, Un cosmoscape sous le Bouddha : le piédestal de l'icône principale de Yakushi-ji, soutien de l'empire des souverains, La Tribune de l'art: dans Japon, Perspective: actualité en histoire de l'art, n°2020, I, 141-166, 2020.09, [URL], The main icon at the Japanese temple of Yakushi-ji is a 254.7 cm bronze “Medicine Buddha” (Yakushi), seated cross-legged atop a 152 cm multitiered pedestal, with two flanking bodhisattvas. Visually accomplished and historically rare as is this colossal early 8th-century triad, it is the Buddha pedestal and its rare and remarkable motifs in relief on all four sides that have long fascinated scholars. The pedestal graphically demonstrates the self-expression of the Yamato rulers who commissioned the triad, situating Buddhism and right rule within an imaginary Chinese-style imperial state in the making, ca. 650-750. The pedestal figures and designs dovetail with constructs expressed in classic contemporaneous literary works. This first study devoted to Yakushi-ji in a non-Japanese language proposes a new interpretation for the pedestal as a cosmograph – a cosmology for an imperial realm imagined by its makers – combined with an omnipresent healing Buddha/righteous ruler atop such a worldview.
https://journals.openedition.org/perspective/18208?lang=en.
2. Bogel, Cynthea, “Japanese Prints (ukiyoe) and Đông Hồ Painted Prints in a Comparative Light.”, Selected Essays on Dong Ho Woodblock Printings, 2019.11, Bogel’s presentation will focus on the block - print techniques used for creating Dong Ho painted prints in a comparative framework with 18th and 19th century Japanese woodblock prints. Each genre deploys what we might call meta-print techniques (“Meta is a prefix used in English to indicate a concept that is an abstraction behind another concept, used to complete or add to the latter.”). In the case of the printed images made in Dong Ho village, the print is completed with hand -applied pigments, whereas Japanese prints achieve painterly effects by manipulating the color application on the block or utilizing the grain of the block itself, and also by adding metallic or lacquer materials to the pigments. Although both genres are produced using cutting tools on woodblocks, and both use multiple blocks for colors and a line block, the tools and techniques for cutting vary greatly, as do the materials for engraving and coloring. Dong Ho painted prints limit the colors according to tradition; Japanese prints began with a limited range of pigments in the 18th c. then added a variety of pigments and finely carved patterns and lines.
The greatest differences between Japanese prints and Dong Ho prints may be in the act of printing itself: both genres deploy complex processes, but the Japanese print aims for a more technically precise and finished look - in a sense masking the multi -layered labors - whereas the Dong Ho painted prints often seem to celebrate both the precision of technical elements alongside folk style and freehand methods of aligning the block and paper (using the eye for registration). Dong Ho prints also use pigmented papers for contrast. Bogel’s presentation will consider the print techniques in detail, alongside a consideration of the reception and functions (religious, commemorative, economic) of each print genre, and the structure of the artistic community that produced them./..
3. Cynthea Jean Bogel, Daigoji Temple. A Shingon Esoteric Buddhist Universe in Kyoto, 美術史學硏究 (Korean Journal of Art History), 301, 101–103, 2019.03.
4. , Cynthea Jean Bogel, Demon Roof Tiles: A Study of the Dazaifu Type Onigawara Style I-A (Annotated translation of article by Susumu Igata), Journal of Asian Humanities at Kyushu University, 4, 109–125, 2019.03.
5. Cynthea Jean Bogel, "Envisioning History" Volume Special Editor, Journal of Asian Humanities at Kyushu University, 1, 1, V–VI, 2016.03.
6. Cynthea Jean Bogel, The To¯ji lecture hall statue Mandala and the choreography of Mikkyo¯, Esoteric Buddhism and the Tantras in East Asia, 936-981, 2011.01.
7. Cynthea Jean Bogel, Contemplations and Imagery: Issues Relevant to Ancient Japanese Buddhist Icons, Ritual Practice, and Cultural Contexts, Pacific World: Journal of the Institute of Buddhist Studies, 191–222, 2010.09.
8. Cynthea Jean Bogel, The Objects of Transmission and the Subjects of History: Kūkai’s Shōrai mokuroku, Bulletin of the Research Institute of Esoteric Buddhist Culture (Mikkyō Bunka Kenkyūsho Kiyō), 2, 67–99, 2004.10.
9. Cynthea Jean Bogel, Canonizing Kannon
The ninth-century Esoteric Buddhist Altar at Kanshinji, Art Bulletin, 84, 1, 30-64, 2002.03.
10. Cynthea Jean Bogel, Buddhist Representation and Worship: The Nara Period, Meiji Daigaku kokusai kōryūkikinjigyō (Meiji University International Studies Proceedings), 5, 11–36, 1996.06.
11. Cynthea Jean Bogel, A Matter of Definition: Japanese Esoteric Art and the Construction of a Japanese Esoteric History, Waseda Journal of Asian Studies, 18, 23–39, 1996.04.
12. Cynthea Jean Bogel, Shigeru Tsuji, “Brunelleschi and the Camera Obscura: The Discovery of Pictorial Perspective” (translation), Art History, 13, 276–292, 1990.09.

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