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17:
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of the scriptures, the Buddha offered to cast away his body to the flesh-eating demon for the remainder. Before doing so, in the middle tier of the painting, the Buddha inscribes the teachings on the rocks. He then casts himself down from the summit, whereupon he is caught mid-plummet by Indra on the
882:
or fishtail-like ornaments at either end of the ridgepole are shaped with stylized scales or feathers, while the front doors of the shrine, on its long side, are approached by means of a small flight of steps. The architectural members of the building and edges of the plinth and dais are ornamented
511:
that support the roof covering in the eaves are circular in cross-section, as opposed to the rectangular purlins of the earliest surviving buildings. Also at the corners the purlins are arranged parallel to each other rather than in the radial setting known from excavations at
575:
cover all four sides of both building and plinth. While both pigmented and incised images are known from a number of tombs of a similar date, the shrine is the only example of
Buddhist painting from early seventh-century Japan. The closest domestic pictorial parallel is with
228:, has conducted comparative analyses of architectural features and decorative motifs such as the tiny niches in which the Thousand Buddhas are seated. Based on such considerations, the shrine is now dated either to c.650 or to the second quarter of the seventh century.
306:
While the ground plan of many structures that are no longer extant is known, this miniature building is particularly important not only for its early date but also for the understanding it provides of the upper members, in particular the roof system, tiling, and
223:
through nationwide survey, concluded that it was presented to the
Japanese Empress in the 590s. Japanese scholar Uehara Kazu, who has written twenty-eight articles about the shrine over the course of nearly four decades and authored an extensive
315:
and, even for those that do, the roofs have been rebuilt several times. The best if not only source for the earliest styles are miniature models such as the
Tamamushi Shrine and, for the following century, the miniature
563:
in the Indra scene and that of the Tiger Jātaka, where spatial progression is used to represent that of time, may be found in the paintings of Cave 254 at Mogao. At the same time it foreshadows that of later
Japanese
1045:
used in the original colour scheme - red, green, yellow, and white on a black ground. The range of available pigments, compared with that evident in the early decorated tumuli, was transformed with the
247:
triad had at some point been stolen. The shrine was still standing on the altar when
Fenollosa was writing early in the twentieth century and is located there also in Soper's studies of 1942 and 1958.
265:
as one of the "great works of Asuka art created by foreign priests and preserved as
Japanese national treasures". Domestic production under foreign influence is now the received wisdom.
174:
555:
and later sixth-century
Chinese prototypes. Details in the paintings such as the "flare" of the drapery, the cliffs and plants have also been likened to Wei art and that of the
431:, laid at right angles to both the other tiles and the descending ridges and projecting slightly to afford a degree of shelter (were this building not a miniature) to the
755:
and beneath it a palace with a seated figure. In the side zones are phoenix, celestial beings, jewels, the sun and the moon. It is understood that this landscape depicts
368:. In this technique, the hip and gable are clearly distinguished, with the latter overhanging the notably flat former and there is a distinct break in the tiling. When
269:
955:(佛名), or naming the Buddhas, from which the Japanese practice derived is believed to lie behind such representations of the Thousand Buddhas as the paintings of the
2221:
1439:
1372:
1137:
220:
55:
hangs his robe upon a tree before offering his life to feed a tigress and her cubs; height 65 centimetres (26 in), width 35.5 centimetres (14.0 in)
1099:
916:
2254:
321:
252:
764:
722:
623:
599:
273:
1034:
2301:
2164:
2139:
1978:
1953:
1928:
1903:
1878:
1853:
1828:
1803:
1778:
1753:
1335:
1285:
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683:
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is another sacred landscape, the central mountain topped by a palace and supporting a pair of small palaces on either side. At the foot is a
177:
dating to 747, which includes "two items taking the form of a palace building, one with a design of a
Thousand Buddhas in repoussé metalwork"
88:, Japan. Its date of construction is unknown, but estimated to be around the middle of the seventh century. Decorated with rare examples of
1104:
900:
resembling an excised bowl that is common on later furniture, altar platforms and railings. The plinth is surrounded, top and bottom, with
384:
retained this ancient style. Ornamenting both ends of the ridgepole that runs the length of the top of the roof are curved tiles known as
2278:
Yamasaki Kazuo; Emoto
Yoshimichi (1979). "Pigments used on Japanese Paintings from the Protohistoric Period through the 17th Century".
405:
is a "king-post", supporting the end of the ridgepole. Descending the length of the gable and perpendicular to the main ridgepole are
559:. The figures on the doors, the Guardian Kings and bodhisattvas, may be closer to more contemporary Chinese styles. The handling of
92:
2245:
Kuchitsu
Nobuaki (2007). "Impact of the introduction of Buddhism on the variation of pigments used in Japan". In Yamauchi Kazuya (
931:
or invocation of the names of the Buddha. According to this text, which invokes the names of 11,093 Buddhas, Bodhisattvas, and
2218:
Tamamushi-no-Zushi Shrine in Hōryū-ji Temple: a Study of Art in the Asuka-Hakuhō Period, Focussing on their Stylistic Features
1436:
Tamamushi-no-Zushi Shrine in Hōryū-ji Temple: a Study of Art in the Asuka-Hakuhō Period, Focussing on their Stylistic Features
1369:
Tamamushi-no-Zushi Shrine in Hōryū-ji Temple: a Study of Art in the Asuka-Hakuhō Period, Focussing on their Stylistic Features
2262:
1669:
1568:
1543:
1503:
709:(celestial being), riding on clouds. At the top are the sun and the moon. This may be a representation of Mount Ryoju, where
2374:
2325:
96:
2007:
207:
closely associated with the early promotion of Buddhism in Japan, and founder of the temple. He refers to the shrine's
2229:
2094:
1638:
1453:
1380:
1006:
wood. Both are native species. Attached to the members of the building and the edges of plinth and dais are bands of
619:
2053:
167:
The precise date of the shrine is uncertain, but it is generally placed around the middle of the seventh century. A
2110:
826:
548:
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had already been detached, placed in the treasure hall, and replaced with copies. Today the Tamamushi Shrine is
2359:
1733:
1656:
1124:
939:, in the present life they shall have rest and be far from all difficulties, and they shall blot out all their
769:
261:
814:
1119:
687:
581:
337:
1047:
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removing his upper garments and hanging them on a tree before casting himself from a cliff to feed a hungry
481:(the last was struck by lightning and burnt to the ground in 1944). The bracket system supports tail rafters
281:
100:
2364:
1310:
104:
25:
1021:. The tamamushi beetle, a species of jewel beetle, is also native to Japan. The Thousand Buddhas are of
2086:
2021:
1661:
1604:
679:
890:". The base of the building and the dais at the very foot of the shrine exhibit the shape known as 格狭間
850:
838:
332:
295:
862:
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is a sacred landscape, with four caves in which Buddhist monks are seated, its heights topped with
127:
1007:
975:
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119:
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122:
233 centimetres (7 ft 8 in) tall, the Tamamushi Shrine derives its name from the
1608:
1196:
National Treasures of Japan I: Ancient times, Asuka period, Nara period, Western Wei, Tang
911:
The serial Buddhas that line the doors and walls inside the miniature building are in the
191:. A fuller description is given by the monk Kenshin in his account of the 1230s or 40s of
31:
8:
1306:
1003:
694:
603:
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The miniature building has been identified variously as a palace-style building and as a
235:. Early accounts of the temple and its treasures see it placed on the great altar of the
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1949:
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465:), a type found only in the earliest buildings to survive to the modern period: the
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131:
2193:
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some scholars have argued instead that the paintings employ the technique known as
924:
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391:
373:
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216:
188:
134:. In spite of what its name in English may suggest, the shrine is not a miniature
1774:
1331:
752:
607:
500:
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describes the shrine along with the statue he uncovered at Hōryū-ji known as the
240:
173:
is provided by the first documentary evidence for its existence, an inventory in
39:
1974:
1598:
47:
16:
944:
932:
710:
531:
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on the right appears before him in the guise of a demon. After hearing half a
513:
369:
2348:
2004:
Mogao Cave 254: a case study in early Chinese Buddhist art (PhD dissertation)
1495:
1408:
Epochs of Chinese and Japanese Art: An Outline History of East Asiatic Design
1152:
1139:
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81:
21:
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at the time and all portable items had already been removed. (The damage to
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244:
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89:
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Mural Paintings of the Silk Road: Cultural Exchanges between East and West
1624:
682:. The side panels flanking the doors are adorned with flowers and jewels.
670:, the palm turned in and the thumb and index finger forming a circle (see
1725:
1267:
960:
912:
884:
801:
740:
715:
671:
589:
432:
377:
312:
232:
187:, understood to refer to the Tamamushi Shrine, the other being the later
123:
52:
935:, "if virtuous men and women receive and keep and read the names of the
325:
277:
1018:
936:
774:
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influence. The description below can be followed in the linked images.
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499:
that extend far into the eaves. In a full-scale building, the downward
418:. Edging the gable beyond the descending ridges are "hanging tiles" or
291:
256:
85:
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led to an overhaul of legislation relating to the preservation of the
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225:
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at the other end by the main load of the roof. The simple unjointed
1083:
1038:
964:
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615:
474:
342:
2083:
Mudrā: A Study of Symbolic Gestures in Japanese Buddhist Sculpture
967:; in this same cave there are also paintings of the Tiger Jātaka.
641:
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jewels, holding a flowering lotus stalk in one hand and forming a
439:
308:
152:
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994:
690:
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351:
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or ritual gesture with the other. The mudrā is a variant of the
151:
is a term for a miniature shrine that houses Buddhist images or
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1444:
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782:
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443:
402:
390:, found in surviving eighth-century architecture only on the
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317:
231:
Perhaps originally housed elsewhere, the shrine escaped the
611:
520:
rather than pierced by the more usual penetrating tie beams
243:
mentions that it faced the east door and that its original
111:
1025:
or hammered bronze and the roof tiles are also of metal.
985:; the metalwork was once brilliant with the wings of the
927:
in the sixth century, may be related to the practice of
743:; the vessel at the bottom is flanked on either side by
2338:
1596:
503:
of the eaves upon the far end of these tail rafters is
1719:
949:
401:, semi-circular type. In the triangular field at each
130:
with which it was once ornamented, but which have now
2077:
1625:
Paine, Robert Treat; Soper, Alexander Coburn (1981).
1189:
355:, or more precisely a variant of the type, known as
1521:
1402:
516:. The columns or square posts are encased by their
221:
1871 Plan for the Preservation of Ancient Artifacts
1689:
1523:
2026:[Decorated Tomb Database] (in Japanese).
2346:
2244:
2187:
1558:
773:. At the bottom, while the Buddha is undergoing
211:wings and states that originally it belonged to
24:; height 233 centimetres (7 ft 8 in);
2001:
1600:The Evolution of Buddhist Architecture in Japan
1037:, would be needed to identify conclusively the
529:
490:
473:) at Hōryū-ji, and the three-storey pagodas at
458:
71:
2302:Japanese Architecture and Art Net Users System
2165:Japanese Architecture and Art Net Users System
2140:Japanese Architecture and Art Net Users System
1979:Japanese Architecture and Art Net Users System
1954:Japanese Architecture and Art Net Users System
1929:Japanese Architecture and Art Net Users System
1904:Japanese Architecture and Art Net Users System
1879:Japanese Architecture and Art Net Users System
1854:Japanese Architecture and Art Net Users System
1829:Japanese Architecture and Art Net Users System
1804:Japanese Architecture and Art Net Users System
1779:Japanese Architecture and Art Net Users System
1754:Japanese Architecture and Art Net Users System
1563:. Cambridge Scholars Publishing. p. 115.
1336:Japanese Architecture and Art Net Users System
1286:Japanese Architecture and Art Net Users System
1261:
893:
663:
650:
523:
484:
452:
424:
411:
361:
272:- the building was undergoing dismantling for
180:
144:
65:
1653:
1017:wings were applied in the technique known as
1058:is uncertain. While commonly referred to as
947:in the future". The continental practice of
2211:
2207:
2205:
2203:
1429:
1398:
1396:
1394:
1392:
1362:
693:. Either side of the central mountain is a
1722:The Roof in Japanese Buddhist Architecture
678:symbolizes their thought of consoling all
634:pedestals, their heads crowned with three
610:, with flowing draperies, holding slender
270:major fire in the kondō on 26 January 1949
2183:
2181:
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1229:
919:. Sūtras on the Buddha names such as the
602:of the miniature building are two of the
255:as "two great monuments of sixth-century
159:and small rows of seated bronze Buddhas.
2339:CiNii for articles about Tamamushi Zushi
2200:
2153:
1620:
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311:. Few buildings survive from before the
46:
38:
30:
15:
1483:
1481:
1479:
1477:
1475:
1473:
1471:
1469:
1467:
1465:
1105:Buddhist Monuments in the Hōryū-ji Area
1013:. It was under this metalwork that the
259:". It is referred to by the authors of
2347:
2178:
1997:
1995:
1702:
1678:
1349:
1615:
1577:
1512:
1489:
1418:
1274:
1206:
1174:
763:at the bottom representing the seas.
676:Sutra of the Eight Great Bodhisattvas
301:
95:, it provides important clues to the
2326:Introduction to the Tamamushi Shrine
2111:"The Mahayana Mahaparinirvana Sutra"
1462:
1100:National Treasures of Japan (Crafts)
278:Hōryū-ji's celebrated wall paintings
1992:
1692:Architectural Preservation in Japan
1190:Bunkazai Hogo Iinkai, ed. (1963).
873:
80:is a miniature shrine owned by the
13:
2008:University of California, Berkeley
759:, the central world-mountain, the
735:before a sacred vessel of burning
155:scrolls, in this case a statue of
14:
2391:
2319:
1627:The Art and Architecture of Japan
1198:] (in Japanese and English).
1048:introduction of Buddhism to Japan
731:, are two kneeling monks holding
442:and blocks that support the deep
1597:Soper, Alexander Coburn (1942).
861:
849:
837:
825:
813:
765:On the right panel of the plinth
549:Japanese sculpture of the period
446:of the roof are "cloud-shaped" (
110:Consisting of a low rectangular
2290:
2271:
2238:
2128:
2116:. Shabkar.org. pp. 197–200
2103:
2071:
2046:
2014:
1967:
1942:
1917:
1892:
1867:
1842:
1817:
1792:
1767:
1742:
1720:Parent, Mary Neighbour (1983).
1647:
1552:
788:On the left panel of the plinth
2054:"The Tenjukoku Shucho Mandara"
1657:The Cambridge History of Japan
1559:Wong, Dorothy C., ed. (2008).
1324:
1299:
1125:Japanese Buddhist architecture
614:; their heads are ringed with
262:The Cambridge History of Japan
118:upon which stands a miniature
1:
1167:
1120:Main Hall (Japanese Buddhism)
970:
2190:Ancient Buddhism in Japan, I
1728:. pp. 55, 62, 67, 227.
1522:Stanley-Baker, Joan (1984).
1494:(2nd (paperback) ed.).
1309:[Tamamushi Shrine].
543:
469:, pagoda, and central gate (
435:that help define the gable.
397:. The roof tiles are of the
282:Cultural Properties of Japan
7:
2375:National Treasures of Japan
1690:Larsen, Knut Einar (1994).
1654:Brown, Delmer, ed. (1993).
1490:Mason, Penelope E. (2004).
1311:Agency for Cultural Affairs
1264:Asuka Buddhist Art: Horyuji
1093:
832:Upper back with mountains
777:training in the mountains,
600:Standing on the front doors
530:
491:
459:
349:roof in the style known as
219:, who helped implement the
72:
10:
2396:
2087:Princeton University Press
1662:Cambridge University Press
1605:Princeton University Press
1054:in which the pigments are
723:On the front of the plinth
674:), which according to the
551:was heavily influenced by
162:
2188:De Visser, M. W. (1935).
1950:"Hitonoki (cf. Futanoki)"
786:right in his true guise.
749:On the back of the plinth
664:
651:
524:
485:
453:
425:
412:
362:
298:'s Great Treasure House.
268:Evidently it escaped the
181:
145:
66:
2213:
2022:
2002:Abe, Stanley K. (1989).
1431:
1364:
1191:
1153:34.615056°N 135.735306°E
1002:or Japanese cypress and
923:, first translated into
97:architecture of the time
1492:History of Japanese Art
1262:Mizuno Seiichi (1974).
950:
790:is the so-called Tiger
416:, or descending ridges)
239:. Kenshin in the early
2028:Kyushu National Museum
1633:. pp. 33–5, 316.
1498:. pp. 65, 74–81.
993:The shrine is made of
990:
894:
883:with bronze bands of "
820:Front door guardians
794:, an episode from the
372:was rebuilt after its
56:
44:
36:
28:
2360:Architecture in Japan
2330:The Saylor Foundation
2220:] (in Japanese).
2212:Uehara Kazu (1991).
2079:Saunders, Ernest Dale
2058:Tokyo National Museum
1631:Yale University Press
1438:] (in Japanese).
1430:Uehara Kazu (1991).
1371:] (in Japanese).
1363:Uehara Kazu (1991).
1158:34.615056; 135.735306
1110:Takamatsuzuka Tumulus
1031:instrumental analysis
978:
380:, the roofing of the
50:
42:
34:
19:
2224:. pp. 395–401.
1561:Hōryūji Reconsidered
1282:"Tamamushi no zushi"
1192:国宝 上古, 飛鳥·奈良時代, 西魏·唐
943:. They shall obtain
921:Bussetsu Butsumyōkyō
767:is a scene from the
20:Tamamushi Shrine at
2341:(search term: 玉虫厨子)
1800:"Gyougibuki gawara"
1698:. pp. 26, 111.
1532:Thames & Hudson
1404:Fenollosa, Ernest F
1149: /
1070:, an early type of
604:Four Guardian Kings
2365:Japanese paintings
2257:. pp. 77–80.
2222:Yoshikawa Kōbunkan
2196:. pp. 377–93.
2089:. pp. 66–75.
1611:, 110, 113–5, 121.
1440:Yoshikawa Kōbunkan
1375:. pp. 122–4.
1373:Yoshikawa Kōbunkan
1200:Mainchi Shimbunsha
1027:Optical microscopy
991:
797:Golden Light Sutra
725:, below a pair of
584:from neighbouring
302:Architectural form
170:terminus ante quem
84:temple complex of
73:Tamamushi no zushi
57:
45:
37:
29:
2264:978-1-904982-22-7
2034:on 16 August 2013
1671:978-0-521-22352-2
1570:978-1-84718-567-9
1545:978-0-500-20192-3
1505:978-0-13-117601-0
1442:. pp. 1 f.,
1270:. pp. 40–52.
915:tradition of the
684:On the back panel
624:On the side doors
582:Tenjukoku Mandala
335:"golden hall" or
233:670 Hōryū-ji fire
105:National Treasure
26:National Treasure
2387:
2337:
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2214:玉虫厨子 飛鳥・白鳳美術様式史論
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2100:
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2064:
2050:
2044:
2043:
2041:
2039:
2030:. Archived from
2018:
2012:
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1999:
1990:
1989:
1987:
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1971:
1965:
1964:
1962:
1960:
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1432:玉虫厨子 飛鳥・白鳳美術様式史論
1427:
1416:
1415:
1400:
1387:
1386:
1365:玉虫厨子 飛鳥・白鳳美術様式史論
1360:
1347:
1346:
1344:
1342:
1328:
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1319:
1317:
1303:
1297:
1296:
1294:
1292:
1278:
1272:
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249:Ernest Fenollosa
189:Tachibana Shrine
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741:Buddhist relics
680:sentient beings
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620:Buddhist haloes
573:Buddhist themes
566:picture scrolls
546:
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505:counterbalanced
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253:Yumedono Kannon
241:Kamakura period
182:宮殿像弐具 一具金埿押出千佛像
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808:and her cubs.
588:, which shows
545:
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438:The radiating
352:irimoya-zukuri
303:
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193:Shōtoku Taishi
175:temple records
164:
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35:Detail of roof
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2161:"Sentaibutsu"
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1414:. p. 49.
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136:Shinto shrine
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2370:Asuka period
2355:Japanese art
2305:. Retrieved
2292:
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2168:. Retrieved
2155:
2143:. Retrieved
2130:
2118:. Retrieved
2105:
2082:
2073:
2061:. Retrieved
2048:
2036:. Retrieved
2032:the original
2016:
2003:
1982:. Retrieved
1969:
1957:. Retrieved
1944:
1932:. Retrieved
1919:
1907:. Retrieved
1900:"Kumotokyou"
1894:
1882:. Retrieved
1875:"Kakegawara"
1869:
1857:. Retrieved
1850:"Kudarimune"
1844:
1832:. Retrieved
1819:
1807:. Retrieved
1794:
1782:. Retrieved
1769:
1757:. Retrieved
1744:
1721:
1691:
1655:
1649:
1626:
1599:
1560:
1554:
1526:Japanese Art
1525:
1491:
1443:
1435:
1407:
1368:
1339:. Retrieved
1326:
1314:. Retrieved
1301:
1289:. Retrieved
1276:
1263:
1195:
1144:135°44′7.1″E
1141:34°36′54.2″N
1134:
1079:
1072:oil painting
1067:
1064:Meiji period
1062:, since the
1035:non-invasive
997:
992:
980:
959:Cave 254 at
957:Northern Wei
948:
928:
920:
913:iconographic
910:
906:sacred lotus
879:
877:
856:Lower right
795:
768:
757:Mount Sumeru
739:; below are
726:
721:
714:
704:
698:
675:
658:
645:
635:
630:standing on
628:bodhisattvas
598:
580:such as the
578:embroideries
570:
553:Northern Wei
547:
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205:culture hero
168:
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139:
109:
90:Asuka-period
60:
58:
2298:"Mitsuda-e"
1726:Weatherhill
1607:. pp.
1534:. pp.
1268:Weatherhill
1156: /
1082:) oil with
885:honeysuckle
844:Lower front
802:bodhisattva
716:Lotus Sutra
514:Shitennō-ji
433:bargeboards
392:Tōshōdai-ji
378:Pacific War
374:destruction
370:Shitennō-ji
357:shikorobuki
341:. It has a
313:Nara period
274:restoration
53:bodhisattva
43:Right doors
2349:Categories
2023:装飾古墳データべース
1825:"Shinzuka"
1735:0834801868
1168:References
1033:, ideally
1019:beetlewing
971:Technology
929:Butsumyō-e
868:Lower back
606:, clad in
448:kumo tokyō
420:kakegawara
407:kudarimune
322:Kairyūō-ji
257:Corean Art
215:(d. 628).
132:exfoliated
124:iridescent
101:designated
2255:Archetype
2249:) (ed.).
2136:"Kouzama"
1925:"Odaruki"
1412:Heinemann
1088:desiccant
1068:mitsuda-e
1015:tamamushi
995:lacquered
987:eponymous
982:tamamushi
902:mouldings
888:arabesque
561:narrative
544:Paintings
518:tie beams
403:gable end
292:exhibited
226:monograph
217:Fenollosa
209:tamamushi
93:paintings
2380:Hōryū-ji
2307:12 March
2120:12 March
2081:(1960).
2063:12 March
2038:12 March
1406:(1912).
1094:See also
1084:litharge
1074:, using
1039:pigments
1023:repoussé
1008:openwork
965:Dunhuang
908:petals.
761:hatching
616:aureolae
612:halberds
586:Chūgū-ji
479:Hōrin-ji
475:Hokki-ji
440:brackets
326:Gangō-ji
309:brackets
120:building
82:Hōryū-ji
22:Hōryū-ji
2286:: 1–14.
2170:9 March
2145:9 March
1984:9 March
1959:9 March
1934:9 March
1909:9 March
1884:9 March
1859:9 March
1834:9 March
1809:9 March
1784:9 March
1775:"Shibi"
1759:9 March
1341:9 March
1332:"Zushi"
1316:9 March
1291:9 March
1115:Shōsōin
1076:perilla
1060:lacquer
1004:camphor
951:fo ming
937:Buddhas
925:Chinese
806:tigress
800:, of a
775:ascetic
737:incense
733:censers
695:phoenix
691:pagodas
659:seppōin
509:purlins
492:odaruki
399:lipless
376:in the
318:pagodas
294:in the
163:History
2261:
2247:et al.
2228:
2093:
1975:"Nuki"
1732:
1696:ICOMOS
1668:
1637:
1567:
1542:
1502:
1452:
1445:passim
1379:
1307:"玉蟲厨子"
1052:medium
1043:binder
1011:bronze
999:hinoki
989:beetle
895:kōzama
792:Jātaka
753:dragon
728:tennin
706:tennin
700:apsara
608:armour
594:Korean
471:chūmon
333:temple
296:temple
201:regent
197:prince
157:Kannon
116:plinth
2216:[
2194:Brill
2114:(PDF)
1434:[
1367:[
1194:[
1086:as a
1080:shiso
1056:bound
963:near
961:Mogao
880:shibi
783:verse
779:Indra
745:lions
711:Shaka
688:three
646:aniin
642:mudrā
632:lotus
467:kondō
444:eaves
395:kondō
387:shibi
382:kondō
347:gable
345:-and-
338:kondō
320:from
287:shibi
245:Amida
237:kondō
153:sūtra
140:zushi
138:, as
2309:2012
2259:ISBN
2226:ISBN
2172:2012
2147:2012
2122:2012
2091:ISBN
2065:2012
2040:2012
1986:2012
1961:2012
1936:2012
1911:2012
1886:2012
1861:2012
1836:2012
1811:2012
1786:2012
1761:2012
1730:ISBN
1666:ISBN
1635:ISBN
1565:ISBN
1540:ISBN
1500:ISBN
1450:ISBN
1377:ISBN
1343:2012
1318:2012
1293:2012
1041:and
979:The
941:sins
878:The
697:and
637:mani
626:are
592:and
532:nuki
501:load
477:and
324:and
112:dais
86:Nara
67:玉虫厨子
59:The
1609:104
1029:or
904:of
703:or
665:説法印
657:or
652:安慰印
618:or
590:Sui
486:尾垂木
454:雲斗栱
413:降り棟
343:hip
2351::
2300:.
2284:11
2282:.
2253:.
2202:^
2192:.
2180:^
2163:.
2138:.
2085:.
2056:.
2006:.
1994:^
1977:.
1952:.
1927:.
1902:.
1877:.
1852:.
1827:.
1802:.
1777:.
1752:.
1724:.
1704:^
1694:.
1680:^
1660:.
1629:.
1617:^
1603:.
1579:^
1538:.
1536:32
1530:.
1514:^
1464:^
1448:.
1420:^
1410:.
1391:^
1351:^
1334:.
1284:.
1266:.
1208:^
1176:^
1090:.
747:.
719:.
622:.
568:.
540:.
528:,
489:,
457:,
426:掛瓦
363:錏葺
328:.
203:,
199:,
195:,
146:厨子
107:.
103:a
70:,
51:A
2332:)
2328:(
2311:.
2267:.
2234:.
2174:.
2149:.
2124:.
2099:.
2067:.
2042:.
2010:.
1988:.
1963:.
1938:.
1913:.
1888:.
1863:.
1838:.
1813:.
1788:.
1763:.
1738:.
1674:.
1643:.
1573:.
1548:.
1508:.
1458:.
1385:.
1345:.
1320:.
1295:.
1078:(
898:)
892:(
668:)
662:(
655:)
649:(
537:)
525:貫
522:(
496:)
483:(
463:)
451:(
429:)
423:(
410:(
366:)
360:(
185:)
179:(
149:)
143:(
77:)
64:(
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