― 飛 鳥 が 告げる未 来 ―Debut of Cloned Shaka Triad Statues of Horyuji– The Calling from Asuka for the Future –４００年を超える高岡市の鋳物技術と６００年を超える南砺市の彫刻技術を活用した地場産業活性化モデルの構築・展開事業
Vitalization Project of Local Industry for its Further Restructuring and Development — Leverage the Strength of Skills and Techniques of Takaoka City and Nanto City —with the over 400-year Casting History of Takaoka and the over 600 Years of Carving History of Nanto

― 飛 鳥 が 告げる未 来 ―Debut of Cloned Shaka Triad Statues of Horyuji– The Calling from Asuka for the Future –4 ご挨拶
髙橋 正樹

田中 幹夫

梶原 壽治

岩﨑 孝進

宮廻 正明

9

国宝法隆寺釈迦三尊像について10

美と感動の再現 ─ 伊東 順二

12

再現工程
〔1〕計測・解析、原型作成

4

Masaki Takahashi Mikio Tanaka Masaaki Miyasako
Toshiharu Kajihara Koushin Iwasaki

9

National Treasure Shaka Triad Statues of Horyuji

10

Recreation of Beauty and Deep Emotion — by Junji Ito

12

Cloning Process

14
16
18

[1] from Measurement & Analysis of 3D Data to Forming the Resin Sculpture[2] Casting of the Statues[3] Finishing of the Statues[4] Creating and Finishing the Pedestal

14 〔2〕鋳造
16 〔3〕御像の仕上げ
18 〔4〕台座の制作・仕上げ
表紙写真：飛鳥園（左）、©東京藝術大学COI 拠点

Messages from Panelists

Cover photo by Asuka-en (left photo), ©Tokyo University of the Arts COI Site

高岡銅器で鋳造直後の中尊・脇侍・光背と、井波彫刻で制作した宣字座（表面処理前）
Shaka Triad Statues (before finishing process) — Chuu-son main statue, Kyou-ji attendants,
Kou-hai halo (Takaoka Bronzeware) and Sen-ji-za pedestal (Inami Woodcarving)

3

ご挨拶

Messages from Panelists髙橋 正樹 高岡市長
400年を超える高岡市の鋳物技術と600年を超える南砺市の彫刻技術を活用した地場産業活性化モデルの構築・展開事業推進協議会 会長

このたび、展覧会「法隆寺 再現 釈迦三尊像展 ―飛鳥が告げる未来―」を開催いたします。
皆様も教科書などで一度は目にしたことのある法隆寺金堂釈迦三尊像は、一光三尊の金銅像として日本を代表する仏像です。そして本展覧会では、産（伝統工芸高岡銅器振興協同組合、井波彫刻協同組合）、学（東京藝術大学）、官（高岡市、南砺市）が連携し再現された釈迦三尊像とその台座、そして東京藝術大学にて再現された金堂壁画が、世界で初めて同時に展示されます。
当協議会は、東京藝術大学の工芸に関する学術的知見を活用し、地域で受け継がれた高岡市の鋳物技術と南砺市井波の彫刻技術を用いて、国宝法隆寺釈迦三尊像の再現に挑むことで、地場産業の再興に向けた好循環づくりを目指すことを目的に発足したものです。
高岡銅器、井波彫刻の伝統工芸技術と、
３Dプリンター等に代表される先端技術の融合によって再現が実現しました。これにより地域のものづくり技術が広く世界へ発信され、技術の継承・発展、人材の育成・確保、地場産業の競争力強化による更なる発展に結びつくことを期待しております。
本展覧会の開催にあたり特別協力をいただきました 聖徳宗総本山法隆寺をはじめ、ご協力いただきました関係者の皆様に厚く御礼申し上げます。

Masaki Takahashi

入省。その後、新潟県副知事、総務省大臣
官房審議官などを経て2009年高岡市長に就任。現在2期目。開町400年を経た高岡Mayor of Takaoka

Chairperson of Promotion Group of Vitalization of Local Industry for its Further Restructuring and Development — Leverage the Strength of Skills and Techniques of
Takaoka City and Nanto City — with the over 400-year Casting History of Takaoka and the over 600 Years of Carving History of Nanto

I am truly delighted to announce the opening of the exhibition, “Debut of Cloned Shaka Triad Statues of Horyuji —The Calling from Asuka for the Future —”.
As the top metal Buddhist triad which consists of one great halo and three statues, it often appears in history textbooks, and this time, it has just been recreated by thecollaboration of industry (Takaoka Traditional Bronzeware Promotion Cooperative and Inami Woodcarving Cooperative), academia (Tokyo University of the Arts),
and local governments (Takaoka city and Nanto city). It is absolutely an honor for this exhibition to present you all the recreated, long-valued artworks including the
Shaka Triad Statues, the wooden pedestal. On top of that, the kon-dou hekiga, or murals of the kon-dou main hall of Horyuji, which were reborn by Tokyo Universityof the Arts, are also exhibited in this event. It is indeed a great honor to see all those recreated works make a debut here for the first time in the world.
The Promotion Group which I serve as Chairperson was established to aim at a virtuous circle of the reinvigoration of the local industry. The recreation project of the
National Treasure Shaka Triad Statues of Horyuji substantially contributes to the goal by powerfully demonstrating you the highly-developed academic knowledge
accumulated by never-ending exploration toward kou-gei artworks by Tokyo University of the Arts, the zenith techniques of Takaoka bronze casting and Inami
carpentry and carving which have been locally handed down from generation to generation in both areas.
The fusion of such traditional skills and the state-of-the-art modern technology including 3D printer of Tokyo University of the Arts has given the means to therevitalization of the time-honored masterpiece. I strongly believe that this project will successfully herald our local manufacturing expertise to the world, and also willfurther enhance the succession and evolution of the long-inherited prowess, encourage to nurture more artisans, and reinforce the competitive strength of the local
industry.
In conclusion, I would like to extend my deep appreciation to Sho-toku shu sect So-hon-zan Horyuji for its special cooperation to this exhibition and all the otherparties involved. Thank you indeed.

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たかはし・まさき／1954年高岡市に生まれる。東京大学法学部を卒業後、77年自治省の新たなまちの姿の実現に向け、「交流・観光」「歴史・文化」「ものづくり」などの施策に取り組む。

Masaki Takahashi / Born in Takaoka city in
1954, Masaki Takahashi went on to the
University of Tokyo. Graduated from Faculty ofLaw, he joined in Ministry of Home Affairs in
1977. Becoming Niigata Vice Governor, Deputy
Director-General of Minister's Secretariat of
Ministry of Internal Affairs and Communications,and all the rest, he was elected Mayor of
Takaoka in 2009. Serving in the 2nd term, hehas been addressing “Exchange & Tourism”,“History & Culture”, and “Mono-zukuri
Manufacturing” as Takaoka is stepping into the
new era, gaining momentum at the 400th
anniversary of the foundation of the city in 2009.

田中 幹夫南砺市長

400年を超える高岡市の鋳物技術と600年を超える南砺市の彫刻技術を活用した地場産業活性化モデルの構築・展開事業推進協議会 副会長

このたびは、国宝法隆寺「釈迦三尊像」高精度複製の完成おめでとうございます。
高岡銅器と井波彫刻は、地方都市の高岡市と南砺市が長年にわたり守り継承してきた伝統技術であります。
この匠の技と、東京藝術大学の工芸に関する学術的知見と、３Ｄデータの取得技術と、そのデータを再現する３Ｄプリンターの技術、
これら新旧の技術と学術的知見の出会いによるこの取組みは、伝統工芸の新たな分野への進出の足掛かりになりうるものであり、さま
ざまな製品や作品制作、販路・受注拡大へとつながるものと大いに期待しております。
何より、この取組みにご尽力いただいた内閣官房まち・ひと・しごと創生本部、東京藝術大学のスタッフの方々に感謝申し上げ、
また、実際に国宝「釈迦三尊像」の質感そのままに、高精度複製を制作いただいた伝統工芸高岡銅器振興協同組合、井波彫刻協
同組合の皆さん、その他関係者の皆さんのご尽力に感謝申し上げまして、ご挨拶といたします。

たなか・みきお／１９６１年富山県南砺市（旧東砺波郡利賀村）に生まれる。工学院大学
工学部を卒業後、ＹＫＫ吉田工業 ㈱、利賀村役場 職員、南砺市議会議員１期を経て２００８年南砺市長に就任。現在２期目。自らMikio Tanaka

Mayor of Nanto

Vice Chairperson of Promotion Group of Vitalization of Local Industry for its Further Restructuring and Development — Leverage the Strength of Skills and Techniques of
Takaoka City and Nanto City — with the over 400-year Casting History of Takaoka and the over 600 Years of Carving History of Nanto

It is my great pleasure to congratulate on the completion of the highly-accurate recreation of National Treasure Shaka Triad Statues of Horyuji.
Takaoka bronze casting and Inami carpentry and carving are such traditions with supreme techniques and pride of artisans with a raft of expertise.
Through this recreation project, those long-renowned “takumi” traditional skills and the professionalism of Tokyo University of the Arts including facts anddata from academic point of view and the contemporary technology of 3D data collecting and printing have encountered and blended together to make therebirth of the triad happen.
I have every confidence that this project enables the traditional art to move forward to the new chapter, and also boosts and expands the manufacture anddelivery of various types of art products from our area to the world.
Last but not least, I would like to formally express my appreciation to Headquarters for Vitalizing Towns, People and Jobs of Cabinet Office and the staff ofTokyo University of the Arts. And I am sincerely grateful to the artisans of Takaoka Traditional Bronzeware Promotion Cooperative and Inami Woodcarving
Cooperative for their superb recreation work of the National Treasure Shaka Triad Statues to revive the same texture and feeling as the original art pieces andall the relevant parties for their dedication to the project.

も過疎地に生まれ育ち、地域の素材を活かした地域づくりを実践し、「世界に誇れる一流の田舎」を目指して奮闘中。モットーは「知足利他」。

Mikio Tanaka / Born in Nanto city (former Togamura village, Higashi Tonami gun county ) in
1961, Mikio Tanaka enrolled in Kogakuin
University. After college, he went to work for
YKK Corporation, and then Toga mura Village
Office. Elected as a member of Nanto city
assembly and serving one term, he became
mayor of Nanto in 2008 and has been active togive new energy to his hometown, based on his
own experience of having been born and raisedin the underpopulated area. Using what the local
region has, he has embarked on his 2nd
mayoral term to reach the goal to create “thetop-rate countryside which thrills the world”. His
watchword is “Chi-soku-ri-ta”, or “Be aware of
the fact that you already possess plenty to be
happy, and be considerate of other people sothat you can do something to help them”.

5

宮廻 正明 東京藝術大学大学院教授・学長特命・社会連携センター長
法隆寺金堂に安置される国宝・釈迦三尊像は、
日本の宗教史並びに美術史における最も重要な尊像であり、
日本 仏教彫刻史における最高傑作と称されます。
東京藝術大学COI 拠点は、最先端のデジタル技術と芸術家の感性が活かされたアナログ技術を元に、高岡市、南砺市と連携し、伝統的な鋳物技術と彫刻技術をハイブリッドに駆使しながら法隆寺釈迦三尊像の再現（クローン文化財）に取り組んでまいりました。
このプロジェクトにおいては、釈迦三尊像を同素材、同質感にて再現するのみならず、飛鳥時代の制作当時の姿に迫る試みを取り入れています。
中尊の欠落した螺髪を復元し、また、美術史における先行研究を踏まえ、脇侍の左右を現状と入れ替えて制作しました。
さらに、大光背の周縁に存在していたと想定される飛天の復元も予定しています。
同拠点が制作する「クローン文化財」を活用することにより、門外不出の国宝である法隆寺金堂の空間そのものを世界中で再現展示することが可能になります。文化財の保存とそれらを広く公開・共有するという、従来は相容れないと思われた二つの課題を、「クロー

学大学院美術研究科教授。島根県生まれ。

ン文化財」は同時に解決することができるのです。そのことにより、世界文化の多様性の維持と発展を促進する文化外交に寄与し、東京藝術大学にて平山郁夫に師事。再興

世界の平和と繁栄に貢献することが見込まれます。

理大臣賞を受賞。セレネ美術館、今井美術

本展の開催にあたり、尊像の調査に際して多大なるご協力をいただきました法隆寺ならびに関係者の皆様に、改めまして深甚な謝意を表します。

6

みやさこ・まさあき／日本画家。東京藝術大

院展にて外務大臣賞、文部大臣賞、内閣総館、ロシア国立美術館、ブダペスト歴史博
物館、リスボン東洋美術館、ピッティー宮殿
近代美術館、マカオ等で個展を開催。

Masaaki Miyasako
Professor of Graduate School of Fine Arts, Executive Assistant to the President (Industry-University Cooperation),
Director of Public Collaboration Center, Tokyo University of the ArtsThe National Treasure Shaka Triad Statues is the most important Buddhist statues in the religious history as well as the art history in Japan, and is also
the unsurpassed classic masterpiece in the history of Buddhist sculpture of Japan.
Tokyo University of the Arts COI Site has worked on the recreation project of Shaka Triad Statues of Horyuji, collaborating with Takaoka city andNanto city. This project is equipped with the hybrid of the latest technology and the long-established artists’ expertise of their traditional casting
techniques and carving skills, which has enabled to produce what we call the “Clone Cultural Properties”.
The precise recreation of Shaka Triad Statues uses the same materials to regenerate the same texture as the original treasure. In addition to that, themissing parts are restored and some correction is done to bring back the original figure of the triad as it was in the Asuka period: rahotsu small spiralcurls on the head of Chuu-son main statue were redecorated, and Kyou-ji attendants on both sides were switched to its original position according to
the findings of the previous studies in the art history. On top of that, Hiten flying celestial beings, which are thought to have initially been set aroundthe great halo, are going to be newly made and added.
Shaka Triad Statues is not to be taken out of Horyuji to preserve the outstanding example, however, the recreated asset as well as its spatial design ofthe entire kon-dou main hall of Horyuji allow us to carry and unveil them throughout the world, while the original statues maintained in Horyuji.
“Clone Cultural Properties” which the COI Site takes forward are indeed the fantastic solution of the contradiction between the protection of original
assets and their exhibition in public to widely share the value of historic art pieces. “Clone Cultural Properties” will contribute to the cultural diplomacy
to sustain and develop the diversity of worldwide cultures, which definitely paves the way for the world peace and prosperity.
Finally, as the opening of this exhibition, let me extend my sincere appreciation to Horyuji for their boundless cooperation for the research of the statues
and all the other relevant persons in this project.

Masaaki Miyasako / Born in Shimané
prefecture, he has been widely active as aJapanese-style painter and a professor of
Graduate School of Fine Arts at Tokyo Universityof the Arts. Studying under Ikuo Hirayama, aprominent Japanese painter, he has gotten a lotof awards including Foreign Minister Prize,
Minister of Education Prize, and Prime Minister
Prize at In-ten Exhibition by the Japan Art
Institute. He also has had solo exhibitions atmany places including Selene Museum, Imai
Museum, State Russian Museum, Budapest
History Museum, Lisbon Museum of the Orient,
the Museum of Modern Art of Pitti Palace, andthe gallery of Casa Garden in Macau.

7梶原 壽治 伝統工芸高岡銅器振興協同組合理事長

岩﨑 孝進 井波彫刻協同組合理事長

釈迦三尊像の再現に携わることになり背筋が伸びる思いを産官学が連携し、門外不出と言われている国宝法隆寺したことを、
ついこの間のこととして思い出します。

釈迦三尊像の複製の完成おめでとうございます。

高岡銅器は４００有余年にわたって培われ、育まれ、磨かれ伝統技術と先端技術の融合による歴史的資産の復元た技によって支えられ、小さなものは風鈴から文鎮などの工芸事業に、地域の伝統産業である伝統工芸高岡銅器の鋳品、大きなものは銅像から梵鐘まで多彩な技術によって作られ物の技術と井波彫刻の技術が生かされ釈迦三尊像を複てきました。近年ではこの伝統技術を活かしてブロンズや文化製されましたことは職人である私どもにとりましても誠に喜財の修復や復元も盛んにおこなわれています。

ばしく誇りに思う次第です。

釈迦三尊像の再現工程では、実際に拝観させていただいた

この度の復元では、井波彫刻として台座の制作にあたり、国宝法隆寺釈迦三尊像のその威圧感、鋳型づくりの時に感じる像の造形力、溶かした金属を鋳込み、鋳型をバラした時に現台座の文様を忠実に彫り上げております。この先この釈迦れた鋳物の肌、普段では経験できない瞬間を体感し、鋳物とい三尊像の複製を多くの皆様がご鑑賞され遠く飛鳥の往時

うかけがえのない財産を残してくれた先人に感謝し、次世代へ
つなげていく思いを新たにいたしました。

を偲んでいただくと共にその制作にかかわった職人魂をいわさき・こうしん／彫刻師。1954年富所代表取締役。
1951年富山県高岡市生

感じていただければ、伝統技術に携わる私どもの大きな

山県南砺市（旧西砺波郡福光町）生まれ。

本展覧会によって、高岡市の皆様はもちろんのこと、全世界まれ。同志社大学卒業後、家業の焼型銅の皆様へ高岡銅器が持つ技や美しさなどの魅力が伝われば器製造業に従事。蠟型師・平井昇氏に蠟

喜ばしい限りです。
我々の拝観を快く引き受けいただきました聖徳宗総本山法隆寺をはじめ、
この取組みにご協力いただきました関係者各位に対し、心から感謝申し上げます。

Toshiharu Kajihara
President of Takaoka Traditional Bronzeware Promotion Cooperative
I clearly remember that I felt honored and nervous when I was told to beengaged in the recreation of Shaka Triad Statues.
The traditional and authentic skills and techniques of Takaoka bronzeware
has been honed, developed, and passed down for more than 400 years.
Backed by the expertise, the bronzeware ranges from small products such as
fu-rin wind chimes and bun-chin paper weights through big statues andtemple bells. Further to that, restoration and repair of bronze artworks aswell as cultural assets across the world are getting active.
It seemed like I re-experienced all the delicate elements of the bronze castingprocesses to recreate the National Treasure: the overwhelming atmosphereof Shaka Triad Statues which I observed in front of me at Horyuji, thedistinctive power of the designing which I perceived in the mold-making
stage, the dynamic ikomi pouring of molten metal, and the texture of thestatue brought to light when the mold was cracked open --- all of the steps
totally impressed me and I cannot thank those predecessors enough for what
they have handed down up to this date. This project has profoundly
refreshed my motivation to pass on the tradition to the next generation.
I will be truly grateful when this exhibition attracts people all over the world
with the charms of the traditional Takaoka bronze casting techniques which
are for us to be proud of.
Lastly, I would like to express my deep appreciation to Sho-toku shu sect
So-hon-zan Horyuji for their cordial welcome for our visit and all the otherrelevant parties in this project.

8

かじはら・としはる／株式会社梶原製作

励みとなります。

型鋳造技法を学ぶ。
1980年日展初入選、この事業にご尽力いただきました高岡市・南砺市なら

以後2回入選。
1996年同組合理事就任。

びに東京藝術大学等の関係各位の皆様に衷心より感謝

専務理事、副理事長を経て2016年理事長就任。

Toshiharu Kajihara / President of KAJIHARASEISAKUSHO Ltd. Born in Takaoka city of
Toyama prefecture in 1951, he graduatedfrom Doshisha University and has engaged
in yakigata casting in his family-run
bronzeware manufacturing factory. Learning
the traditional lost-wax casting method from
Noboru Hirai, a leading lost-wax castingartisan, he won a prize for the first time in
Nitten Exhibition (The Japan Fine Arts
Exhibition) in 1980. After winning a prize
two more times, he became a director of
Takaoka Traditional Bronzeware Promotion
Cooperative in 1996. Serving as a managing
director and vice president, he becamepresident of the cooperative in 2016.

申し上げます。

Koushin Iwasaki

President of Inami Woodcarving Cooperative
It is indeed my pleasure to say congratulations on the completionof the recreation work of Shaka Triad Statues of Horyuji. It could
never have been carried through without the collaboration ofindustry, academia, and government undertaking this project of
the National Treasure which only resides in Horyuji.
The synthesis of the traditional techniques and the cutting-edge
technology has facilitated this revitalization project of the historic
assets. As an artisan, all the members of the cooperative are verymuch proud that our local traditional artistry, i.e., Takaoka
bronze casting and Inami carpentry and carving, has contributed
to the recreation with great significance.
Being in charge of the woodwork for the pedestal where the main
statue is seated, we would say that the highlight is the decorative
patterns of the upper and lower edges to meticulously revive theoriginal petal-design. We could not be happier if a lot of people
appreciate the recreated Shaka Triad Statues and envisage how
the Asuka period was like and how much those artisans at thattime were devoting themselves to the triad.
Finally, let me thank Takaoka city government, Nanto city
government, Tokyo University of the Arts and all the otherparties for their dedication to the project.

伝統工芸士・酒井宏氏に入門し、1981、82年に県展入選。宗清寺の本堂欄間・
山門彫刻、西恩寺の本堂欄間などを制作。1991年 労働大臣認定一級技能士取得。1995年 井波彫刻協同組合理事に就任し、2016年同理事長に。

Koushin Iwasaki / Born in Nanto city
(former Fuku-mitsu machi town of Nishi
Tonami gun county) of Toyama prefecture in
1954, he is now active as a vigorous carver.
Learning as an apprentice of a designatedtraditional carving artist Hiroshi Sakai, he
won a prize at Ken-ten, or Toyama
Prefectural Art Exhibition, in 1981 and1982, and got the designation from the
Minister of Labor as a first-grade certified
skilled carver in 1991. Creating the ranmatransom of the main hall and the decorationof the san-mon gate of Sou-sei-ji temple,
and the transom of the main hall of Sai-on-ji
temple, he became a director of Inami
Woodcarving Cooperative in 1995, andproceeded to president in 2016.

国宝法隆寺釈迦三尊像について
National Treasure Shaka Triad Statues of Horyuji

きょうじ

と り

国宝法隆寺釈迦三尊像は、中尊、左右脇侍の三尊からなる止利様式の仏
え もん像です。日本 仏教彫刻史の初頭を飾る名作として知られ、図式的な衣文のきょうにんぎょう処理、杏仁形（アーモンド形）の目、アルカイックスマイル（古式の微笑）、太い
みみたぶ

耳朶、首に三道を刻まない点など、後世の日本の仏像と異なった様式を示し、大陸風が顕著に表れています。
ふながたこうはい

せん じ ざ

三尊は背後に舟形光背を背負っています。宣字座と称される上下二段構成
じ りつの箱形の木造台座上に釈迦如来が坐し、その左右に脇侍像が侍立しています。
いっこうさんぞん

こんどうぞう

一光三尊の金銅像として日本で最も古い様式、また最も完具した仏像で、飛鳥彫刻の代表作とされています。
〈参考文献〉『国宝』
４ 文化庁監修 、『彫刻』I 毎日新聞社 ２００５

Those statues use Tori style featuring émon rippling drapery on the body, almond-shapedeyes, archaic smile, big ear lobes, no san-dou wrinkles on the neck which represent steps toenlightenment. Tori style notably shows the influence from the styles which was developedin the continent. Buddha statues made later have different styles.
The statues have kou-hai halos in the shape of a boat. Shaka Nyorai, Chuu-son middle
statue, seated on the Sen-ji-za wooden pedestal and Kyou-ji zou amitabha attendants on
both sides are the representatives of the Asuka-period sculpture with its oldest style and no
missing elements to perfect the set of statue.
[Reference]“Koku-hou” 4 edited by Agency for Cultural Affairs “Chou-koku” 1 published by MAINICHI NEWSPAPERS 2005

写真：飛鳥園Photo by Asuka-en

9

美と感動の再現
伊東 順二

本企画キュレーター・東京藝術大学社会連携センター特任教授「法隆寺釈迦三尊像再現事業」は東京藝術大学が法隆寺ならびに文化庁の許可を得て、国宝法隆寺釈迦三尊像を計測・解析したデータをもとに、
３Dプリンターによる原型を作成、その原型を用い、伝統工芸高岡銅器振興協同組合、井波彫刻協同組合の職人たちが、地域で受け継がれた鋳物や彫刻の伝統技術により現代における再現に挑戦、再び東京藝術大学で秘蔵された伝統技術で仕上げを行って時代を超えた美の真実の未来への継承を行った。
この取組みは、門外不出の国宝法隆寺釈迦三尊像を限りなく科学的に同質な技術と伝統的な職人の技、材料で複製することにより、
日本の芸術
文化、地域の伝統技術、歴史的工芸作品の未来の復元技術の発信につながるものであると思っている。
そもそも文化財や芸術作品が存在する意味は？
その長年の疑問を改めて強く考え直させられた契機は福岡県立九州芸文館の創設を指導していた2009年のことだった。東京藝術大学の宮廻正明研究室で北朝鮮の江西大墓の精密な復元画を見て、それがアナログ的技術だけでなく科学的にも立証できる分析に基づいて制作が行われているという説明を聞いた時、表面は古代そのものでありながらその基盤となる構造が現代化できる時代になったのだと強く感じられた。科学の革新による古代人の感動の再現それはつまり東洋にも芸術の時代がようやく到来したとことを意味しているからである。
近代的な芸術概念の起源が中世イタリアで起きたルネサンスに始まることは周知の事実である。しかし、この事件はあくまで概念の創造に基づいたものであり、完全に新しい表現を生み出したものではない。文芸復興（ルネサンス＝再誕生）と名付けられたこと自体がそれを意味している。つまり、イザー。アート、音楽、建築、都市計画など分野を超えたプロデュースを多数手がける。
1995年「ベニス・ビエンナーレ」日本館コミッショナー。2005年〜13年富山大学教古典古代と呼ばれるギリシャ・ローマ時代に人類が生み出した表現を分析し、合理的にその技術を再現、進化させることが目的であり、ゼロから表授。08年〜12年「金屋町楽市」実行委員長。

現の手法を始める意図ではない。なぜなら、原始時代、人類が洞窟に現実の光景を象徴化して以来、美術はもしくは美は存在していたからである。

前長崎県美術館館長。パリ日本文化会館運日本においても同様である。芸術概念が輸入された明治以前も様々な呼び方で美は生産されていた。
ではルネサンスという時代に生まれた「芸術」は何を変化させ、何を進化させたのか？
それは人間と宇宙の科学による解析である。一言で言えば、表現の論理性の獲得とも言えるだろう。美という現象、感動という事件のプロセスを解明することは決して見ることができない感動の生理的実態を把握することであり、感動の受容者である人間の生命の神秘を解き明かすことでもある。
残念ながら、
日本や東洋では明治まで表現の論理性を追求することは殆んどなされなかったが、その反面論理に縛られない感性的で多様な表現が生まれた。つまり、西洋で生まれた科学精神と東洋で広げられた表現の可能性がデジタル技術による基盤革新によって結合され今後世界的な規模
で新たな美の解析と復元がなされるに違いない。過去に残された法隆寺釈迦三尊像に代表される美の遺産は感動と技術のタイムマシーンなのである。
受け継がれた伝統工芸技術と科学的によって解析された製造過程と成分をなぞりながら表現と感動の神秘を辿ろうとする今回の法隆寺釈迦三尊像の再現はその意味において将来的に美と感動の解明への国際的な協働への可能性を示唆するものである。

10

いとう・じゅんじ／ 東京藝術大学社会連携センター特任教授。高岡市魅力発信アドバ

営審議委員。富山市ガラス美術館名誉館長。

Recreation of Beauty and Deep Emotion

Junji Ito

Curator, Professor Vice Director of Public Collaboration Center, Tokyo University of the Arts

The “Shaka Triad Statues of Horyuji Recreation Project” has successfully been accomplished. The revived statues will definitely transcend the genuine beauty of theancient art to the future. As the starter of the project, Tokyo University of the Arts made measurements of the National Treasure Shaka Triad Statues of Horyuji witha special permission from Horyuji and Agency for Cultural Affairs. Carrying out an analysis of the data, the university created a 3D resin model which was moved on
to the reproduction stage at Takaoka Traditional Bronzeware Promotion Cooperative and Inami Woodcarving Cooperative. Those artisans’ exquisite local traditional
skills and techniques has made the challenging recreation possible, and Tokyo University of the Arts took responsibility for the final finish with what is called alchemy
which has been kept in reserve in the university.
I am confident that this project will give momentum to passing on Japanese art culture, local historical skills of artisans, and techniques and technologies for further
revitalization of time-honored artworks.
In the first place, what is the significance of cultural assets or artworks?
A precise reproduced art piece ardently inspired me to deem again about the long-held subject matter in 2009 when I was responsible for the supervision of theestablishment of Kyushu Geibunkan Museum in Fukuoka. In visiting Prof. Masaaki Miyasako of Tokyo University of the Arts, in his office I observed recreatedpaintings of the murals of Kousei Taibo tomb from North Korea. He says that the murals were revived with orthodox analogue techniques as well as scientific analysis
methods, which intensely made me felt that the latest technology can be the basis of the recreation work, while maintaining the exact looks of the original art madein the ancient past. The revitalization of the people’s deep emotion in the earlier days is now achieved with the scientific innovation, which means the advent of theera of art, at last to the Orient.
It is the well known fact that the concept of modern art arose in the Renaissance period of the Middle Ages in Italy. However, the basic idea of the astonishing revivalof art at the time is all about how to design the concept; we would not say that the era of the revival generated a brand-new style of art, which is obvious in the name,“Renaissance”, or “Rebirth”. The cultural movement aimed at analyzing the approach to the art which dated back to the Greek and Roman period, or Classical
Antiquity, and refashioning it for its further development, instead of starting an original method of art from scratch. Art and beauty have been here with us since early
humans in primeval times depicted on rocks in caves what they actually saw. The same goes with the art history in Japan: beauty had been produced in many ways
under different names before the concept of art was brought from abroad.
Then, what did the “art” which took place in the Renaissance epoch change and evolve?
That is, the analysis of the human and the universe based on science: in one word, the achievement of the logic of expression. By decoding the system of thephenomenon of beauty as well as the process of the sensation of the exhilaration, we can understand the physiology of the excitement which is never visible, and we
can figure out the mystery of life of humans who accept the emotion.
In Japan and the other countries of the Orient, the logic of expression had not been pursued so much until the Meiji period, which seemed unfortunate. Instead,varieties of genres to express beauty with inspiration and sensibility blossomed, free from some logic. I strongly believe that further analysis and recreation of beauty will
be happening worldwide with the amalgamation of the spirit of science which burgeoned in the Occident and the potentiality of expression which has been cultivatedin the Orient. The combination is initiated by the digital technology which has become the up-to-date basis of the recreation work in an innovative manner.
The legacy of beauty represented by Shaka Triad Statues of Horyuji is the time machine which was engineered by the emotion and the skills in the early period. This
recreation project brings the delight and the mastery of long ago back to us at the present day.
The recreation project of Shaka Triad Statues of Horyuji has explored the mystery of expression and thrilling experience, traveling with the handed-down techniquesof traditional arts as well as the technically-analyzed making processes and components of the time. The venture implicates the future possibility to seek theinternational collaboration for the discovery of the truth of beauty and deep emotion.

Junji Ito / As a professor vice director of Public
Collaboration Center at Tokyo University of theArts, he serves as an advisor of Takaoka city
Attractiveness Booster. And, as a producer, he
has taken responsible for a wide range of arts
including artworks, music, architecture, urban
planning, and the rest. In 1995, he was incharge of the Japan Pavilion at the 46th Venice
Biennale as a Japanese commissioner.
Serving as a professor of University of Toyama
in 2005 until March 2013, he was active inreinvigorating Kanaya-machi of Takaoka as theexecutive chairperson of “Kanaya-machi Rakuichi” revitalization project from 2008 through2012. He was named as the director of
Nagasaki prefectural museum in 2004 until
March 2007. He also worked as a member ofplanning committee of Maison de la culture duJapon a Paris, and now is the honorary directorof Toyama Glass Art Museum.

11

再現工程 〔１〕計測・解析、原型作成
1. ３D計測 3D Measurement

Cloning Process [ 1 ] from Measurement & Analysis of 3D Data to Forming the Resin Sculpture

2. データ解析・造形 Data Analysis & 3D Modeling

プロジェクターから縞パターンを投影し、２台のCCDデジタルカメラ

計測した3Dデータを解析し、データが取得できなかった部分についてはで撮影することにより、高精度な３Dデータを作成しました。

デジタルモデリングシステムにて3D復元を行いました。

According to stripe patterns being projected on the original sculpture, two CCD digital
cameras are capturing the images to prepare highly accurate data.

After analyzing the 3D data, the 3D model is digitally created on the screen.
Since data of the hidden parts cannot be achieved, the data for those parts were newly created with a digital modeling system.

3D計測・データ解析
3D measurement and data analysis［3次元計測撮影回数］239回[ Number of shots of 3D measurement ] 239 shots

3D造形ソフトで3D彫刻
3D carving with a 3D model-making software

12

データ造形
3D Modeling東京藝術大学 CO I 拠点
Tokyo University of the Arts COI Site

3. ３D造形出力 3D Printing

法隆寺、文化庁より特別に許可を得て、計測・解析を行い、樹脂製の原型を制作しました。
After receiving the special permission from Horyuji and the Agency for Cultural Affairs,
Tokyo University of the Arts collected the data of the actual statues in Horyuji and made the resin sculptures by using a 3D printer.

4. 金属分析 Metal Analysis of the Original Bronze Statues

編集した3Dデータを3Dプリンタで出力し、蛍光Ｘ線分析調査により釈迦三尊像の金属分析を行

鋳造原型を造形しました。

い、銅、錫、鉛の他、水銀などが微量検出されました。

3D data is edited and printed out to form the sculpture.

Metal of the original bronze statues is analyzed using the X-ray fluorescenceanalysis method. A slight amount of copper, tin, lead, mercury, and the rest
are detected.
［使用機器］
Thermo Fisher Scientiﬁc社製
Thermo-NITON 携帯型成分分析計 XL3t-900S-M［測定条件］
X線管球ターゲットAg、Mining Mode Cu/ZnおよびMetal Modeにより対象元素を切り替えて測定、コリメーター8㎜φ[Equipment]
Thermo Scientific Niton XL3t-900S-M(Portable XRF analyzer of Thermo Fisher Scientific K.K.)[Measurement Condition]
X-ray tube bulb target: Ag
Mining Mode: Cu/Zn
Switching the target with Metal Mode
Collimator 8mmφ

◉東京藝術大学
東京藝術大学は、その前身である東京美術学校、東京音楽学校の創立以来130年間、幾多の優れた芸術家ならびに教育者、研究者を輩出するとともに、文化財の保護と継承にも努めてまいりました。2010年には、連綿と受け継がれてきた模写や模刻の伝統技術を礎に、現代のデジタル技術を融合させ、文化財の高精度かつ同素材同質感で複製・再現する技術を開発しました。
新たに立ち上げた同学CO I 拠点では、芸術と科学技術を統合した高精度な文化財 複製「クローン文化財」を制作し、流出または消失した世界中の文化財を復元することを目指しています。

Tokyo University of the Arts

3Dデータをもとに制作した中尊の樹脂製の原型
The 3D-printed resin sculpture of Chuu-son main statue

With a history of more than 130 years starting as Tokyo Fine Arts
School and Tokyo Music School, Tokyo University of the Arts has
produced so many great artists, educators, and researchers. The
university has also put an emphasis on the preservation and inheritanceof cultural properties. In 2010, a new technology was developed to
duplicate and recreate art pieces, based on traditional skills forreproducing paintings or carving arts. Incorporating present-day
technology into the ancient techniques enables us to make a
reproduction of more similar tangible properties with the same material
and texture with high accuracy. The COI Site of the university was
founded in 2013 and has created highly precise “Clone Cultural
Properties”, a technological art which is reborn by the fusion ofadvanced technology and artworks. The aim is to reproduce the world’s
cultural properties which were abandoned or carried away to otherareas from their hometown.

画像：©東京藝術大学COI 拠点

Photo © Tokyo University of the Arts COI Site

13

再現工程 〔２〕鋳造

Cloning Process [ 2 ] Casting of the Statues

1. 鋳型作成 Casting Mold Making

2. 溶解 Metal Melting

３Dプリントによって制作された原型をもとに、鋳造用の型を作成しました。

銅合金（ブロンズ）を約1250℃に溶かします。

The casting molds are created based on the 3D-printed resin sculptures.

Bronze alloy is molten at about 1,250˚C.

［ロストワックス型鋳造法］
きょうじ

中尊、両脇侍およびその光背はこの製法で鋳造しました。
①原型をもとにシリコンゴムで外型をつくる。
②ゴム型の中にロウを流し、ロウで鋳物と同じ肉厚の型をつくる。
でいしょう③ロウを耐火性のあるスラリー（泥漿）に浸して乾燥させ（１０回程度繰り返す）、外型をつくる。
（脱ロウによりできた空間が鋳物になる）④これを加熱して脱ロウする。

3Dの樹脂型から中尊のロウ型をつくる。
The wax mold of the Chuu-son main statue is made based on the resin
sculpture.

ロウ型を砂でかたどった状態。
The ceramic shell mold encasing the wax mold.

Lost-Wax Casting
for Chuu-son middle statue, Kyou-ji statues and Kyou-ji’s small kou-hai halos
1. Based on the resin sculpture, a silicon rubber mold is made.
2. Wax is poured into the cavity of the rubber mold to create a wax mold . The
thickness of the wax will be the thickness of the finished bronze statue.
3. The wax mold is slushed into slurry, a liquid ceramic slip made from colloidal silica
and silica flour, and dried. This process is repeated about ten times to create an
investment, or a ceramic shell mold.
4. The ceramic shell mold encasing the wax mold is heated to melt the wax out. The
hollow becomes a casting mold.

［ガス型鋳造法］
中尊の大光背はこの製法で鋳造しました。
①原型を鋳物砂で覆い、炭酸ガスを注入し、硬化させ鋳型をつくる。
②鋳型から原型を外し、耐火度を高めるための塗型剤を全面に塗る。
③分割した型を（今回は大小300個程度の型）を組み込んだ表側の鋳型、裏側の鋳型を正確に合わせる。

複雑な造形箇所は、大小の型に分割し、組み立てて鋳型にする。
The complex patters of the kou-hai great halo are individually covered withsand to get an imprint of shapes and fine lines.

14

大光背の裏側の鋳型をクレーンで運び、表側と合わせる。
The back mold of the kou-hai great halo is carried
by a crane and joined together with the front mold.

CO² Sand Castingfor the kou-hai great halo of Chuu-son middle statue
1. After the resin sculpture is covered by a casting sand, CO² is passed over sand toharden it and a sand casting mold is made.
2. The casting mold is removed from the resin sculpture and a coating agent isapplied on the casting mold to increase the fire resistance.
3. The small imprints of complex patterns are fixed to what will become the frame of
the great halo. With all of the three hundred pieces of the great halo in place, thefront mold and the back mold are joined together precisely to make the entire mold.

伝統工芸高岡銅器振興協同組合
Takaoka Traditional Bronzeware Promotion Cooperative

ちゅう とう

東京藝術大学提供の原型を基に、中尊、脇侍、光背を鋳造しました。
Based on the resin sculpture created by Tokyo University of the Arts, Chuu-son main statue,
Kyou-ji statues, and kou-hai halos are cast.

3. 注湯 Metal Pouring

4. 型ばらし Mold Cracking

溶かした銅合金を湯口から注ぎ込みます。

注湯した銅合金が冷えてから鋳型を取り除きます。

Molten bronze alloy is poured into the gate.

After the bronze alloy has completely cooled down, the mold is cracked andremoved.

◉高岡銅器（富山県高岡市）
高岡銅器は約400年前、高岡の町を開いた加賀前田家２代当主・前田利長公が、7人の鋳物師を呼び寄せたことから始まります。当初は鉄が中心でしたが、江戸中期からは銅が用いられ、鋳型を焼いて加熱する（右脇侍）。
The casting mold of Migi Kyou-ji right statue isfired.

湯口より注湯（右脇侍）。
Molten bronze alloy is poured into the gate. (Migi
Kyou-ji right statue)

鋳型を金槌で割りながら鋳物を取り出す（左脇侍）。
The casting mold is cracked with a hammer to take out the statue. (Hidari Kyou-ji
left statue)

美術品や仏具、茶釜などの生産が盛んになりました。その後、鋳造をはじめとする各種金属加工の技術は、真鍮、錫、アルミニウ
ム等に応用され、精密機械部品の製造にも生かされています。
高岡の鋳物技術は、世界遺産に登録されているスペイン・バ
ルセロナにあるグエル邸の「龍の門」の鐘の復元に用いられるなど、歴史的記念碑や工芸品の修復・再現に期待されています。

Takaoka Bronze Casting(Takaoka city, Toyama prefecture)

4つの湯口から注湯するタイミングは熟練した職人の勘所（大光背）。
Only a truly experienced craftsman knows the right timing of when to pour themolten alloy into the four holes. (The kou-hai great halo)

クレーンで大光背をつり上げ、この後表面に残る鋳物砂などを取り除く。
The kou-hai great halo is pulled up by a crane and the remaining sand of the moldis removed.

The history of bronze casting in Takaoka dates back to 400 years ago
when Mr. Toshinaga Maéda, the 2nd lord of the Kaga domain invited
seven foundry workers from the Osaka area. At the beginning of the Edo
period, iron was the main material. Copper started to be used from the
middle of the Edo period. The local metal industry flourished producing
bronzeware for art, Buddhist rituals, and tea ceremonies. The
traditional techniques have been passed on to be the basis of today’s
processing of metal such as brass, tin, and aluminum as well as tomanufacture precision instruments.
Takaoka’s casting techniques are also used to recreate or repair
historic artworks including a bell of “The Dragon Gate” at Güell
pavilions, a World Heritage in Barcelona, Spain, which was originally
undertaken by Antoni Gaudi.

15再現工程 〔３〕御像の仕上げ Cloning Process [ 3] Finishing of the Statues

16

1. 大光背銘 Inscription on the Great Halothe Surface Ripples
2. 3D積層痕の除去 Removingof 3D Layers

大光背から複写した銘を、再現した大光背に印刷し、3Dプリンターの積層痕を、キサゲと特注のこてヤスリを用いて彫金の技法で一文字ずつ彫りました。

除去しました。

The inscription of the original great halo is copied, and then screen-printed on the recreated halo.
Those characters of the text are hand-engraved one by one on the halo, using traditional metal-carving techniques with a tagané chisel.

The 3D model is made by building up 3D data layer upon layer, and those layers appear on
the recreated statues. They are removed at this finishing stage with traditional handheld
grinders, a kisagé metal scraper and a koté-yasuri file, to smoothen the surface and makeit as close to the original statues as possible to finish them as a faithful reproduction.

スクリーン印刷の技法で銘を印刷。
The inscription is screen-printed on the halo.

3D積層痕
Ripples of 3D layers.

文字の「はらい」や「とめ」は、当時の書体に合わせた。
The style of the characters with tomé (stop) and harai (tapered) follows thecalligraphy manner of the time.

3D積層痕の除去
Ripples are removed.

伝統工芸高岡銅器振興協同組合
Takaoka Traditional Bronzeware Promotion Cooperative

3. 表面仕上げ Surface Finishing

大光背の背に銘を彫りました。
The inscription is engraved on the back of
the great halo.

東京藝術大学 CO I 拠点
Tokyo University of the Arts COI Site

鋳造した御像の造形を仕上げ、古色風に表面処理を施しました。
The entire sculpture is slightly adjusted to achieve higher accuracy
and aged color is created on the surface by using some chemicals.

4. 構造検討 Position Setting Up
ほぞを制作し、仮組みを行いな

5. 古色仕上げ Finishing with Aged Colorと きん

制作工程で生じた形の緩みをキサゲ、
タガネ、特注のこ

中尊、脇侍、光背をつなぐ

鍍金、硫化着色、緑青着色などを用いて経年の古色をてヤスリで修正し、造仏当時の姿を甦らせました。

がら全体のバランスを検討しました。

再現しました。

Some adjustment is made using a kisagé metal scraper, a tagané chisel,
and a koté-yasuri file to achieve higher accuracy of the sculpture.

Tenons are made to connect Chuu-son main statue, Kyou-ji attendants, andkou-hai halos. They are all fit together by tenons and the positions areadjusted.

Aged color of the original statues is reproduced by applying chemicals forplating, sulfuration, and patination.

表面仕上げ1Finishing the surface #1

仮組み1
Putting together the pieces #1

硫化着色
The color is created by sulfuration.

表面仕上げ2Finishing the surface #2

仮組み2
Putting together the pieces #2

17

再現工程 〔４〕台座の制作・仕上げ

Cloning Process [ 4] Creating and Finishing the Pedestal

1. 木工の部分 Woodwork

2. 木彫の部分 Woodcarving①提供された平面図を元に、実寸大の平面図を作成しました。

①提供された下絵と画像をもとに、200本あまりのノミで反花を彫刻しました。

（台座は方形ではなく短い台形になっている。実寸大の図面で接合部の斜度を求める）②随時、画像と照らし合わせて調整していきます。

②平面図に沿って、ノミ、カンナ等で縦框、上框、下框の形を整え、試しに組み上げて上下の框との接合具合などを確認します。

1. Based on the drawing of the flat plan and digital images of the original carvings, Kaéri-bana, or curved lotus flower petals,
is carved out on the bottom base, picking the right chisel for each contour among two hundred different types of chisels.
2. Checking the digital photos, the flower petals are fine-tuned and taken shape.

かまち

かえりばな

1. Based on the layout of the original pedestal, a full scale drawing of the flat plan is created.
(The pedestal is not square but in a trapezoidal shape. The full scale flat plan helps achieving the right angles of the joints.)
2. According to the plat plan, kamachi pillars and beams are carved using a chisel and a plane. The carver fills in the unknown
details along with the accumulated experience of fifty years. The frame is put together to make up the difference between
the top and the bottom and delicately adjust the pitch.

18

框の接合部を確認。
The joints are checked.

下框・反花の部分のカンナかけ。
The lower base is planed.

反花用の下絵と拡大図。
The drawing of the flat plan

提供された反花の画像。
Digital photos of Kaéri-bana

仮に組み上げて、歪み等がないかを確認。
The frame parts are fit together to adjust the pitch.

組み上がった框部分。
Kamachi frame is formed.

荒削りから仕上げ用まで200本前後のノミを使い分ける。
The carver picks the right chisel for the right contour among two
hundred different types of chisels during the entire carving
process from rough-carving through finishing.

画像を見ながら、反花の彫刻の質感を確認していく。
The carver is checking the digital photos and making fineadjustments to Kaéri-bana to achieve the volume of the original
petal and give substance to the image.

せん じ ざ

井波彫刻協同組合

Inami Woodcarving Cooperative

本尊を支える宣字座（木製の台座）を制作しました。
Sen-ji-za wooden pedestal is created. The platform is sturdy enough towithstand the weight of Chuu-son main statue.

東京藝術大学 CO I 拠点
Tokyo University of the Arts COI Site

3. 漆工の部分 Urushi Traditional Lacquer Applying

漆を塗り、古色風に表面処理を施しました。
Urushi traditional lacquer is applied on Sen-ji-za pedestal,and the ancient touch is revived.

4. 古色仕上げ Finishing with Time-Honored Texture

原本と同様に漆を塗り、経年変化による傷や摩耗、古四方の板に描かれた図様を描き、経年の古色を再現

色を施しました。

しました。

Urushi, or Japanese traditional lacquer, is applied. After that, scratches andpeeling parts are replicated and some color is put on to reproduce theancient texture.

The designs of the four panels are drawn and the long-lived feel is created.

へら箆を用いて、漆の下地を施す。
The base-making mixture of urushi traditional lacquer is applied using a spatula.

上座に古色を施す。
Color is applied on the kamiza panel to revive the ancient touch.

蓮弁の漆を部分的に掻き落とし、原本同様の塗膜をつくる。
By scratching the surface, the original texture is reborn. Coating urushi lacquer isapplied on top.

下座の板に描かれた図様を再現する。
The painting on the shimoza panel is recreated.

◉井波彫刻（富山県南砺市）
瑞泉寺の門前町として栄えた井波。大火により焼失した瑞泉寺再建のために京都より彫刻師が招かれました。その技術を宮大工たちが受け継ぎ、今日の井波彫刻の礎を築きました。井波の彫刻師は自分の手に合ったノミをつくるところから始め、荒削りから仕上げ用まで、200本あまりのノミを使い分けています。
その技術は欄間をはじめとする各種の木彫インテリアや工芸品に生かされています。
また今日では歴史的な木彫品の修復・復元等にその技術が用いられ、名古屋城本丸御殿再建事業では、欄間に井波彫刻の技が光ります。

Inami Carpentry and Carving(Nanto city, Toyama prefecture)
Inami thrived as a mon-zen-machi town, or “gate front town" whichgrew in front of Zui-sen-ji temple. When the temple was burned down
by a big fire, carvers were invited from Kyoto for the reconstruction of
the building. Miya-daiku, or carpenters specialized in shrines andtemples, handed down the skills and techniques, which has become thefoundation of today’s Inami carpentry and carving. Carpenters andcarvers start with making their own chisels, and they use over 200
different chisels to carve, ranging from drawing rough outlines tofinishing the piece. You can find their authentic skills and techniques inranma transoms on doorways, wooden interior decoration and crafts.
The prominent techniques are also triumphantly displayed in repairingand reproducing historic woodcarvings. The transom of Nagoya castle
is a great example of age-old Inami skills and techniques for therecreation project of the main castle building.

19

― 飛 鳥 が 告げる未 来 ―［会期］平成２９年３月１０日
（金）
〜２０日
（月・祝）
［会場］ウイング・ウイング高岡 ４階ホール、ホワイエ（富山県高岡市末広町１番７号）◉総合監修 宮廻 正明◉キュレーター 伊東 順二◉空間構成 横山 天心（富山大学芸術文化学部准教授）◉主催
４００年を超える高岡市の鋳物技術と６００年を超える南砺市の彫刻技術を活用した
地場産業活性化モデルの構築・展開事業推進協議会◉特別協力
聖徳宗総本山法隆寺
東京藝術大学社会連携センター
東京藝術大学COI 拠点◉機材協力
富山大学芸術文化学部
三協立山株式会社
三芝硝材株式会社◉写真協力– The Calling from Asuka for the Future –[ Dates ] March 10 ( Fri) – March 20 ( Mon, National Holiday), 2017
[ Venue ] WING WING TAKAOKA Foyer on 4th floor(1-7 Suéhiro-machi town, Takaoka city, Toyama prefecture)•General Supervisor:
Masaaki Miyasako•Curator:
Junji Ito
•Space Design:
Tenshin Yokoyama (Associate Professor of Faculty of Art and Design, University of Toyama)•Host:
Promotion Group of Vitalization of Local Industry for its Further Restructuring and Development— Leverage the Strength of Skills and Techniques of Takaoka City and Nanto City —with the over 400-year Casting History of Takaoka and the over 600 Years of Carving History of Nanto•Special cooperation:
Sho-toku shu sect So-hon-zan Horyuji
Tokyo University of the Arts Public Collaboration CenterTokyo University of the Arts COI Site
•Equipment:
Faculty of Art and Design at University of Toyama
Sankyo Tateyama, Inc.
Sanshiba, Inc,

株式会社飛鳥園•Photos:
Asuka-en○お問い合わせ○ Contact us

高岡市産業企画課

Industry Planning Division of Takaoka City

〒933-8601 富山県高岡市広小路7-50
TEL 0766-20-1395 FAX 0766-20-1287

7-50 Hiro-kouji Takaoka city Toyama prefecture 933-8601
TEL 0766-20-1395 FAX 0766-20-1287©４００年を超える高岡市の鋳物技術と６００年を超える南砺市の彫刻技術を活用した
地場産業活性化モデルの構築・展開事業推進協議会© Promotion Group of Vitalization of Local Industry for its Further Restructuring and Development— Leverage the Strength of Skills and Techniques of Takaoka City and Nanto City —with the over 400-year Casting History of Takaoka and the over 600 Years of Carving History of Nanto※許可なく転載、複製を禁じます。

20

Debut of Cloned
Shaka Triad Statues of Horyuji* All Rights Reserved.

― 飛 鳥 が 告げる未 来 ―Debut of Cloned Shaka Triad Statues of Horyuji– The Calling from Asuka for the Future –