@article{oai:tobunken.repo.nii.ac.jp:00006054,
 author = {綿田, 稔 and Watada, Minoru},
 issue = {410},
 journal = {美術研究, The bijutsu kenkyu : the journal of art studies},
 month = {Sep},
 note = {A set of six handscrolls, the Illustrated Handscrolls of the Legend of Tenjin, Sugawara no Michizane (Dajôitokuten-engiemaki), is today in the Musée Guimet, Paris. It is unclear when the set arrived in France from Japan, but the set is said to have been in the personal collection of the museum’s founder, Émile Guimet (1836–1918). While the handscrolls have been introduced on numerous previous occasions, those introductions have been partial and information about the scrolls has been confused. Given this confusion, and the need for revision of some information about the scrolls, this Bijutsu Kenkyû issue provides a full transcription of the text portions of the scrolls, along with images of the entire set of scrolls. This article is the explanatory information accompanying those published images and text transcriptions.
     The inscription written in ink at the end of the final scroll of the set provides the following production information. There was an “old version” (kohon) of this setof six scrolls, but as it was damaged, this set was made to replace it. Upon the revival of the temple, the Guimet set of scrolls was presented to Yakusuijô-ji temple (probably a temple affiliated with the Tenmangû shrine in Kaiden, the predecessor to the present-day Nagaoka Tenmangû) in Kaiden village, Otokuni district, Yamashiro province, on the 25th day of the 11th month of 1538 (Tenbun 7). The principal donor and producer of the set was a person named Chô, head priest of Zôfukuji, a temple that is no longer extant and likely a Zen temple. The congregation of the local Tenmangû shrine also donated a small amount toward the scrolls’ creation. Nakakôji Munetsuna, lord of the Kaiden Castle, nominally brushed the text portions of the scrolls. In fact, a priest named Gôyû (aged 52) of Jakushô-in, Kaiin-ji temple, in a village neighboring Kaiden and today extant as a Shingon temple in Nagaoka-kyo city, wrote out the text in place of Munetsuna. And yet, the texts on the 4th scroll of the set were written by Nose Yorinao (aged 23), a member of a powerful local family of a village neighboring Kaiden.
     Thus, this set of scrolls was prepared and dedicated by a mix of people from Shinto and different Buddhist sects, members of the laity and religious figures, old and young. In terms of period, this time was marked by the close interactions between small and medium-sized local landowners in this region, and this set of scrolls is vivid proof of the Otokuni district organization. Given the district’s former connections with Sugawara no Michizane, a set of illustrated handscrolls depicting the Tenjin-engi was an appropriate medium for bringing together people in this area.
     The texts in the scrolls that contain a total of 41 sections are characterized by the fact that their content accords with the example dated by inscription to 1459 (Chôroku 3), handed down at the neighboring Jôgû Tenmangû (Takatsuki city, Osaka prefecture). This factor indicates that it is highly likely that both the Guimet set and the 1459 set were based on the “old version” that was at Kaiden’s Tenmangû shrine. The “old version” at the Kaiden Tenmangû shrine, which was managed by a descendent of the Nakakôji family, who were part of Sugawara no Michizane’s clan, was thus influential in the area.
     The paintings in the scroll appear to have been done by a painter with some level of basic training, and are finely brushed in a rich array of colors. Regardless of these factors, there is a sense of loose, unskilled artlessness about the depiction of the architecture and other elements, suggesting that a technically proficient professional painter created the work in an amateurish style. Judging solely from extant works, the majority of the Tenjin-engi paintings created in the medieval period reveal an artless, amateurish painting style. Thus the “old version” that was said to be at the Kaiden Tenmangû was probably of this same lineage. If the Guimet set is actually a continuation of this stylistic trend, then this too speaks of the authority of the “old version.” At the very least in the area around the Kaiden Tenmangû, there is an example by Shiba Shinkan dated to 1446 (Bun’an 3) at the Sata Tenmangû (Moriguchi city, Osaka prefecture), while there is also an example by Tosa Mitsunobu dated to 1503 (Bunki 3) at Kitano Tenmangû (Kamigyo-ku, Kyoto). More so than these paintings by highly skilled professionals from Nara and Kyoto, the amateurish paintings of the “old version” were more persuasive as a model for the local people. Thus models and standards were not limited to only exquisitely rendered works.},
 pages = {55--65},
 title = {研究資料　国立ギメ東洋美術館蔵 大政威徳天縁起絵巻―解題―},
 year = {2013}
}