@article{oai:tobunken.repo.nii.ac.jp:00006132,
 author = {高田, 修 and Takata, Osamu},
 issue = {385},
 journal = {美術研究, The bijutsu kenkyu : the journal of art studies},
 month = {Feb},
 note = {Conservation work was conducted on the painting known as the Ki-Fudô, or Yellow Acalanatha, of Onjôji from 1996 through 1998. Yanagisawa Taka was a member of the conservation committee convened by Onjôji to supervise the process. She was writing an article summarizing new information about the painting derived from the conservation work when she died suddenly in September 2003. The almost completed manuscript of Yanagisawa's article was found in her papers after her death. The manuscript indicates that Yanagisawa discarded the existing theory that the Ki-Fudô was a work from Japan's early Heian period, dating to the latter half of the 9th century. Instead, she made the epoch-making conclusion that the work was actually a Tang dynasty work that had been brought to Japan by Onjôji's founder Enchin. As preface to the publication of Yanagisawa's article in this issue of the Bijutsu Kenkyû, the journal staff requested that Takada Osamu, the chairman of the Ki-Fudô conservation committee, read Yanagisawa's text. The following comments were made by Takada in an interview on the subject.

... It seems that Kukai and the other seven major Japanese priests who traveled to Tang dynasty China actually paid for the large number of cultural items they brought back from their journeys. This practice was surely true in Enchin's case, and the probability of such practice arises in the theory that the Ki-Fudô was brought to Japan from China. Miyoshi Kiyoyuki wrote a biography of Enchin in 902, in which he describes the incident of Enchin commissioning an image of Acalanatha based on a vision he had. Miyoshi's description of that painting exactly matches that of the Ki-Fudô. Are there instances in which Enchin's disciples agreed to intentionally cut and supplement sections of their master's life history? If such were the case, then that could have been the reason that the true facts of the Ki-Fudô were not recorded.
...The almost complete dearth of comparable extant Tang dynasty works makes it hard to test Yanagisawa's theory about the painting through a consideration of Chinese paintings. Yanagisawa's theory questions whether or not Japanese painters of that period were capable of the brushwork displayed in the Ki-Fudô, and this would seem to be an effective avenue of investigation. There will surely be con
siderable reaction to Yanagisawa's article upon its publication in this journal. It is my hope that this article will provide the impetus for various different theories to be posited on the subject, and that some method of consolidating existing interpretations will be advanced through such discussions.},
 pages = {17--22},
 title = {柳澤孝著「園城寺国宝金色不動明王画像（黄不動）に関する新知見」を読んで},
 year = {2005}
}