@article{oai:tobunken.repo.nii.ac.jp:00006449,
 author = {宮, 次男 and Miya, Tsugio},
 issue = {305},
 journal = {美術研究, The bijutsu kenkyu : the journal of art studies},
 month = {Mar},
 note = {In 1931, the name of Kangiten Reigenki (Miraculous Stories of Nandikeśvara) was given by Mr. Teruo AKIYAMA to this set of two illustrated handscrolls. Before this, this set was called Tenjin Engi (Stories of Deified Michizane Sugawara), for the themes of the illustrations in the first scroll are also included in illustrations of various versions of the Kitano Tenjin Engi (Stories of Michizane Sugawara Enshrined in Kitano Shrine). 
     The first scroll contains a miraculous story concerning Priest Son-i, the thirteenth archbishop of the Enryakuji, who obtained an image of Nandikeśvara and who pacified the hostile ghost-spirit of Michizane SUGAWARA. The first illustration of this scroll has two scenes. One is a scene in which Michizane, exiled to the province of Tsukushi, climbs Mt. Tempai and reads a petition to the god of heaven. The other is a scene in which Michizane appears in the monastery of Son-i and tells Son-i not to disturb his actions. The second illustration represents the story of Michizane, transfigured into a thunder god, attacking the Seiryō-den building of the palace and fighting with Tokihira FU JIWARA. The third illustration is the scene in which Son-i, who has been asked to come to the palace to pacify the ghost-spirit of Michizane, miraculously crosses the flooded Kamo River with the protection of Nandikeśvara. Although a portion of the text for the fourth illustration and the illustration itself are missing, the content is known form the remaining text. The text explains the nature of Nandikeśvara and praises its virtue.
     The first illustration of the second scroll concerns the story of Son-i pacifying the Rebellion of Masakado TAIRA. This illustration contains: the scene in which the ghost of Masakado's head appears on a platform in front of which Son-i practises a ritual; and other scenes which show the battle between the Imperial troops and Masakado's troops; Masakado's death; and the display of Masakado's head in the town. The second illustration is the scene in which Priest Ennin, who returned from China, has craftsmen cast an image of Nandikeśvara. The third illustration is the scene of Priest Ennin embarking for China. The fourth is the scene in which Priest Ennin encounters goblins on the way back from China and escapes from them by praying to Nandikeśvara. Judging from the context, the second illustration must have been the last of these three illustrations concerning the story of Ennin.
     The content of this set of two handscrolls can be roughly divided into two parts, the story concerning the origin of the Nandikeśvara image and the story of its benefits. The author presumes that the latter story followed the former when the work was executed. He also presumes that the present fourth illustration of the first scroll must have been originally the first illustration in the set. The lack of the opening portion of the text for this illustration, too, suggests that this illustration was at the beginning.
     The colours of the pictures have faded and flaked considerably. The painting style is in the traditional manner of Kamakura Period Japan. Compositions are not crowded and the lines are sensitive and mild. The characteristics of the pictures imply that this work was produced toward the end of the thirteenth century.},
 pages = {1--19},
 title = {歓喜天霊験記私考},
 year = {1977}
}