@article{oai:tobunken.repo.nii.ac.jp:00006561,
 author = {有賀, 祥隆 and Ariga, Yoshitaka},
 issue = {293},
 journal = {美術研究, The bijutsu kenkyu : the journal of art studies},
 month = {Nov},
 note = {The set of five hanging scrolls representing Five Grest Vidyārājas owned by the Kiburuji, Gifu, came to the attention of interested people several years ago, and it has been widely regarded as the only existing set of paintings on this subject from the Kamakura Period. Therefore, it was an unexpected event that a dedicatory inscription with the date of the second year of the Kanji Era (1088) of the Late Heian Period was recently found on the back of the scroll which represents Trailokyavijaya, one of the Vidyārājas. The inscription is hidden by the lining covering the back of the painted silk, but it can be vaguely seen from the front side. A reversed picture of an infra-red photograph of the inscription taken from the front is shown in Pl. VI-b.
     The author here proposes his opinion on the stylistic characteristics of this set of paintings in relation to this new discovery.
     In this paper it is pointed out that each of the five paintings has a different stylistic character. “Trailokyavijaya” is characterized by its gracefulness, “Yamāntaka” by its fine rendition; “Ucchusma” by a slightly freer style than “Ymāntaka”; “Kuṇḍali” by its coarse rendition; and “Acalanātha” by its unsophisticated taste. The question is whether these differences are one of time or of the individuality of contemporary artists.
     The author thinks that there must be considerable stylistic diversity in late eleventh century painting and that, therefore, it is quite possible that the uninscribed four scrolls might also be from the same time period. He leaves the final conclusion to future comparative study.},
 pages = {18--26},
 title = {図版解説　来振寺本五大尊像［來振寺］},
 year = {1974}
}