@article{oai:tobunken.repo.nii.ac.jp:00006574,
 author = {関口, 正之 and Sekiguchi, Masayuki},
 issue = {296},
 journal = {美術研究, The bijutsu kenkyu : the journal of art studies},
 month = {Mar},
 note = {The three-storied pagoda of the Saimyōji, Shiga, is a building supposed to be of the late Kamakura Period and is registered as a national treasure. The inside of the first story of this pagoda is covered with painting, which is perhaps from the same period as the building. The wall panels have narrative scenes based on the Lotus Sutra : doors on the four sides represent Devas of the eight directions; and the four inner columns have figures of Bodhisattvas.
     In this paper, the author identifies the Bodhi sattvas and discusses the principles seen in their arrengement.
     The surface of each column is divided horizontally into three zones. The Bodhisattvas are painted in the upper two zones and a kalavinka, in the lowest zone, an imaginary human-headed bird of Indian origin. In each of the upper zones, two Bodhisattvas, facing to the east and west, are placed in the upper half, and two others, facing to the north and south, are placed in the lower half. The zones are bordered by floral scrolls (Pl. V). The names of the thirty-two Bodhisattvas are identified as follows iconograph ically:

[Table]

     They are thus the thirty-two Bodhisattvas of the thirty-seven important deities in the Vajra. dhātu Maṇḍala. If Vajrālokā on the southwestern column and Vajradhūpā on the northeastern column were to exchange their seats, the Bodhisattvas on the south column would be those of the eastern group of the Maṇḍala, the Bodhisattvas on the northwest column would be of the southern group, the Bodhisattvas on the northeast column would be of the eastern group and the Bodhisattvas on the southeast column would be of the northern group. The above-mentioned two Bodhisattvas were painted that way perhaps by mistake. There are additional detailed principles in the arrange. ment of the Bodhisattvas on each column, which are closely related to their arrangement in the Vajradhātu Maṇḍala.
     There are other extant examples of pagodas whose first-level interior is covered with painting, such as the five-storied pagoda of the Daigoji (952) and the single-storied pagoda of the Ishiyamadera (1194). In most of these cases, some deities both from Vajradhātu Maṇḍala and Garbhadhātu Maṇḍala are painted. On the other hand, in the Saimyōji pagoda all the important deities of the Vajradhātu Maṇḍala except the Five Buddhas, that is the thirty-two Bodhisattvas only, are painted. Thus it was found that the design of the interior painting of the Saimyōji pagoda is exceptional among existing pagodas.
     The stylistic problems of this painting will be taken up in a later paper by the same author.},
 pages = {1--19},
 title = {西明寺三重塔四天柱絵金剛界諸菩薩像},
 year = {1975}
}