@article{oai:tobunken.repo.nii.ac.jp:00006587,
 author = {宮, 次男 and Miya, Tsugio},
 issue = {299},
 journal = {美術研究, The bijutsu kenkyu : the journal of art studies},
 month = {Nov},
 note = {Besides the Tōji Version of Scroll Painting of the Story of Priest Kūkai, there are several known versions of handscroll sets treating the same theme, including three extant hand-painted sets and a wood-block-printed version. The unique point of the Tōji Version, consisting of twelve scrolls, is that it was edited by the Kyōōgokokuji (Tōji) itself which was founded by Priest Kūkai. Therefore, there are some differences in content from the other versions. For instance, Scroll 11 contains among other things the scene of Kanjōe ritual in the Kyōōgokokuji which is not seen in other versions. 
     Recently, a record concerning the production of this set was found in the Kyōōgokokuji Archives owned by Kyoto Prefectural Sōgō Shiryōkan (Cf. Zoku Zuroku Tōji Hyakugō-monjo, pp. 176ff.). Accordiug to the record, the set was produced in the period from the seventh year of Ōan Era (1374) to the first year of Koo Era (1389). And, Scrolls 1 to 4 were painted by Yūkō, a Buddhist painter of Nara, Scrolls 4 to 10 were by Hisayuki KOSE, Scroll 11 was by Yukitada KOSE and Scroll 12 was by another painter. An interesting fact is that Scroll 11 is recorded to have “repainted” by Yukitada KOSE, who was a painter of the Kyōōgokokuji. The question is why only this scroll was repainted. As was mentioned above, this volume contains the scene of Kanjōe, one of the most important rituals in the temple, which was observed when a certain clerical title was given to someone.
     On the other hand, there remains in a private collection a draft painting for the first part of the scene of Kanjōe in this scroll. A procession of the participants moving toward the hall is depicted here and the figures of monks in the procession are accompanied by inscriptions which indicate their names, the objects they hold and the kinds of robes they wear. These explanations meet exactly with what are recorded in the document of the temple, Tōbōki, compiled in 1353. Moreover, the information which is not in the document is absent from the draft as well. This means that the inscriptions in the draft are based on the same record.
     Scroll 11 must have been re-painted by the painter of the temple to give a more exact depiction of this scene. The final work, of course, has the same arrangement and the same details as the draft. The author interprets it as an example of handscroll painting production in which the topics related to a given priest are quite faithfully depicted.},
 pages = {1--23},
 title = {東寺本弘法大師行状絵巻―特に第十一巻第一段の成立をめぐって―},
 year = {1975}
}