@article{oai:tobunken.repo.nii.ac.jp:00006628,
 author = {関口, 正之 and Sekiguchi, Masayuki},
 issue = {274},
 journal = {美術研究, The bijutsu kenkyu : the journal of art studies},
 month = {Mar},
 note = {This painting which is now registered as important cultural property was in the possession of Mr. FUKUOKA, Kōtei in the Meiji Period. Then in the late Meiji Era it was transferred to the collection of Mr. HARA, Sankei. It was after the war that it became a part of the collection of the Hosomi Family. Nothing is known about its history before Meiji Era.
     It is a coloured painting done on a two-stripped sheet of silk measuring 102.8 cm in height and 64.5 cm in width. Few colours are used including red and orange as the dominant colours. The body of the image in red colour is accentuated with light portions of orange. The lines of ink is not so dark.
     This painting has characteristics peculiar to the twelfth century such as the decorative treatment of mandorla and the drapery with ornamental patterns of finely cut gold foil, and, at the same time, it retains some old features. The old features here the author points are, for instance, massive expression of fat body rendered with strong high light, the drapery folds depicted with belt-like wide lines and floral patterns of drapery arranged with large spaces in between. The arrangement of ornamental patterns and the soft form of hands are very close to those of “Twelve Devas” of the Kyōōgokokuji painted in 1127, but, when compared with other Buddhist paintings of the twelfth century, it has more grandeur without using too much amount of fine gold foil. In that sense, it is closer to “Vajrāmoghasamayasattva” of the Jikōji, Hiroshima, painted in 1153.
     The mandorla with the design of floral scroll composed with finely cut lozenge-shape gold foil has common features with group of Buddhist paintings executed from the end of the Heian Period to the beginning of the Kamakura Period, namely, “Vajrāmoghasamayasattva” of the Matsuodera. Kyoto. “Sahasrabhuja” of Tokyo National Museum, “Sahasrabhuja” of the Hinohara Family, Tokyo, “Samantabhadra” of the Bujōji, Tottori, “Avalokiteśvara” of the Minedera, Shimane, and “Yama” of the Daigoji, Kyoto, most of which are characterized by inconspicuous combination of colours. The use of few colours in the work concerned, with red and orange as dominant colours, has the same tendency as this group of works.
     Judging from the fact that the finely cut foil used for its mandorla has something naive and is not yet so much stylized, it must have executed at an early date in the period when the abovementioned group of Buddhist paintings were produced. In other words, it must be sometime in the early half of the twelfth century, between 1127 when “Twelve Devas” of the Kyōōgokokuji was made and 1153 when “Vajrāmoghasamayasattva” of the Jikōji was made.},
 pages = {1--14},
 title = {細見家所蔵愛染明王画像について},
 year = {1971}
}