@article{oai:tobunken.repo.nii.ac.jp:00006634,
 author = {宮, 次男 and Miya, Tsugio},
 issue = {275},
 journal = {美術研究, The bijutsu kenkyu : the journal of art studies},
 month = {Nov},
 note = {Painted Scroll of the Story of the Hasedera (Hasedera Engi Emaki) consists of three rolls containing thirty-three sections, each with an inllustration and text. This work tells of the miraculous legends concerning the production of an eleven-headed Avlokiteśvara statue, the main image of the Hasedera in Yamato Province (present Nara Prefecture). The text is an interpretation into Japanese of a story written in Chinese characters which the people of the later periods considered to have been compiled by SUGAWARA no Michizane, the famous literati statesman, in the eighth year of Kampyō Era (896). It starts with the scene of Michizane drafting the story and then deals with the biographical background of Priest Tokudō who took the initiative for donating the Avalokiteśvara image, and continues with the legend of the strange history of the sacred wood from which the image was made, the legend of the special protection of Buddha and Shinto gods in relation to the production of the image and the appear ance of the pedestal, the dedication ceremony conducted by Priest Gyōki, Gyōki's pilgrimage to the sacred spots in the temple precinct, Emperor Shomu's visit to the temple, and the magnificent view of the temple buildings.
     The origin of this painted scroll must be in the early half of the thirteenth century to judge fromthe fact that the scenes illustrated follow fairly closely the contents of Hasedera Reigenki (Miracles of the Hasedora) which is supposed to have been written in the early thirteenth century. But the original painted scroll is already lost and many versions of the fourteenth, fifteenth and sixteenth centuries which were derived from the same original wrok, remain. This fact implies that copies of this work were executed in quantity.
     The author, in this part and in the following parts of the present paper, describes the illustrations section by section and puts the text into print. Aud he proposes his opinion that such a great number of versions were made for the purpose of collecting financial contributions for the reconstruction of the buildings lost by frequent fires.
     The whole composition is designed to draw the interest of viewers and the view of the precinct is especially nimutely painted. Furthermore, the fact that the versions are hardly ever painted in the so-called palace style yamato-e suggests that they were made chiefly for showing to the common people rather than to the aristocracy.},
 pages = {32--36},
 title = {研究資料　長谷寺縁起　上},
 year = {1971}
}