@article{oai:tobunken.repo.nii.ac.jp:00006692,
 author = {宮, 次男 and Miya, Tsugio},
 issue = {250},
 journal = {美術研究, The bijutsu kenkyu : the journal of art studies},
 month = {Dec},
 note = {Very few paintings of Maitreya descending to receive the soul of the dead remain and, as for hanging scrolls, only two works are known; these are in the collections of Mr. ASADA, and of the Tokyo University of Arts.
     The present work from the collection of Mr. ASADA, Chōhei illustrates Maitreya and attendants descending across the mountain. A book of Buddhist iconography, Kakuzenshō, contains a sketch of a painting which existed in 1184 with a very similar composition. But the work now in question differs from it in that it depicts Acalanātha and Kșitigarbha on both sides of its lower part. It infers a combination of beliefs in Acalanātha and in Kșitigarbha.
     Stylictically speaking, the way of rendering Maitreya and the attending Bodhisattvas maintains the classical tradition while the expression of the landscape shows the influence of Sung and Yüan ink painting. In other words, two different styles coexies in this work. It must be the painter's aim to emphasize the dreamlike beauty of this sort of seene by using two contrating styles. Judging from the style and history of religion, it must be a work of the early fourteenth century.},
 pages = {41--42},
 title = {図版解説　弥勒来迎図［兵庫　浅田長平氏蔵］},
 year = {1967}
}