@article{oai:tobunken.repo.nii.ac.jp:00006695,
 author = {宮, 次男 and Miya, Tsugio},
 issue = {251},
 journal = {美術研究, The bijutsu kenkyu : the journal of art studies},
 month = {Feb},
 note = {This is Part I of the study of the Gosannen Kassen Emaki (Illustrated Scroll of the War, Gosannen Kassen). The Gosannen Kassen (lit. Succeeding Three Year War; 1083-87) is the war in which Minamoto no Yoshiie was involved in trouble inside the Kiyowara Clan, then a powerful clan in the district of Ōshū (present Tōhoku), and pacified the area. It is so called in contrast to the Zenkunen Kassen (lit. Preceding Nine Year War) in which Yoshiie's father, Yoriie overcame the rebellion of the Abe Clan in the district.　
     The oldest record of the illustrated scroll retating the Gosannen Kassen is that of the four volume work which Priest Seiken had the painter Myōjitsu make by order of Ex-emperor Goshirakawa in 1171. It is referred to in Kikki, the diary of Yoshida, Tsunefusa, and Yasutomiki, the diary of Nakahara, Yasutomi.
     The existing example of the Gosannen Kassen Emaki, preserved in Tokyo National Museum, has a preface by Gen'e, a priest of the Enryakuji dated 1347. The preface emphasizes that the Ashikaga Shogunate family, an offspring of the Minamoto Clan, held political power due to the pro
tection afforded it by the god of Hie Sanno Shrine which is closely related to the Enryakuji. It suggests that there was some intention of showing the superiority of the Enryakuji to the Ashikaga Shogunate in the production of this present version. When we see the pictures of this work, scenes of battles and slaughter are depicted so realistically that it may safely be said that it is an exceptional example in the field of Japanese scroll paintings. The scenes have a ghastliness which shows common features with preceding and contemporary examples of paintings of hell and paintings of “Six Domains”. Here we see the intention of emphasizing the misery of battle. The author judges that the rendering and philosophy of these battle scenes have been influenced by the pictures of hell which prevailed in the period. The time of the production of this version was the beginning of the so-called Nambokucho Period when turmoil and battles were almost continuous. This work might well be said to suggest the daily philosophy of the Buddhist clergy who lived in this unstable period, a desire for paradise and a disgust with the nasty world, in short the desire for peace and their aversion to a disorderly world.
     This work now consists of three volumes. But Sanetakakāki, the diary of Sanjōnishi, Sanetaka, suggests that it originally consisted of six volumes. Its context and main contents are almost the same as those of the four volume version of 1171, which are discribed in the above mentioned diaries. But there are minor differences, and the comparison of these two versions indicates that the contents of the present version is a story developed from the story of the version of 1171 to which has been added some supplementary elements. There are repetitions of the same sort of settings, which is a compositional method often seen in the illustrated scrolls of the late twelfth century. This must be the influence of the earlier version. However, on the other hand, here are some characteristics peculiar to the time of its own production. For instance, the large proportion of human figures and minute rendering of them are factors attributed to the style of the fourteenth century. Thus this work has a complex style.
     Though different names are written at the end of the text of each volume, the entire text of the extant work is no doubt by one hand, The official titles written with these names are those which were held by them during the period 1358-61.},
 pages = {11--26},
 title = {後三年合戦絵巻をめぐる二、三の問題　上},
 year = {1968}
}