@article{oai:tobunken.repo.nii.ac.jp:00006732,
 author = {宮, 次男 and Miya, Tsugio},
 issue = {222},
 journal = {美術研究, The bijutsu kenkyu : the journal of art studies},
 month = {Feb},
 note = {The scenes illustrated in the ten wall scrolls (kakemono) of the Hokke Mandara do not cover all the scenes described in the twenty-eight chapters of the Hoke-kyô and in the related Muryôgi-gyộ and Kan Fugen-kyô Sutras, still they number up to about two hundred and thirty. Because the purport of the Hoke-kyô is illustrated on cover-backs (frontispieces) of many decorated copies of the sutra, this Mandara is important also as a reference material for the study of other illustrations of the Hoke-kyô.
     As regards the subject matters of the paintings in this set of ten scrolls, those relating to obedience to the teachings of the Hoke-kyô and the merits of disseminating the sutra are the most numerous. Next in number are those illustrating pagodas or sutra-worshipping. Paintings illustrating parables and stories stated in the sutra are so designed as to represent the passage of time, conforming the development and change of the stories, in a manner similar to that of emaki (horizontal-scroll painting).
     The pictures relating to one chapter are in principle grouped together, the chapters being arranged in an order running clockwise beginning at the lower left end of the pagoda-form text. Within one and same chapter the arrangement of the pictures does not seem to have any definite principle, but such narrative ones as those treating of parables or deeds of the Buddha and his disciples are arranged in the order of time, lower scenes showing the early stages of the story. This system is similar to that of the murals illustrating the Hoke-kyô stories in the rock-cave temples at Tun-huang, Central Asia.
     Subjects from the Kannon-bon (Avalokitesvara Chapter), the chapter which was more popularly read than others, are described elaborately. Those about “body-burning” and “armburning ”, the stories which attracted interest of the faithful as striking gestures of piety
(Yakuô-bon, Healing God Chapter), are also illustrated in great details. Such treatment of narrative scenes illustrating conspicuous subjects, is effective in explaining the difficult purport of the Hoke-kyô in an interesting, easily understandable way, just as emaki scrolls illustrate varied stories plainly and frankly. Frankness and easy expression must be the distinctive feature of this Mandara.},
 pages = {12--27},
 title = {談山神社蔵　法華曼荼羅について　中},
 year = {1963}
}