@article{oai:tobunken.repo.nii.ac.jp:00006737,
 author = {宮, 次男 and Miya, Tsugio},
 issue = {223},
 journal = {美術研究, The bijutsu kenkyu : the journal of art studies},
 month = {Mar},
 note = {When assembled, these descriptive captions inscribed near the paintings in this Mandara form consistent compositions, which may be regarded as abridged texts of the chapters of the Hoke-kyô Sutra. The captions therefore play the same part as textual segments of an emaki (picture scroll). This fact, together with the manner of expressing time in the paintings, evidences close interrelation existing between this
Mandara and emaki.
     From the viewpoint of the style and technique of the paintings, the illustrations in the Mandara show several distinctive characteristics. For example, the kasumi (“trailing haze,” a device by which a scene is divided into several zones or the intervening spaces between the zones are omitted) which is one of the unique characteristics of Japanese painting, is entirely absent here, the illustrations being arranged compactly. The Buddhas and Bodhisattvas have their bodily parts painted in gold, over which the eyes, noses, fingers and toes are drawn anew in black lines. This method termed kaki-okoshi is almost never found in frontispieces of dark blue-paper sutras (sutras copied on handrolls made of dark-blue paper) which resemble this Mandara in style, while it is employed in that of the Hoke-kyô Sutra copied in minute characters (Pl. II and III) owned by the same Tanzan Jinja which bears stylistic affinity to similar Chinese works of the Sung Dynasty. The use of this method as well as the compact layout of the illustrations prove that this Mandara was copied from a Chinese prototype.
     Technically, however, the character of the drawing and manner of portraying trees, rocks, waves and buildings reveal characteristics in common with those of Japanese dark-blue-paper sutras of the twelfth century. In the expression of time and in the free representation the Man dara shows an old style of narrative painting, while the rather rigid drawing and the conventional waves (which are, in fact, somewhat “degenerate” past the conventionalised stage show a style towards the end of the twelfth century. Incidentally, the Shigai-ji Temple which owned this Mandara at least until the Edo Period, was founded in 1187 as the mausoleum of Zôga, a priest who revived the religious activity at Tônomine (the place where the Tanzan Jinja and related establishments are located) and who deeply revered the Hoke-kyô Sutra. It is possible, both chronologically and stylistically, to associate the Mandara with the foundation of the Shigai-ji.
     As was stated in Part I of this article, the Mandara under discussion with its unusual character-pagoda form evidences the trend of Buddhist faith in the Heian Period, and is also a precious example spanning the two parallel ways of development of Japanese narrative painting, one in horizontal scroll form (emaki) and the other in large panels. It is a valuable piece well worth being called the last flower of Heianperiod art relating to the Hoke-kyô.},
 pages = {15--28},
 title = {談山神社蔵　法華曼荼羅について　下},
 year = {1963}
}