著者

宮 次男

雑誌

美術研究 = The bijutsu kenkiu : the journal of art studies

巻号頁・発行日

no.251, pp.11-26, 1968-02-27

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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 protection 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.

著者

宮 次男

雑誌

美術研究 = The bijutsu kenkiu : the journal of art studies

巻号頁・発行日

no.333, pp.20-26, 1985-09-29

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The ten-scroll-set Yugyō Shōnin Engi E based on the text edited by Priest Sōshun, illustrating the biographies of Priest Ippen (the founder of Ji sect) and his seccessor Priest Taa, enjoyed great popularity in the middle ages. Of the many versions that were made after the original, thirteen sets are known to remain today. Introduced in the present article is the Eifukuji scroll (Scroll 7 of the ten-scroll set) of the Yngyo Shōuin Engi E which, though formerly thought to be from the Edo Period, is now assumed to have been executed no later than the second half of the fourteenth century and thus can be added to the above-mentioned group of extant versions from the middle ages-a significant addition to the material of handscroll painting. The extant versions can be classified into the following three types according to the traits in the treatment of figures as well as the shape and placement of architecture in the illustrations :Type A : Konrenji version ; Shinkōji version ; Shōjō kōji version; Senshōji version; Konkōji version ; Tokyo National Museum version ;Yamato Bunkakan version. Type B: Kōmyōji version. Type C: Kondaiji version ; Jōshōji version ; Tōyama Art Museum version. The Kōmyōji version classified as Type B was based on the old set in the Fujisawa Dōjō (Buddhist seminary) of the Shōjōkōji, but this prototype was burned in 1911. However, a faithful copy of the lost model had been made by KANŌ Yasunobu and it is kept in the Tokyo National Museum. Those in Type C are characterized by their unconventional compositions which differ from the other types. The Eifukuji scroll, which is the seventh of the ten scrolls, is assumed to belong to Type A, judging from the rendering of figures and the basic composition. Versions missing the seventh scroll are those in Konkōji, Jōshōji, Kondaiji, Konrenji (not the one classified above), and Yamato Bunkakan. These, however, share no similarity in the style and brushwork with the Eifukuji scroll, which thus can not be identified as a part of any presently known set. The Eifukuji scroll lacks only the first three lines of the text for Scene One at the outset. Except for this, the scroll is complete, containing all of the six sections for the seventh scroll, both text and painting. The content is as follows. Scene One : In the sixth year of the Einin Era (1298) in Muraoka, Musashi Province, Priest Taa, taken ill, writes his teachings to his followers on his deathbed. Scene Two: In Hōjō-zu of Etchū Province, a warrior NANJŌ Kurō is taught about the meaning of death by Taa and becomes a believer of the sect. Scene Three : A sick person by the name of IKE in Echigo Province recovers from his illness after he in his dream is nursed by Taa's disciple. Scene Four : At the Gokurakuji in Hagisaki of Echigo Province, a scholar-monk Keihan Enkambō pays a visit to Taa staying in Kashiwazaki and becomes a believer. Scene Five : Taa and his followers visit the Zenkōji in Shinano Province where they continue to pray for seven days and nights, and practiced the religious dance on the stage in front of the Buddha Hall. Scene Six: At Nakagawa of Kai Province, Taa writes waka poetry for the people. Characteristics of the pictorial illustrations of the Eifukuji scroll are as follows. The painting is executed in soft colours and fluent lines. The facial expressions of the people are captured skillfully, and even the texture of their clothes are well suggested by flowing outlines. All these attest to the expertise of the artist. In comparison to the other versions, the number of background objects as well as of the figures is smaller in the Eifukuji scroll, which leads the author to surmise that some of them were abbreviated by the painter. The overall style of the painting pertains to the hand scroll painting tradition of the Kamakura Period, which leads to the assumption that the scroll was executed in the latter half of the fourteenth century.