21 panels, colours on gold ground; paper pasted on bambooshōji (12), hinokifusuma (6), and the hinoki walls of the tokonoma (3); the paintings include trees, rocks, waters, and spring flowers - dandelions, daffodils, azaleas, violets, and crab apples; attributed on stylistic grounds to Kanō Sakyō (狩野左京), a painter of the Kanō School in the employ of the Sendai Domain[5]
161 panels, colours on gold ground; paintings of pines and peacocks in the Peacock Room (孔雀の間, kujaku-no-ma), of Lü Shang and King Wen in the Room of King Bun (文王の間, Bunnō-no-ma), of bamboo and plum trees, trees and flowers in the High Room and Highest Room (上段・上々段の間, jōdan-no-ma・jōjōdan-no-ma), of cherry trees in the Buddhist Room (仏間, Butsu-no-ma), of hawks and birds in the Hawk Room (鷹の間, taka-no-ma), of pines and cherry trees in the Pine Room (松の間, matsu-no-ma), and of chrysanthemums in the Chrysanthemum Room (菊の間, kiku-no-ma); the paintings are attributed to Hasegawa Tōhaku, Kanō Sakyō (狩野左京), and his pupil Kurota (九郎太); the designation includes twenty-two panels by Kibi Kōeki (吉備幸益) in the Hermit Ink Painting Room (仙人墨絵間, sennin sumie-no-ma) and twelve painted cedar doors; the paintings, dated by an ink inscription of 1730, have now been replaced with replicas and are stored in the temple museum[6]
colours on silk; showing the parinirvana of Shaka, the historical Buddha, underneath the sal tree, surrounded by mourners man and beast, high and low; the painting was brought from Kyōto in 1539 and since the Keichō era (1596-1615) has been remounted four times[8]
189.7 centimetres (6 ft 2.7 in) by 150.3 centimetres (4 ft 11.2 in)
by Takahashi Yuichi (1828-1894); painted at the same time as his Before the Gate of the Miyagi Prefectural Office (1881); the first yōga or Western-style painting of this popular subject
108.6 centimetres (3 ft 6.8 in) by 57.7 centimetres (1 ft 10.7 in)
oil painting by Takahashi Yuichi (1828-1894); the building previously functioned as the Yōkendō (養賢堂)han school and was destroyed by fire in July 1945; the painting was commissioned by Miyagi Prefecture at the same time as two landscape paintings of Matsushima
122.0 centimetres (4 ft 0 in) by 61.1 centimetres (2 ft 0.1 in)
the Seikai Mandala, along with the Taima Mandala and the Chikō Mandala, is one of the three Pure Land Mandalas (浄土三曼荼羅, jōdo sanmandara); based on the Amitayurdhyana Sutra, it depicts a vision of the Pure Land granted to the monk Seikai (清海) in 996; the painting was brought from Hōrin-ji (法林寺) in Kyōto in 1630[9][10]
183 centimetres (6 ft 0 in) by 151 centimetres (4 ft 11 in)
colours on paper; the fans depict subjects including a bridge and waterwheel, Musashino (武蔵野), Hamamatsu, wisteria with running water, and phoenixes with paulownias; few partition paintings survive from castles, so these are of particular significance
3.30 metres (10 ft 10 in) by 1.585 metres (5 ft 2.4 in)
designation comprises a pair of two-panel Byōbu with Mallows (紙本著色葵図), six panels of Flowers and Trees, on paper with gold ground (紙本金地著色花木図), and four panels of Pheasant in a Pine Tree, colour on paper with gold ground (紙本金地著色松に山鳥図) by Azuma Tōyō (東東洋)
^国宝・重要文化財 [Number of National Treasures and Important Cultural Properties by Prefecture] (in Japanese). Agency for Cultural Affairs. 1 July 2019. Retrieved 13 August 2019.
^ ab文化財の種類と宮城県内の指定件数 [Number of Cultural Properties in Miyagi Prefecture] (in Japanese). Miyagi Prefecture. 15 February 2019. Retrieved 12 August 2019.
^観瀾亭障壁画 [Partition paintings at Kanrantei] (in Japanese). Miyagi Prefecture. Archived from the original on 6 September 2012. Retrieved 5 October 2013.
^瑞巌寺本堂障壁画 [Partition paintings in the Zuiganji Hondō] (in Japanese). Miyagi Prefecture. Archived from the original on 5 October 2013. Retrieved 5 October 2013.
.jpg)
.jpg)
.jpg)
.jpg)
.jpg)
.jpg)
.jpg)
.jpg)
.jpg)
.jpg)
.jpg)
.jpg)
.jpg)
.jpg){kind=small}
.jpg)
