Focus on Kitano Tenjin Engi Emaki and analyze the Legacy.
Over thirty later versions of the Kitano Tenjin Engi Emaki can be identified, created especially during the 14th and 15th centuries, both by amateurs and by famous painters such as Tosa Mitsunobu, because of the growing popularity of the cult of Tenjin.Among the best known of the later versions of the work are the Kōan version (1278) by Tosa Yukimitsu, whose light-coloured style would influence several later scrolls, as well as the Matsuzaki version (1311) by Dōchō and Ryūshin, a very elegant and decorative work, with several differences from the original Jōkyū version.From the point of view of the narrative, the various versions are generally divided into three branches, according to the introductory sentence in each version:
in the first branch is the original Jōkyū version, as well as the Sugitani Jinja and the Egara Tenjinsha scrolls (1319);
then come in particular the scrolls of the temples at Tsuda Tenman jinnja (1298) and Kitano Tenman-gū (1503); and
the last branch intersects with another version of the Kitano Tenman-gū as well as the Matsuzaki Tenjin (1311).The original version of the scroll also influenced other types of paintings, such as the famous Screens of the Thunder and Wind Gods by Tawaraya Sōtatsu, as well as possibly other paintings depicting the ways of existence (rokudo-e and jikkai-zu), in the form of a kakemono at the Eikan-dō Zenrin-ji temple in Kyōto.
Eikan-dō Zenrin-ji Kyōto Tosa Mitsunobu Zen Tenjin Jōkyū kakemono ja Kōan Tawaraya Sōtatsu