@inproceedings{oai:kokubunken.repo.nii.ac.jp:00002249,
 author = {Jamentz, Michael and JAMENTZ, Michael},
 book = {国際日本文学研究集会会議録, PROCEEDINGS OF INTERNATIONAL CONFERENCE ON JAPANESE LITERATURE},
 issue = {19},
 month = {Oct},
 note = {pdf, The founder of the Agui school of Buddhist preaching, Chōken Hōin, 1126- 1203, is known for both his eloquence as well as his intimate relationship with the imperial family. In recent years, the hyōbyaku texts of his preaching have become the focus of scholars specializing in various fields of Japanese literature. While attention as been focused on this literary production and its performance in Buddhist ceremonials, little interest has been shown in the pictorial production that seems to have accompanied it.
An examination of the records of the preaching of the Agui school reveals that from late Insei times to the end of the Kamakura era, the image of the bodhisattva Samantabhadra (Jpus Fugen bosatsu), often in combination with that of the ten female demons, known as rasetsunyo in Japanese, was employed at funerary services for members of the imperial family. The use of this relatively rare image type seems to have coincided exclusively with services at which Agui priests preached. On several of these occasions, the image was painted on the deceased's clothing, and sometimes, by members of the court.
Knowledge of this image and its usage helps us in understanding at least two shakkyōka that have heretofore been considered somewhat inexplicable. Each verse, one by Saigyō and the other by Shunzei, anomalously combines language from disparate chapters of the Lotus Sutra. The chapters are precisely those in which Fugen and the rasetsunyo appear. Thus it may be surmised that these verses reflect the imagery that later came to be associated with the Agui school.},
 pages = {9--27},
 publisher = {国文学研究資料館},
 title = {研究発表　安居院流唱導における国文学と美術史の連絡　―普賢菩薩・十羅刹女像を中心として―},
 year = {1996},
 yomi = {ジャメンツ, マイケル}
}