筆者過去在《日本の宋元仏画》（2001年3月）詳述傳至日本的宋元佛畫，其中針對元佛畫也曾嘗試過若干的考察。在該書中，將從來被視為高麗佛畫的二件作品，以元佛畫的基準作品的身份，重新定位，並展開十四世紀初具有新舊二股潮流的議論。自此約莫過了十五年，在這段期間內，日本國內相繼有元代製作的摩尼教繪畫資料被確認一事，令人記憶猶新。可以想定新確認的摩尼教繪畫，和元佛畫的動向不無關係，因此現在也產生了從東亞的觀點再度對當時的佛畫和其周邊進行檢討的環境。

這篇論文一方面奠基於2001年的議論，一方面將新確認的摩尼教繪畫納入視野，希望能對現在的研究狀況進行確認，並試著考量今後關於元佛畫的問題所在。

In Song and Yuan Buddhist Paintings in Japan (March, 2001), the author detailed the Song and Yuan Buddhist paintings transported to Japan, and conducted several surveys on Yuan Buddhist paintings. In the book, the author examines two works that have long been regarded as Goryeo Buddhist paintings, redefines them as reference works for Yuan Buddhist paintings, and discusses the emergence of the new and old trends in the early 14th century. In the 15 years following the book’s publication, Japanese scholars have successively identified Manichaean paintings that were painted in the Yuan period. These findings indicate potential relationships between the newly confirmed Manichaean paintings and Yuan painting trends, and provide a context for the author to reexamine Buddhist paintings of the time and related topics from an East Asian perspective.

Based on the monographic discussion in 2001, this study incorporates the newly confirmed Manichaean paintings into the scholarship of Song and Yuan Buddhist paintings, redefines the scope and content of the field, and identifies problems underlying Yuan Buddhist paintings.

元代佛畫; 高麗佛畫; 摩尼教繪畫; 宋元畫; 道佛混交; 東福寺

Yuan Buddhist paintings; Goryeo Buddhist paintings; Manichaean paintings; Song and Yuan paintings; buddhist syncretism with Daoism; Tōfukuji Temple