十三世紀後半由於蒙古勢力入侵所造成的衝擊，日本轉而將中國視為一個既令人恐懼，同時又令人憧憬的異國。當時的繪畫中，將日本具體描繪成神佛守護的「神國」的作品開始出現，此後直至十五世紀，同類型的作品製作均頗為盛行。另一方面，十二世紀末後白河天皇仿效宋徽宗所蒐羅的繪畫收藏，在愛好美術的花園天皇宮廷中被再次品賞，獲得了新的價值。

十四世紀東亞世界的海洋貿易並沒有因為經歷過元日戰爭而衰退。花園天皇不但收藏中國繪畫、動物等唐物，且自身也投入繪畫創作活動，形成一個彷彿是在效法兩百多年前宋徽宗宮廷的美術沙龍。如此現象，與同時代蒙古統治下的範圍周邊所發生的現象之間是否存在某種共通性，還值得加以思考。

Through the Mongolian impact in the latter half of the 13th century, this paper redefines Japan’s fear for and aspiration toward China as a foreign country at the time. Since then, paintings in Japan began to depict a shinkoku (i.e., Country of the Gods) guarded by deities and Buddha, and such theme flourished until the 15th century. Meanwhile, the court of Emperor Hanazono, who had good taste in art, boasted a collection of paintings acquired and appreciated by Emperor Go-Shirakawa in the late 12th century in emulation of Emperor Huizong of Song.

Maritime trade in East Asia did not decline due to the Mongol Invasions of Japan. While collecting paintings and animals from China, Emperor Hanazono added his own paintings to the collection, and emulated Emperor Huizong of Song of two centuries earlier in establishing art salons. Whether this promotion of art was shared by emperors or rulers in the surrounding regions of Mongolia at the time requires further consideration.

蒙古襲來繪卷; 一遍聖繪; 花園天皇; 徽宗意象

Illustrated Account of the Mongol Invasion; Illustrated Handscrolls of Priest Ippen; Emperor Hanazono; Image of Emperor Huizong of Song