is a picture scroll (emakimono) painted in Genbun 2 (1737) by the Edo period Japanese artist Sawaki Suushi (, 1707âÂÂ1772), a student of Hanabusa Itchà Â. The scroll serves as a supernatural bestiary, a collection of ghosts, spirits and monsters (yà Âkai), which Suushi based on literature, folklore, and other artwork. These images had a profound influence on subsequent yà Âkai imagery in Japan for generations.
It was formerly a possession of the costume history researcher and Nihonga painter Yoshikawa Kanpà  (1894âÂÂ1979) and is currently held by the Fukuoka City Museum.
According to the scroll's colophon (postscript), it was "Written by Ko Hà Âgen Motonobu, copied by Abe Suà Â-no-Kami Masanaga, and copied by Sawaki Suushi on a winter day in the second year of Genbun, Hinoto-Mi (1737)." As "Ko Hà Âgen Motonobu" refers to the late Muromachi period painter Kanà  Motonobu, it is believed that this work was created by Suushi, who made a copy of a manuscript that had been handed down as a work painted by Motonobu.
This work contains a total of 30 yà Âkai paintings, and is considered a high-quality piece with careful brushwork. Because the production date is clearly known and other picture scrolls exist that contain the exact same number of yà Âkai with no differences, it is considered a standard work among "encyclopedia-style" yà Âkai picture scrolls. It is also evaluated as one of the essential works that can serve as a benchmark for modern research into picture scrolls depicting yà Âkai.
Among works painted in the Edo period, there are picture scrolls that were painted with almost the same arrangement and composition as this work. However, many of them lack postscripts and their production years are unclear, so the chronological relationship between them is not defined.
Main examples with almost the same composition of yà Âkai (including examples with fewer entries):
Main examples with an increased number of yà Âkai:
Gazu Hyakki Yagyà  (1776) by the Ukiyo-e artist Toriyama Sekien, which is known as a work depicting yà Âkai of the Edo period, also records many of the yà Âkai found in this scroll. For this reason, it is believed that Sekien referenced picture scrolls of this same lineage when producing his book.
Several names are changed in Gazu Hyakki Yagyà Â: "Wauwau" becomes "Ouni"; "Mehitotsubà Â" becomes "Aobà Âzu"; "Akakuchi" becomes "Akashita"; and "Nukekubi" becomes "Hitoban". Additionally, the "Kamikiri" (Hair Cutter) is not drawn; instead, the "Amikiri" (Net Cutter), which similarly has claws shaped like scissors, is depicted.
Furthermore, "Yume no Seirei" (Dream Spirit) is the only one whose correspondence with Gazu Hyakki Yagyà  is not clear. However, yà Âkai researcher Katsumi Tada observes that because the character for "dream" (夢) resembles the cursive script for "grass" (èÂÂ)âÂÂand because there are documents that refer to it as the "Spirit of Grass"âÂÂit may correspond to the "Mokumi" (Tree Spirit). Alternatively, because it relates to the meaning of "dream," Tada suggests it may correspond to the "Makuragaeshi" (Pillow Shifter) in Gazu Hyakki Yagyà Â.
The Hyakki Yagyà  Emaki (1832) held by the Matsui Bunko, which was painted in the Edo period, also contains almost all of the yà Âkai seen in this scroll. However, some names have been changed, such as "Otoroshi" becoming "Ke-ippai" (Hairy), "Kamikiri" becoming "Tengu-hadaka-go" (Tengu Naked Child), and "Uwan" becoming "Gagoze". While it depicts a number of yà Âkai that greatly exceeds the 30 bodies in Hyakkai-Zukan, many aspects regarding how the additional yà Âkai were added remain unclear, as research into this area has not yet progressed.