is a set of painted handscrolls (emakimono) that was produced in the early 14th century, during the Kamakura period of Japan, by members of the Fujiwara clan. The work was created in order to honor the deities of Kasuga, with the stories revolving around the Kasuga shrine and KÃ Âfukuji temple, located in Nara. The colourful silk work was made with silver and gold paints and consists of 20 scrolls with 93 sections of text and illustrations, which was completed in 1309.
The term âÂÂGongenâ means avatar or deity, while the term âÂÂgenkiâ in the title is actually short for âÂÂreigenkiâÂÂ; reigenki can be translated into âÂÂchronicles of marvelous and supernatural eventsâÂÂ. Taken together, the title has been translated into âÂÂThe Miracles of the Kasuga Deityâ or âÂÂIllustrated Tales of the Miracles of the Avatars of Kasugaâ or the equivalent. And as the title suggests, the work focuses on miraculous events involving the Kasuga Shrine and Buddhist/Shinto deities.
The former regent (kanpaku), Takatsukasa (Fujiwara) Mototada, and his three sons wrote the original text, based on stories compiled by a monk named Kakuen of Tà Âbokuin, in consultation with two other senior monks of Kà Âfuku-ji (Jishin of Daijà Âin and Hanken of Sanzà Âin).
Mototada copied out scrolls 1-5, 9-13 and 16; the eldest son, Fuyuhira, copied out scrolls 6-8; the second son, Fuyumoto, copied out scrolls 14, 15, 18 and 19; and the fourth son, Ryà Âshin, copied out scrolls 17 and 18. Takashina Takekane, who was the director of the imperial painting bureau (edokoro), created the illustrations. Following the completion of the work, the Minister of the Left (Sadaijin), Saionji Kinhira (who was also a brother to Kakuen), dedicated it to the Kasuga Shrine and neighboring Buddhist temple, Kà Âfukuji, in order to honor the deities and thank them for honoring his home.
When the scrolls were first completed and kept at the Kasuga shrine, the scrolls were carefully protectedâÂÂwith no shrine priest or Kà Âfukuji monk less than 40 years of age able to view the scrolls. Moreover, if the scrolls were required at Kà Âfukuji, it was only the Tà Âbokuin sanctuary that was permitted to receive the scrolls. However, for a while, during the late 18th Century, the scrolls became less carefully looked after. The scrolls were most likely treated more casually because of the decline suffered by Kasuga and Kà Âfukuji at the time.
In order to make Kasuga Gongen genki e more accessible to the public, copies of the work began to appear during the Edo period. However, permission from the head of the Fujiwara clan was needed before any copies were allowed. Currently there are 6 known copies to be made: one owned by the Kajà «ji family, the Yà Âmei Bunko copy (Yà Âmei Bunko-bon), the Kasuga copy (Kasuga-bon/Kuwana-bon), the Tokyo National Museum copy (Tà Âkyà  Kokuritsu Hakubutsukan-bon) no. 1, the National Diet Library copy (Kokuritsu Kokkai Toshokan-bon), and the Tokyo National Museum copy no. 2 (3). The original work is of extremely high quality and is kept by the Imperial household.
Royall Tyler has completed a study and complete English translation of Kasuga Gongen genki e, under the title âÂÂThe Miracles of the Kasuga DeityâÂÂ, which was published in 1990. Within his translation, Royall Tyler refers to Kasuga Gongen genki as âÂÂthe GenkiâÂÂ. The first part of the book gives background information on the Kasuga shrine, Kà Âfukuji, the Kasuga cult and the religious background and context in which the original work was created. The second part of the book gives a complete translation of all 20 scrolls, with annotations to assist the reader in understanding the work.