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Mahamayuri vidyaraja) is the deified form of a peacock that eats poisonous snakes and insects. He is represented here in compassionate form, an aspect unusual for Radiant Wisdom Kings (Skt. Vidyaraja, J. Myôô). Kujaku Myôô is the principal deity of an esoteric Buddhist ritual based on the Kujaku Myôô sutras that is performed to bring or stop rain, to ward off calamities, and so on.\n\nThe Myôô sits on a peacock with a wide plume of tail feathers. In the first right hand he holds a lotus flower, and in the second right a fruit that resembles a watermelon. In his first left hand is a pomegranate, and in the second left five peacock feathers. The picture plane is filled with the Myôô and the peacock presented in full frontal pose, together with the jeweled vases placed in the four corners. In some respects, this is much like the painting style of a mandala and displays the traditional composition of works brought from China by the founder of the Shingon sect, Kûkai (774-835).\n\nThe body of the Myôô is white, to which in places faint pink has been applied and outlined in vermilion. His clearly shaded, contoured robes are in colors including peach, orange, vermilion, and green. Moreover, gold foil has been cut thinly and applied as lines to the robes, which are also studded with patterns of delicate cut gold (J. kirikane). Cut gold is also employed in his adornments and elsewhere. The peacock and the mandorla are painted with various opaque colors including green, blue, vermilion, and gold. This excellent and beautifully refined technique of color application developed during the Insei era at the end of the Heian period (794-1185).\n","@language":"en"},{"@value":"　　孔雀明王是专食毒蛇、害虫的孔雀之神格化神祗，在明王象中可说是极少数被画成慈悲相的尊象。在密教中，孔雀明王是孔雀经法的本尊，具有祈雨、禳除一切灾厄、带来安乐的神力。\n　　图中的孔雀伸展开双翼，明王端坐其上。明王右侧第一只手执莲华，第二只手持有类似西瓜的水果；左侧第一只手持石榴，第二只手则握有五支孔雀尾翎。明王和孔雀几乎填满画面，其姿态皆面对着正前方而缺乏动态，与画面四隅的宝瓶组合成一种曼荼罗般的图式（曼荼罗亦称曼陀罗，指密教在修法时所使用画有本尊及其他副从尊象的图画），乃沿袭了空海（774－835）由中国带回日本的传统构图。\n　　明王的身体涂以白色，多处施以淡红色晕染，并以朱红色的线条勾勒出圆柔丰腴的轮廓。衣裙涂以桃、橙、朱、绿等色，其设色方法是越靠近轮廓线色彩越明亮，形成渐层变化的效果。此外，还运用「截金」的技法，即将金箔细切如丝以贴饰出精致的纹样。尊象所佩带的饰物上也贴有金箔。孔雀和明王身后的光背则以浓艳的绿、青、朱红、金泥等加以彩画。这些优美且洗练的色彩表现与赋彩方式，在平安时代末期的院政时期（1086－1185）最为发达。\n","@language":"zh"},{"@value":"공작명왕은 독사나 해충을 잡아 먹는 공작새를 신격화한 것. 명왕으로는 보기 드물게 자비로운 도상으로 그렸다. 밀교에서는 기우 또는 모든 재액(災厄)을 제거하고 안락을 가져다 주는 공작경법(孔雀経法)의 본존으로 여겨져 왔다.\n  날개를 편 공작새 위에 앉은 명왕은 오른쪽 첫번째 손에 연화, 두번째 손에 참외를 그리고 왼쪽 첫번째 손에 석류와 두번째 손에 5매의 공작 꼬리깃털을 들고 있다. 화면을 가득 채우듯 그려진 명왕과 공작은 모두 정면을 향하고 있어 움직임이 적고 딱딱해 보인다. 네 귀퉁이에 놓인 보병(宝瓶) 역시 일종의 만다라 형식으로 그려져 있어 구카이(空海)가 중국에서 가져온 전통적인 만다라 구성을 엿보게 한다.\n  명왕의 신체는 흰색으로 채색되었으며 군데군데 담홍색 색채가 칠해져 있다. 부드럽게 부푼 윤곽선을 따라 붉은색 선이 둘러져 있다. 착의는 윤곽 부분에 분홍색, 주황색, 붉은색, 녹색 등 밝은 색으로 바림을 하였고 또 금박을 실처럼 가늘게 잘라 붙인 재금(截金) 기법으로 여기저기를 아로새겼다. 장신구 등에는 금박도 사용되었다. 공작새와 광배는 녹색, 청색, 붉은색, 금니(金泥) 등으로 농밀하게 채색했다. 이처럼 우아하고 세련된 색채와 장식 기법은 헤이안시대 말기 특히 원정기(院政期)*에 매우 발달하였다.\n\n*원정기:양위하고 물러난 천황이 국정을 좌우하던 시기로서 헤이안시대 후기인 1086년 시라카와(白河) 상황에서 시작하여 도바(鳥羽), 고시라카와(後白河) 상황으로 이어지며 행해졌던 정치 형태\n","@language":"ko"}],"thumbnail":{"@id":"https://emuseum.nich.go.jp/img/content/100158001003/3/thumbnail.jpeg","@type":"dctypes:Image","height":200,"width":135},"viewingHint":"individuals","viewingDirection":"","license":"https://emuseum.nich.go.jp/about","attribution":[{"@value":"独立行政法人国立文化財機構","@language":"ja"},{"@value":"National Institutes for Cultural Heritage","@language":"en"},{"@value":"国立文化财机构","@language":"zh"},{"@value":"국립문화재기구","@language":"ko"}],"logo":[{"@id":"https://emuseum.nich.go.jp/assets/img/logo.png"}],"rendering":{"@id":"https://emuseum.nich.go.jp/detail?langId=ja&webView=&content_base_id=100158&content_part_id=0&content_pict_id=0","label":[{"@value":"e国宝 - 孔雀明王像","@language":"ja"},{"@value":"e-Museum - Kujaku Myouō","@language":"en"},{"@value":"e国宝 - 孔雀明王像","@language":"zh"},{"@value":"e국보 - 공작명왕상","@language":"ko"}],"format":"text/html"},"sequences":[{"@type":"sc:Sequence","canvases":[{"@id":"https://emuseum.nich.go.jp/iiif/?IIIF=/100158001003.tif/full/full/0/default.jpg","@type":"sc:Canvas","label":"1","height":27464,"width":18545,"images":[{"@type":"oa:Annotation","@context":"http://iiif.io/api/presentation/2/context.json","motivation":"sc:painting","resource":{"@id":"https://emuseum.nich.go.jp/iiif/?IIIF=/100158001003.tif/full/full/0/default.jpg","@type":"dctypes:Image","format":"image/jpeg","service":{"@context":"http://iiif.io/api/image/2/context.json","@id":"https://emuseum.nich.go.jp/iiif/?IIIF=/100158001003.tif","profile":["http://iiif.io/api/image/2/level1.json",{"formats":["jpg"],"qualities":["native","color","gray"],"supports":["regionByPct","sizeByForcedWh","sizeByWh","sizeAboveFull","rotationBy90s","mirroring","gray"]}]},"height":27464,"width":18545},"on":"https://emuseum.nich.go.jp/iiif/?IIIF=/100158001003.tif#xywh=0,0,18545,27464"}],"thumbnail":{"@id":"https://emuseum.nich.go.jp/img/content/100158001003/3/thumbnail.jpeg","@type":"dctypes:Image"}},{"@id":"https://emuseum.nich.go.jp/iiif/?IIIF=/100158001004.tif/full/full/0/default.jpg","@type":"sc:Canvas","label":"2","height":10000,"width":7032,"images":[{"@type":"oa:Annotation","@context":"http://iiif.io/api/presentation/2/context.json","motivation":"sc:painting","resource":{"@id":"https://emuseum.nich.go.jp/iiif/?IIIF=/100158001004.tif/full/full/0/default.jpg","@type":"dctypes:Image","format":"image/jpeg","service":{"@context":"http://iiif.io/api/image/2/context.json","@id":"https://emuseum.nich.go.jp/iiif/?IIIF=/100158001004.tif","profile":["http://iiif.io/api/image/2/level1.json",{"formats":["jpg"],"qualities":["native","color","gray"],"supports":["regionByPct","sizeByForcedWh","sizeByWh","sizeAboveFull","rotationBy90s","mirroring","gray"]}]},"height":10000,"width":7032},"on":"https://emuseum.nich.go.jp/iiif/?IIIF=/100158001004.tif#xywh=0,0,7032,10000"}],"thumbnail":{"@id":"https://emuseum.nich.go.jp/img/content/100158001004/4/thumbnail.jpeg","@type":"dctypes:Image"}}]}]}