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He is in the garden of Shitennou-ji (Shitennou Temple) with plum blossoms blooming. The theme is the enlightened state of mind of Shuntoku-maru, in which he sees Buddha's merciful control and force even in the petals of the plum blossoms falling onto his sleeves. This painting depicts one scene in a youkyoku (nou chant), Yoroboshi (a weak bonze).\nKanzan lived in Wadayama, Yokohama, and was close to Hara Sankei. The idea of this painting was obtained from the garyubai (dragon shaped plum tree) in Sankei-en (Sankei-garden). As Kanzan knew about nou considerably well, this painting has the atmosphere of nou, along with the look of the bonze's face having something in common with nou masks. After losing Okakura Tenshin, Kanzan began to seek his own art, and he found a promising area in the themes from yokyouku. \n The art historian Taki Seiichi praised this piece in his art review in the newspaper not only as a recent masterpiece of Kanzan, but also as the best among the paintings that had appeared in the Taisho period. Furthermore, Masamune Hakucho, a.k.a. XYZ of the Yomiuri newspaper, discussed this piece using an indicative expression that this painting \"marked the maturity of the neo-classical style.\"\n","@language":"en"},{"@value":"盲人弱法师俊德丸，在梅花绽放的四天王寺的庭院中，面向对面的落日遥想极乐净土。表现的主题是俊德丸大彻大悟的境界，将轻轻飘落在袖子上的梅花花瓣都视为佛祖施舍。作品描绘了谣曲（能乐的词章）《弱法师》中的一幅场景。\n观山居住在横滨和田山，与原三溪（harasankei）有过亲密的交流，此画从三溪园内的卧龙梅树获得灵感创作而出。画中人物面貌令人联想起能面具，整幅画散发着与精通能乐的观山相符的能乐情趣。失去君宠的观山开始探索自己的艺术，于是发现了将谣曲绘制成画这一出路。\n美术史家滝精一在当时的报纸评论中，高度赞扬此作品不仅为观山近年来的杰作，更是自大正以来出现的所有作品中最为优秀的作品。另外，《读卖新闻》的笔名为XYZ的正宗白鸟也使用了“宣告了新古典主义已纯熟的作品”这样颇具深意的词句来评价这幅作品。\n","@language":"zh"},{"@value":" 시력이 약했던 약법사 슌도쿠마루가 매화꽃이 피는 사천왕사의 정원에서 피안의 석양을 바라보며 극락정토를 관상하는 모습이다. 소매에 떨어진 매화 꽃잎에서도 부처의 시행을 느끼는 슌도쿠마루가 다다르게 되는 깨달음의 경지가 이 그림의 주제이다. 요곡 “약법사”의 한 장면을 그림으로 그린 작품이다.\n 관산은 요코하마 와다산에 사는 하라 산케이와 친한 교류가 있었으나 이 그림은 산케이원 내의 와룡매나무에서 착상을 얻어 그린 것이다. 노우(일본의 가면 음악극)에 능통했던 관산답게 노우의 한 장면을 생각나게 하는 면모를 통해 노우의 정서를 풍기고 있다. 천심을 잃은 관음은 자신의 예술을 모색하기 시작하였으며 요곡화제의 하나의 활로를 찾아내었다.\n 미술사가인 타키 세이치는 당시의 신문평에서 이 작품을 관산의 근년의 걸작일 뿐 아니라 다이쇼의 작품 중에서도 최우수작품이라 평했다. 또한 “요미우리 신문”의 XYZ고토 마사무네 하쿠초는 이 작품에 대해 ‘신고전의 원숙함을 알린 작품’이라는 흥미로운 표현을 사용하여 평하였다. \n","@language":"ko"}],"thumbnail":{"@id":"https://emuseum.nich.go.jp/img/content/100290001004/4/thumbnail.jpeg","@type":"dctypes:Image","height":93,"width":200},"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=100290&content_part_id=0&content_pict_id=0","label":[{"@value":"e国宝 - 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