On October 26, 1330, the year before the Genkō War against the Kamakura shogunate, Emperor Go-Daigo was given a ritual called the Yu-Gi-Kanjo at Jounei-Den in the palace by his Buddhist confidant and renowned painter, Bunkanbo Koshin.

Godaigo, who was a loving wife, asked Bunkan to have the middle palace, Saionji Kishi, undergo the same ceremony on November 23 of the same year.

The composition in the painting shows him uniting with Vajrasattva, the second founder of Shingon Buddhism, a Bodhisattva who acts as an intermediary between man and Buddha (Vairocana).

It is thought to be a copy of the Śrīmālādevī Siṃhanāda Sūtra The upper three oracles, Amaterasu, Kasuga Gongen, and Hachiman, respectively, preside over honesty, compassion, and purity, and are associated with the Imperial House of Japan, Kuge (Fujiwara clan), Buke (Seiwa Genji).

This image shows that Emperor Go-Daigo, as Vajrasattva, identified with these three Shinto deities and became the center of royal law, Buddhism, and Shintoism.

In this case, according to the Honji suijaku theory, it is thought that the goddess Amaterasu was worshipped as Vairocana, the bodhisattva Hachiman as Amitābha, the main deity of the Tokishu, and Kasuga Daimyojin as Amida's assistant, the snare Kannon.

[12] In 2014, a paper by Motohiro Toyama, director of the Shōjōkō-ji Treasure Museum, published a photograph and reprinted the entire genealogical tree for the first time.

[13] The following is a record of the contents of the "Yu-Gi-Go-Kan-To" section of the "Genealogy of the Twelfth Sonkan Shonin" (punctuation marks are by Keiichi Uchida).

On the 26th day of the 10th month of the 2nd year of the Yuandeok era At the Goshisho-den, the Lord of the Yu-Gi Guru was conferred with the Imperial Crown of Emperor Shinmu and the Emperor Nakagai's robe, and the robe was used by the Sangha of the Eastern Temple.Overall, it is a drawing of the time when Bunkan gave the emperor Go-Daigo the Yu-Gi Kanjo (Yu-Gi Kanjo) on October 26, Gentoku 2 (1330) at a place called Gosetsuden in the palace [15] However, according to Hideo Kuroda, since the eyebrows are drooping and other characteristics of old age can be seen, the painting itself may have been drawn not at the age of 43, but at the age of 52 at the time of his death .

[21] On November 23 of the same year, Go-Daigo, who was also a loving wife, had his consort, the middle court princess Saionji Kishi, undergo the same ritual (Yuutai Dento Sho).

[27] An interesting point in Buddhist art is that portraits of real people depict the eight-leaf lotus flower as a seating tool .

[28] Although the use of eight-leafed lotus flowers in perfuming was not entirely absent according to the procedures of the time, it is extremely rare for them to be depicted in portraits of monks .

[30] The number of three in this work is exceptional, but Kuroda suggests that it may have something to do with the sansha oracle (a strip of paper on which the names of the three deities are written) at the top .

The Threaded Kesa is said to have been given by Huiguo, an esoteric Buddhist monk of the Qinglong Temple (Xi'an) in the Tang dynasty capital Chang'an, to his disciple Kūkai (Kobo-Daishi).

It appears in many records such as "Kobo-Daishi Shinrai Mokuroku", "Toho-ki", and "Yowa 2-nengo 7-nichi Goshuho-ki", and was regarded as a rare and precious treasure at Tō-ji.

[32] Toyama also said that within the Amida-honoring Tokishu sect, it appears that the Amaterasu in this work was worshipped as Vairocana, the Hachiman-daibosatsu as Amitābha, and the Kasuga-daimyojin as Amida's assistant, the Amitabha snare Kannon [12] (#Post-formation history).

According to Abe, this work may be one of the greatest achievements of Bunkan, who arrived at the idea of the Tripitaka as an academic monk, and expressed it in painting as a painter.

There are traces of separate paper pasted on both sides of the screen, which is thought to have originated from the fact that the emperor was worshipped with a silk curtain (zejo).

[12] The work itself is so sublime and awe-inspiring that a copy was made and worshipped instead, a practice that can also be seen in the Kumano Seido-zu used in the Tokishu's year-end Betsudoki Nenbutsu-kai (Buddhist memorial service).

[12] The author is Amitabha Buddha, a monk who held the position of Sanryo (the fourth of the six "main ranks" in Tokishu) at the time of the Shogunate's 23rd Yugyo Shonin.

[55] Initially, Toyama had assumed that the painting was an example from the Azuchi-Momoyama or Edo periods based on the impression of the coloring, but restoration work in 2012 uncovered a production record on the back of this paper, which revealed the aforementioned date of formation and artist.

[57][58] and his ideals were frustrated by the establishment of the Miscellaneous Appeals Tribunal, which limited the power of the emperor, [59] and the Kenmu regime of Godaigo was viewed negatively as a regime that left nothing for posterity, which quickly collapsed due to a series of reckless policies [58] Sato's theory of a dictatorial monarch was developed by folk studies and Japanese historian Yoshihiko Amino in his book "Variant forms of kingship" (1986) .

[62] Fumikan used unusual prayers and spells, and in his capacity as a Shingon Risshu, he commanded an unorthodox army consisting of the lower classes of the time, and contributed to the defeat of Go-Daigo.

[63] Amino interpreted this work as a symbolic image of Go-Daigo's deformity, depicting the emperor wearing a Buddhist uniform and praying to curse the samurai government.

Later, in 1993, the painting historian Kuroda Hideo conducted a detailed analysis of this work, and said that it was not a figure that prayed or cursed, but was seen as a symbol of the unification of royal law, Buddhism, and Shintoism .

[66][67] Then, in 1998, Yoshira Ito rejected Sato Shin'ichi's theory of "imperial universalism" (the principle that everything is decided by the Emperor's private commands) .

[42] In addition, Yoshihiko Amino, who advocated the heteronormative theory, criticized Godaigo for being more interested in religion than his father.

[73] Go-Daigo is said to be a more moderate esoteric practitioner than his father, while Go-Uta had been secluding himself in the inner sanctum of Koyasan and taking disciples as a monk.

[73] He also rejected the theory of the martial sorcerer Bunkan, who was the son of Go-Daigo, on the grounds that he was a virtuous monk and an excellent scholar and painter.

[76] Sachiko Takeda said this is seen as an imitation of Prince Shotoku, who was regarded as a supreme being in both the sacred and secular realms at the time (#Taishi faith).