玄奘（Genjō）与侍从的肖像 - 美国大都会艺术博物馆展品查阅

品名（中）	玄奘（Genjō）与侍从的肖像
品名（英）	Portrait of Xuanzang (Genjō) with Attendant
入馆年号	1929年，29.160.29
策展部门	亚洲艺术（Asian Art）
创作者	Kasuga Motomitsu【1000 至 1099】【日本人】
创作年份	公元 1300 - 公元 1333
创作地区
分类	绘画（Paintings）
尺寸	图像: 48 3/4 x 29 1/4 英寸 (123.8 x 74.3 厘米) 整体 with mounting: 87 1/2 x 37 1/2 英寸 (222.3 x 95.3 厘米) 整体 with knobs: 87 1/2 x 39 1/2 英寸 (222.3 x 100.3 厘米)
介绍（中）	中国僧人玄奘（602-664），在日本被称为源城，将大部分佛经从梵文翻译成中文。在日本，他被尊为Hossō（中文：Faxiang）教派的族长，这幅画将由其僧侣所有者展示，以验证他们寺庙的血统和权威。玄奘传承教义的使命和证明这种传承的绘画都证明了传承在佛教宗派中的重要性。血统在日本艺术和手工艺技术的传播中同样重要，展示了宗教和艺术范式之间的亲缘关系。在这里，玄奘被描绘成一个印度的追随者，指的是他前往印度寻找佛教教义。僧侣的特征被描绘成绷紧的"铁丝"线条，源自唐代（618-907）用于表示可敬地位的代表模式。
介绍（英）	The Chinese monk Xuanzang (602–664), known as Genjō in Japan, translated a major body of Buddhist scripture from Sanskrit into Chinese. In Japan, he was honored as patriarch of the Hossō (Chinese: Faxiang) sect, and this painting would have been displayed by its monastic owners to validate the lineage and authority of their temple. Both Xuanzang’s mission to transmit the teachings and the painting that authenticates this transmission testify to the importance of lineage in Buddhist sects. Lineage is equally significant in the transmission of art and craft techniques in Japan, demonstrating a kinship between religious and artistic paradigms. Here, Xuanzang is depicted with an Indian acolyte, a reference to his travels to India in search of Buddhist teachings. The monk’s features are portrayed in taut “iron wire” lines derived from a Tang dynasty (618–907) representational mode used to connote venerable status.