@article{oai:muroran-it.repo.nii.ac.jp:00008141,
 author = {狐野, 利久 and KONO, Rikyu},
 journal = {室蘭工業大学研究報告. 文科編, Memoirs of the Muroran Institute of Technology. Cultural science},
 month = {Nov},
 note = {application/pdf, God in Bhagavad-gita has two aspects; one is an aspect of the absolute that is dualistically described as “Thou" in the relation between “I" and “Thou”, and the other is an aspect of “Tathata" that usually indicates an unity or one-ness between “I" and “Thou" Blake's Christianity has something similar to Gita's idea on God. Moreover， Blake has own terminologies to indicate his God，which he calls，for example，Poetic Genius，the True Man，Divine Humanity.  Intellectual Fountain and so on. So when he says“he sings accroding to the inspiration of Poetic Genius"，Blake and Poetic Genius are in the unity or one-ness because he says God becomes as we are， that we may be as is". It is such unity between Blake and Poetic Genius that，being independent and contradictory each other，should be called “the Marrige of Blake and Poetic Genius"，from which Blake's arts are emancipated.  My conclusion is， therefore， that Blake's Christianity as well as his arts deeply depends on Gita translated by Charles Wilkins in 1785 and that he was probably sure of having read it by the time 1788，because his own works，There is no Natural Religion (circa 1788) and All Religions are one(circa 1788) have traces of Gita's two aspects on God.},
 pages = {21--41},
 title = {ブレイクのキリスト教と彼の芸術⁽¹⁾―バガヴァット・ギーターの影響について―},
 volume = {38},
 year = {1988},
 yomi = {コノ, リキュウ}
}