The original name of this scroll with the style of the late Kamakura period is not known; it is called Toyonoakari Esōshi (Picture Scroll of Toyonoakari) after the first words of its text. The plot of the text, embodying the sentiment of court life and religious views of the period, has no identical matrix or counterpart. And the illustrations are done in black ink. The present author proposes two new ideas on this work. First, he points out an interesting fact that several portions of the text of the Toyonoakari Scroll are exactly the same as or are very close to certain passages of Towazugatari, a recently introduced diary of a court lady of the Kamakura period, Gofukakusa Nijō. Particularly, the first four lines or thereabouts of the text of the scroll are precisely the same as a passage in Volume I of the diary. This diary covers a long period from 1271 to 1306, during the author's age from fourteen to forty-nine. The first half of the diary describes her love-devoted early days when she had personal relations with Ex-emperor Gofukakusa and others, and the latter half gives the picture of her activities and travels after her entry into religious life. In this respect, further noticed is the fact that in the text of the scroll there are many portions which are quoted from such Buddhist scriptures as Kuan-wu-liang-shou ching (Amitāyur-buddha-dhyānasutra; Taisho No. 365) or are based on such scriptures, a characteristic which the Towazugatari has in common. The second point in the present discussion derives from the first. That is, the author considers that this similarity well indicates Gofukakusa Nijō's authorship of the text of the Toyonoakari Scroll in her latest years. He also considers that she may have drawn the illustrations themselves as well. This idea is based on some articles in the diary suggesting that she was skilled in painting; for instance, in Volume I it is stated that she painted the screens of a local gentleman's house at Wachi in Bingo province and in Volume V she writes that she wants to represent in painting a lovely night scene she has seen. The present author thus thinks that this court lady, gifted both in literature and painting who entered a religious life after dramatic affairs and who spent much of the last half of her life in travels, reached a religious renunciation and had a deep knowledge of Buddhist scriptures. These facts are the basis of the present author's hypothesis. In this paper he also discusses in relation to this work the question of yamatoe drawing in black ink produced in quantity from the thirteenth to the fourteenth centuries and lady painters of the period.