A collection of iconographical line drawings *hakubyō 白描 in handscroll form reflecting a primitive form of the *Taizōkai mandara 胎蔵界曼荼羅. The original version brought from China to Japan by Enchin 円珍 (814-91) has been lost, and the extant version in the Mutō 武藤 collection (1 fasc.) is a copy dating from 1193.
It is considered to represent an early form of the Taizōkai mandara deriving from the traditions of Jingangzhi (Jp: Kongōchi 金剛智, Sk: Vajrabodhi; 671-741) and his disciple Bukong (Jp: Fukū 不空, Sk: Amoghavajra; 705-74), and it thus differs in origin from the *Taizō zuzō 胎蔵図像 deriving from the traditions of Shanwuwei (Jp: Zenmui 善無畏, Sk: Subhakarasimha; 637-735), who translated the Dainichikyō 大日経 (Sk: Vairocanabhisambodhi sutra/Mahavairocana sutra; Taishō No. 848) into Chinese.
The deities' names are given in Chinese characters thought to have been added by Enchin, but it has been shown by Ishida Hisatoyo 石田尚豊 that these names are in many cases incorrect. A total of 242 deities are depicted, which represents about double the approximately 120 deities mentioned in the Dainichikyō. It is to be noted in particular that it incorporates many deities affiliated with the Kongōchōkyō 金剛頂経 (Diamond Peak Sutra, Sk: Sarvatathagata tattva samgraha; Taishō Nos. 865, 882), introduced to China by Jingangzhi and Bukong.
Because the Taizō kyūzuyō was carefully preserved as a rare work brought to Japan by Enchin and not generally made public, it exerted little influence on subsequent Buddhist iconography in Japan, but it represents a unique source of material for clarifying the evolution of the *Genzu mandara 現図曼荼羅.