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IMMORTALS PAINTINGS

AND FROM

SAGES: RYOANJI TEMPLE

U
With articles by

Hiroshi Onishi andTakemitsuOba and SondraCastile

THE

METROPOLITAN

MUSEUM

OF

ART

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DIRECTOR'S
I*

NOTE

FRONT COVER:

Immortalswatching Resshi fly awaywith the wind, from the Museum'sChinese Immortals
panels (fig. 27). INSIDE FRONT COVER:

Flying Resshi, from the Immortals. Chinese

BACK COVER:

Li Bo, Chinese poet and lover of wine, from the Museum's FourElegant Accomplishments panels (fig. 28).

Title-page calligraphyof "Ryoanji" by TakahashiShunkin.

COLOR PHOTOGRAPHY FORTHE MUSEUM BY BRUCEJ. SCHWARZOF THE PHOTOGRAPHSTUDIO OF THE METROPOLITAN MUSEUM OF ART.

Rarelydoes a work of art purchasedfor our collections surpriseus and turn out to be more historicallysignificantand valuablethan we thought, becausebehind the decision to acquire any object is a carefulprocessof research,rigorous connoisseurship,and an exchangeof ideas among astute curators,skilled conservators,and colleaguesfrom outside this Museum. It is a processthat virtuallyguaranteesthe validityof a work of art, but it does not mean that we rest with these findings.We are constantlyreviewing and renewing ourjudgments. How exciting it is then-after a work has been acquired-to turn up something wholly unanticipatedthat further validatesand even elevatesits standing. Such is the case with the Japanesepainted panels that are the subjectof this Bulletin.When Barbara BrennanFord,Associate Curatorof Asian Art, first saw them, she recognizedthat they were importantexamplesof Momoyama figurepainting and that their grand scale and gold backto an imperial grounds seemed appropriate But for what structure and where there setting. was no certaininformation.The first real clue to their origin was literallyuncoveredduringthe course of repairsand remountingby our Asianart conservators. From then on it took curatorial detectivework and furtherresearchin Japan before these panels could be quite unexpectedly

linked to the Zen temple of Ryoanji,in Kyoto, where they had once adorneda room facing its ascetic fifteenth-centuryrock garden.This was a tremendouslyimportantdiscovery.For not only does this locus give the paintingsinestimable historicalvalue but their date-established as I606-their bold design, and their rich colors on gold make them unique among survivingmonumental temple figurepaintingsfrom this period. In October in the Arts of JapanGallerieswe will open a specialexhibition of our panels and paintings of similarsubjectsby Kano school artists,in an installationthat providesa suitable setting for these Momoyama-periodworks. We aregratefulto Sony Corporationof America for their generoussupportof this exhibition.We also wish to thank the Ladies Group of the Nippon Club for makingpossible the conservation of the Museum'spanels. In the articleson our four Ryoanjipanels in this Bulletin,Hiroshi Onishi, ResearchCurator, detailsdiscoveriesthat placed them in their properart-historicalcontext, and Takemitsu Oba and SondraCastile, C.V. StarrConservator and Associate Conservator,respectively, share their findings and explainsome of the techniques that now enable us to show the newly attributed Ryoanjipanels to their best advantage. Philippe de Montebello Director

MuseumofArt Bulletin TheMetropolitan

Summer I993

POSTMASTER: Send address changes to Membership Department,

Volume LI, Number I Published quarterly? 1993by The MetropolitanMuseum of Art,

Ioo0 Fifth Avenue, New York, N. Y. I0028-OI98.

The MetropolitanMuseum of Art, Iooo Fifth Avenue, New York, N. Y. 10028-0198.Back issues availableon microfilmfrom University Microfilms,300 N. Zeeb Road, Ann Arbor,Mich. 48o16. Volumes
I-xxxvII (I905-1942)

available as clothbound reprint set or as individ-

Second-classpostage paid at New York,N. Y. and Additional MailMuseumofArt Bulletinis providedas a ing Offices. TheMetropolitan benefit to Museum membersand availableby subscription.Subscriptions $25.00 a year.Single copies $6.95. Fourweeks' notice required for change of address.

ual yearlyvolumes from Ayer Company Publishers,Inc., 50 NorthwesternDrive #Io, Salem,N. H. 03079,or from the Museum, Box 700, Middle Village, N. Y. II379. General John P. O'Neill. Managerof Publications:
Editor in Chief of the BULLETIN: Joan Holt.

Associate Editor.Tonia Payne. Production: PeterAntony. Design:Emsworth Design.

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CHINESE
* BY

LoRE
HIROSHI

FOR ONISHI

JAPANESE

SPACES

DISCOVERY MISSING

OF A LINK

n*
Muralpaintingsin publicbuildings,religious or secular,go beyond merewall decorationor spatialembellishment.They act as a medium of visualcommunicationin a more or less intensivesocial domain,whetherfor a didactic purpose,for use in ritual,or for the expressionof a communalutopianvision. Thus they not only reflectthe thoughts and emotions of their time but even more, they articulate historical,theological,or political ideas in a way that words cannot. A set of four largeMomoyama-period or sliding paintedwall (ca. I570-I6Io)fusuma, panels,recentlyacquired by the Metropolitan Museum, revealstelling facetsof the social and politicalcrisesin Japanaroundthe turn of the seventeenthcentury.Research conductedon these initiallyunidentified works has broughtto light unexpected disclosuresconcerninga change of the paradigm for the interiorimage systemin Zen monasteriesunderthe patronageof the rising samuraielite. The panelsgive evidence of a combinedyet competingeffortby cultivatedwarriors, and priest-intellectuals, masterpaintersto conceivea new constellation of ideals and symbolsat a transitional moment:the establishmentof the Tokugawa shogunateas a unifyingpowerafterover a centuryof nationalturmoil.

The unusually grandscaleof these at firstsuggested a connection with a fusuma warlord the imperial court or,alternatively, in Kyoto. theirtotallysecular Moreover, Chinesethemesandextravagant goldbackthis initial grounds strongly supported
hypothesis(figs. 27, 28). Painted on both

sides,theywerethoughtto haveformedan between two largerooms imposing partition in the castleor palace of a manof worldly their But,to widespread power. surprise, originwasfoundto be a roomof the Zen templeof Ryoanji, facingits nowworldfamous rockgarden (figs.i-6). Andwhatis contrast afforded more,the striking by these sumptuous Momoyama paintings against thataustere medieval does not garden confirm the greatchangein aesthetmerely ics thattookplaceat the outsetof Japan's era: alsoshed earlymodern Thefusuma penetrating lighton a singular, pivotal that transformed the process dramatically and ideas the pictorial images underlying of Zen monasteries at a timewhen program thesecommunities weredefining newrelawith theirwarlord The tionships patrons. anomalous features of thesepaintings, to Zen aesthetics, seemingly contradictory pointto thistransformation. The Metropolitan's panels,aswill be seen,did indeedcomefroma momentous carried out at a turning project pointin Research hasrevealed that Japanese history.
3

The Metropolitan Museum of Art is collaborating with JSTOR to digitize, preserve, and extend access to The Metropolitan Museum of Art Bulletin www.jstor.org

i-6

* RYOANJI

A~4~~~

Ryoanji("DragonPeace Temple")was founded in I450 by Hosokawa Katsumoto,a generalof the Muromachishogunate. The temple, affiliatedwith the Myoshinji branchof the Zen sect, flourishedparticularly from the late I6th through the first half of the r7th century,under the patronageof the Hosokawa family.The rock gardenis in a typical Zen style, the so-called karensansui, and has been or "drylandscape," traditionallyconsideredto be the work of Soami (?-i525),a painter,poet, and garden artist.It consists of only fifteen rocks on a bed of white sand, which is rakedevery day.The panels presentlyinstalledin the interiorof the hojo,the temple'smain building (aboveand right), were painted in the ? Michael S. Yamashita. 15950s. Photographs

Hosokawa Yusai (I534-I6Io) or his son, Sansai (I564-I645), both warriors, men of

letters, and Momoyama political heroes, commissionedthese works for Seigen'in, the most importantsubtempleof Ryoanji, in I606, only three years afterthe establishment of the Tokugawashogunate. Pinpointed at this criticaldate, located in the culturalcrucibleof Ryoanji,and sponsored by a paragonof the ruling elite, the fourfusuma,with their unique featuresof format and subject,constitute a crucial sourcefor the retrievalof knowledge about a long-forgotten yet highly significantarthistoricalchange. The issues to be examinedand expandedupon here are several:first, the increasingimportanceattachedto the subjectsderivedfrom the Chinese classicsas historicaland ethical models for the samurai ruling class;second, the conflicting aesthetics of Zen monks and their samuraipatrons, which eventuallyconvergedin a new, unified programfor the overallimage system in the and monastery'shojo, or abbot'squarters; finally,the painters'participationin that competitiveinteraction,which culminated in a sharedcanon of interiorimageryin public buildings,whether religiousor secular.The Metropolitan's paintings are all the more importantbecausethere are almost no other extant, datablescreenpaintings from the period in question. They thus providea point of referencefor all other works known to be historicallyclose, and allow us to probe deeply into certainissues previouslyopen only to speculation. In addition, the revisionof our historical overviewtriggeredby thesefusumahas been furtherstimulatedby new finds following their discovery:fourfusumaoriginallyfrom the same room at Ryoanji,now in Beppu, Japan(fig. 31);four from anotherroom of the same temple, remountedas a pair of
6

or folding screens,now in the collecbyobu, tion of the SeattleArt Museum (figs. 29, 30); and nine from yet anotherroom of the temple, now in a privatecollection in London. But, before delving into a detailed discussion,the story of the initial detective work that revealedthe essentialfacts about should be told. the Museum'sfusuma
AN "ARCHAEOLOGICAL
DIG" IN THE STUDIO

CONSERVATION

When the fourfusumafirst came to The MetropolitanMuseum of Art in 1989,they were immediatelyrecognizedas a work of the the circle of Kano Eitoku (1543-1590), most prominentfigurein Momoyamapainting. But no one could have imagined that the panels had originallybelonged to Ryoanjiand had once faced its rock garden. and large size Their sumptuousappearance supportedthe previousowner'svague attestation that the imperialcourt in Kyotowas their provenance.The Confucianand Taoist themes portrayedagainsta backgroundof gold leaf were typical of those often adopted by Eitoku and his followersfor imperialand samuraiprojects.Despite their incomplete compositionsand slightly disconcerting the subjectswere deviationsin iconography, very easily identifiableas Kano painters' favorites:Flying Resshi,on one side, and on the other. FourElegantAccomplishments, The figuresthemselveswere unmistakably of a type originatedby Eitoku. The harsh, vigorous exaggerationof the master'sstyle, however,arguedfor the hand of his son whom docuKano Takanobu(I57I-I618), mentarysourcesconnected to the imperial court (figs. 7, 8). Thus, it was againstthe backgroundof all these earlyspeculations that the truth was unveiled through an unexpecteddiscovery.

7,8

* CHINESE

IMMORTALS

Momoyamaperiod, earlyI7th century.Attributedto Kano Colors on gold-leafed paper.Two Takanobu(I57I-I618). x 23 in. (56.3x 58.4 cm). tsuitate,or standingscreens,each 22I/8 Kodaiji,Kyoto. Photographs:Shueisha,Tokyo.

9 * SAGES VIEWING

A SCROLL

Detail from the MetropolitanMuseum'sFourElegant Accomplishments (fig. 28).

IO

* SAGE

AND

ATTENDANT

Detail from panel 4 of the MetropolitanMuseum'sFour (fig. 28). ElegantAccomplishments

A troveof valuable information would sooncometo lightin a succession of finds led by the firstwindfall cluethatrelated the In the endtheyturned panelsto Ryoanji. out to be partof a largeset offusuma
removedfrom Ryoanjiin I895,at a time when Buddhism had sufferedpersecution afterthe radicalchange to the new Meiji regime. Loss of prestigeand wealth had forced many temples to resortto selling their treasures in orderto survive.After travelingfirst to anothertemple and then falling into the hands of a certainfinancial conglomerate,the entire set was procuredby a coal-mining magnatesometime earlyin this century.It was even discoveredthat part of the set had been exhibitedpubliclyin
Osaka in I933. (However, none of this

modern historywould have been revealed without the initial find.) After the Osaka exhibition,the whole set mysteriously droppedout of sight and slipped from the memory of the art community,well before seriousstudy of Momoyamapaintingbegan
in the I940s.

II*

THE FIRST

CLUE

Numberswere discoveredwhen the metal fittings were removedfrom the panels. Put there to indicate the placement of the paintingsin the set, they also providedevidence that the panelsbelonged to a largerseries. Shown is the numberon panel 4.

The first hints as to the origin and identity of the paintingswere literallyuncovered in the Asian-art conservationstudio of the MetropolitanMuseum. During the restoration work, first a small clue and then a big one emerged.In the earlyphase of this were work, the metal fittings, or "pulls," removed,and it was found that each of the eight paintings (on both sides of the four panels)was numbered,probablyby a previous restorer who had wanted to retaintheir
proper placement (fig. II). The four paint-

ings of Chinese immortals(FlyingResshi) were numberedconsecutivelyfrom right to

left, 13, 14, 15, and I6. The four on the other

side, of Chinese sages (FourElegantAccomwere numberedfrom right to plishments), left, startingwith the panel that had I6 on the reverse,I, 2, 3, and 4.

The two setsof numbers led to some Couldnot i6, written intriguing questions. on the lastof the immortals panels,mean If I6 represented the something special? totalof paintings forone room,it original wouldpointto anunexpected possibility: thatthe workscamefroma Zen monastery's or the central roomof a hojo, rather shicchu, thanfroma secular 16 setting.The number is typical of the canonically determined in the shicchu. The offusuma arrangement to strict is shicchu, convention, according enclosed distributed around by sixteenfusuma itswest,north,andeastsides,andopensonto a garden on the south. fromthe Judging finished at the extreme left of composition the immortals it washighlylikelythat panels, thepictorial scheme forone theyconcluded additional room,lending weightto the thati6 indicated a roomtotal. hypothesis
9

B NORTH Unidentified scene from the Chinese with the other illustrations Immortals, reproduced on this page in Toyo Bijutsu,20, Kyoto,Japan, I934. See fig. 3I.

MISSING

BEPPU

A NORTH A Game of Go, from the FourElegant See figs. 29, 30. Accomplishments.

SEATTLE

B EAST Unidentified scene from the Chinese Immortals.

MISSING

C WEST

Two of the Tigerand Bamboo panels in Toyo Bijutsu. reproduced

MISSING

A EAST Sages and Attendants from the FourElegant See fig. 28. Accomplishments.

MMA

B WEST Immortals. Flying Resshi, from the Chinese See fig. 27.

MMA
Io

I2-I8

* PLAN

AND

PICTORIAL

SCHEME

OF THE

RYOANJI

Hojo

A. B. C. D. E. F.

room. Dannanoma,patron's room for ceremoniesand rituals. Schicchu, Reinoma,entranceroom for visitors. monks'or disciples'room. Ehatsunoma, areafor Buddhist altarand images. Butsuma, Shoin,abbot'sstudy and living quarters.
II

The discovery of the numbering wasjust the firststep.It wasfollowed reverse,numberedi, 2, 3, and 4, would have by another initiated a pictorial forthe adjacent "archaeological sequence dig."Lettersanddocuments wouldhavebeen werefoundamongthe backing of room,whichnormally papers on its eastandnorthsides,or in decorated one painting (atthe extreme rightof the somecases,on its west sideaswell.In other immortals set, number 13), eventually in our the probable words,if we reconstruct origiprovidinga majorbreakthrough naldisposition of the paintings to according investigation.In Edo times it was quite the standard the immortals common to strengthendamagedpaintings planof the hojo, wouldhaveconcluded on the west sideof by pasting scrappaperfrom old letters, the central room,andthe sages(FourAccom- documents, and diariesto their backs.Thus wouldhavebegunthe eastside plishments) preservedbeneath the surface,these patches of the westroom(figs.I2-I8). However, often revealbits of informationwhen uncovby itselfthe numbering revealed ered, although trulyimportantmessages nothing from the unknown past are rarefinds. Yet further aboutthe site.If thefusuma really camefroma Zen monastery's hojo,then among the thirty-one sheets, mainly in fragin whatlocation,andfrom ments and written in the most cursiveof whatmonastery, whatperiod? Wastherea Zen templein scripts,were three receiptsmade out to of these features whichthe anomalous Ryoanji-two from Ya'emon,a carpenter, At the veryleast,what and one from Genza'emon,a mason (fig. I9). fusumamadesense? dimensions? Other scrapsbore names of personsaffiliaccounted fortheiroversize
ated with the temple. Another was inscribed
with the date I670, presumably some years

the paintings on the Correspondingly,

I9

- ANOTHER

IMPORTANT

FIND

Among the backingpapersof the panels were receiptsfrom is craftsmenmade out to the temple (on this one "Ryoanji" in partialshadow at upperleft). These were the first clues to link the panels to Ryoanji.

priorto the first repair. These scrapsof papergave very strong evidencethat the panelsbelongedto Ryoanji, but alone they told nothing of the location and disposition of these paintingsin the temple compound. Ryoanjiwas once a great Zen center,patronizedby the Hosokawa family,one of the most resourcefuland resilientsamuraipowers. By the late sixteenth centuryRyoanjihad become a huge monastic complex in which twentythe main three subtemplessurrounded temple (see fig. 20). Its heydaywas the period of our panels, from the late Momoyama to the earlyEdo. Under the strong patronageof HosokawaYusaiand his son, Sansai,both well-known samuraiand accomplishedintellectuals,it enjoyeda singularreputation,not only as a great religious institutionbut also as one of the most influentialculturalcentersof the time. With

12

20

* AERIAL COMPOUND,

VIEW

OF

DAITOKUJI

KYOTO

the temple'sdecline in the late Edo period (mid-I7oos), only the serene,abstractrock gardenremainedas a unique artistictreasure reminiscentof its golden age. However, there is no doubt that Ryoanjiand its subtemplesoriginallypossessedpaintings from the late Muromachi(ended ca. I570) and Momoyamaperiods that were destroyed or somehow disappeared over time. Indeed, severalearlyEdo recordsmake passing referencesto paintingsat Ryoanjiby Kano Eitoku and a few other artists.The Metropolitan'spanels must have been among them. Although not preciselyby Eitoku's hand, one of his senior followersdoubtless producedthem. Edo-period connoisseurs would generallyclassifyany work of Eitoku's circle or his studio as by the master.

and the presentbuildingswere Daitokujiwas founded in I315, constructedmostly duringthe I6th and I7th centuries.The main temple is surrounded by twenty-foursubtemples(in the treed areaof the photograph).Ryoanjimust have looked much like this at its height duringthe Momoyamaperiod. Photograph: Kodansha,Tokyo.

'3

21,

22

CRUCIAL

DOCUMENT

Guideto Pages from MiyakoRinsenMeishoZue, or Illustrated FamousGardens in Kyoto,written by Akisato Rito and publishedin 1799.Below is the rock gardenin Edo times. Above is part of the text describingthe Ryoanjifusuma. National Diet Library, Tokyo.

"DIORAMA" THE ZEN

FANTASY MONASTERY

IN

The final piece of evidence again came from an unexpected,even ironic, source. Because of a disasterat Ryoanji,itsfusuma were recordedwith specialattention in a late eighteenth-centuryguidebook,Miyako RinsenMeishoZue, or Illustrated Guideto
Famous Gardens in Kyoto (figs. 21, 22). In I797

a fire swept through Ryoanji,destroying almost everything.Publishedtwo yearslater,

14

treatment to the guidebook gaveexclusive of the hojo andto the rock the paintings as nothingelsehadsurvived the garden, The exceptionally detailed conflagration. of thefusuma, whichmightnot description havebeenundertaken, otherwise matches of the Metropoliall the features perfectly works. tan's The guidebook threeessential provided Firstcamethe revepointsof information. lationthatthe hojo structure andits paintto the Seigen'in ings oncebelonged AfterRyoanji's mainhojo subtemple. andpanels burned down,Seigen'in's hojo weremovedto its location,thusforminga new architectural with the composition rockgarden. ourexpecSecond,confirming tations,it statesthat KanoEitokuhad thesepanels when Seigen'in's hojo painted hadoriginally beenbuilt.Finally, andmost it describes the subject matter, importantly, and of the format, mode, arrangement within the paintings building.

The correspondences betweenthe andthe guidebook Metropolitan'sfusuma werefurther substantiated description by research out on Ryoanji carried in checking theJapanese 1967 by the Bunkacho, government'sCultural Affairs Office.This project, whichconfirmed thatthe present and hojo the one to whichthe guidebook refers are the samebuilding, alsoverified thatit was constructed as Seigen'in's in hojo initially of the i606, underthe supervision Hosokawa The Bunkacho also family. report thatthe building's extraordinaremphasized werea greatdeparture ily largedimensions fromtradition. Checked the Bunkaagainst cho data,the original heightandwidthof the Metropolitan'sfusuma corresponded to the measurements of the partition exactly between the central roomandwestroomof the hojo. Thatthefusuma wouldhavebeen the partition between thosetwo roomshad beenimplied already by the numbering foundbeneath the metalfittings, butthis

23

* ROCK

GARDEN

OF

RYOANJI,

SPRING

1993

Photograph? Michael S. Yamashita.

15

wasfinally corroborated placement by the of the paintings guidebooks description themselves. in Zen The planforthe abbot's quarters of sixrooms,of whichfive templesconsisted with paintings. ForRyoanji, weredecorated andlocathe guidebook detailsthe subjects in the threemajor tionsof the paintings whichfacethe rockgarden, rooms, thateachhasa gold-leafbackcommenting Movingfromrightto left, thatis ground. listedare: fromeastto west,the subjects and andBamboo, Immortals, Chinese Tiger Four (seep. II).The ElegantAccomplishments Resshiin the Metropolitan'sfusuma is obviouslyone of the Chineseimmortals in in the guidebook as depicted described on the west sideof the scenesconcluding "Resshi" is theJapanese the shicchu. pronunciation for Liezi, the Chinese immortalwho

with allworldly ties andflewaway rejected of the wind.Needlessto say,the reverse of the Four wasthe beginning thesepanels

24,

25

? BIRDS FOUR

AND

FLOWERS

IN

THE

SEASONS

Muromachiperiod, i49I. By SogaJasoku(activelate I5th of century).Ink on paper.Two of i6fusuma in the shicchu x 3/4 in. x Each V8 cm). I4I.5 55 (178 70 Shinjuan,Kyoto. Shinjuan,Kyoto. Photographs:Shueisha,Tokyo.

i6

26

* INTERIOR SHINJUAN,

OF

THE

Hojo

OF

KYOTO

Founded in i49I, Shinjuanis a subtempleof Daitokuji. This building is the earliestextant Zen monasteryhojo. Tokyo. Photograph:Shogakukan,

on the east side of ElegantAccomplishments the west room, preciselyas recordedby the guidebook.Thus once the panels are located in the scheme of the hojo,everythingfalls perfectlyinto place. However, even more surprisingthan the discoverythat thefusumahad belonged at Ryoanjiwas the realizationthat in this setting they representedan astonishingshift from the traditional,almost canonical interior scheme of a medievalmonastery's imagery.The new configurationrevealed does not resembleany of its precedentstherewere no landscapes,no bird-andflowermotifs, and no monochromeink paintingsin the three front rooms. What is significantis not simply the surprising of gold-leafed paintingsin a Zen appearance milieu but that monochromeink paintings

in an absolute altercompletely, disappeared from ationof the frontschemeof the hojo: to all-in-colors-and-gold-from all-in-ink to festiveconviviality. meditative quietude The themeof the paintings andits treatshicchu mentin the Ryoanji typifythis transfromtraditional formation away metaphor. The descriptive titlein the guidebookSen'nin zukushi-canbe translated only immortals." looselyinto Englishas "Chinese Butthe termzukushi, whichliterally means a representa"exhaustive," strongly suggests tiveor evenencyclopedic It seems display. butin Ryoanji, the shicchu, unimaginable, the coreof the Zen monastery, wastransformed into a goldenstagefora fabulous, bravura of ancient, exposition foreign immortals.

'7

27 * FLYING RESSHI Momoyamaperiod, i606. Fourof the set ofi6fusuma Immortals from the shicchu, the central depicting Chinese room, of the Ryoanjihojo.Ink and mineralpigments on gold-leafed paper.Each 6 /, x 6 ft. (I98.2x I82.9 cm). Purchase,Anonymous Gift, in honor of Ambassadorand Mrs. Michael Mansfield, 1989(1989.139.1).

'5

I3

I9

20

28 - FOUR

ELEGANT

ACCOMPLISHMENTS

Momoyamaperiod, i606. Fourof the set of I2fusuma from the dannanoma, or patron's room, of the Ryoanjihojo.Ink and mineralpigments on gold-leafed paper.Each 6 /2 x 6 ft. (198.2x 182.9cm). Purchase,Anonymous Gift, in honor of Ambassadorand Mrs. Michael Mansfield, 1989(I989.I39.2).

21

29, 30 . A GAME OF Go Momoyama period, i606. Originally4fusuma of the set of I2 of the FourElegantAccomplishments from the dannanoma of the Ryoanjihojo.Remounted as a pair of 2-panel screens Ink and mineralpigments on gold-leafed paper. (byobu). Each approx.68 3/ x 9o /2 in. (I74.6x 229.9 cm). Seattle Art Museum, Gift of CarmenM. Christensen (92.33.1,2). Photographs:Paul Macapia.

31 * CHINESE

IMMORTALS

Momoyamaperiod, I6o6. Four of the set of I6fusuma from the shicchu of the Ryoanjihojo.Ink and mineral pigments on gold-leafed paper.Each 77 3/ x 9 7/sin. (I97.5x 50.5 cm). Suginoi Collection, Beppu,Japan.

22

The Metropolitan's immortals panels evokethe dynamic of that zukushi spirit all threewallsof the musthavedominated of the shicchu. Here,Resshi,the protagonist hasjustflownoff, his lowerbody narrative,
coveredby a cloud (fig. 27). Other immor-

northsideof the Ryoanji shicchu. Unfortubecause the sceneis unidentifiable it nately, is incomplete, butthe subject is obviously different fromthatof the segmenton the west side,andit hasa distinctcompositional This suggests thateachsideof the identity. one or two representashicchu wasallocated tivenarrative of the feats units,or "samples," of immortals. It is not fullyclearhowthese narratives interacted with each separate othercompositionally, butthereis no doubt thatthe entireroompresented a fantastic of miracles frompanelto "parade" unfolding panel.Seatedin thatroom,onewouldhave beensurrounded by a hugepanorama-or, a "diorama"-of Chineseimmortals rather, set against a background of flamboyant gold. The Four on ElegantAccomplishments of the Resshi the reverse panelsalsocorreto the description of the spondsfaithfully westroomprovided by the guidebook (fig.
28). Again, quite fortunately,some of the missingfusumafrom the same room have those in the SeattleArt Museum resurfaced,
(figs. 29, 30). Although remounted as fold-

himwith talsandboyattendants regard The animated formsof the greatsurprise. the treesandthe foldsof the robesconvey of the strong windmiraculously impression Resshiaway. The emphatically carrying placedrockon the rightimpliesa clear demarcation in the narrative between the to storyof Resshiandthe adjacent subject the right(on the northsideof the room). in the guidebook, allthe Yet,as described sidesof the roommusthavecomprised a of representative scenesfrom composition various of Chineseimmortals. narratives The accuracy of this description was borneout by the discovery of the four in Beppu(fig.3I). They depict fusuma Chineseimmortals andareobviously done set. by the samehandas the Metropolitan's Theirdimensions indi(theyarenarrower) catethattheymusthaveconstituted the central fourof the eightpanelsforming the

ing screens,their composition and iconography clearlyindicate that they originally constitutedthe four panels on the north side, a continuationof the theme begun with the Metropolitan'sfusuma on the east. Thus with these two sets, two-thirds of the paintingsof the west room have been recovered. A third set of paintedfusumaon the west side would have completed the missing componentsof the FourElegantAccomplishmentstheme. In the originalsetting, spread out acrossthree walls of golden space,here, again, a gatheringof ancient Chinese sages must have put on a magnificentshow. As the title suggests,FourElegant is a pictorializationof Accomplishments

idealsrepresented Confucian by the scholand arlyartsof music,painting, calligraphy, chess(go inJapanese, The qiin Chinese).
23

32,

33

* CHINESE

IMMORTALS

Momoyama period. Possiblypainted by Kano Kotonobu (active earlyi7th century).This pair of 6-fold screens(byobu) includes the immortalKinko flying awayon a carp,a very x x 1423/8in. (I55.5 auspiciousfish. Ink on paper.Each 6i V4 36I.5 cm). Eisei Library(Hosokawa Collection), Tokyo.

concept of zukushi,or "encyclopedic" this subjectas well. display,characterizes The Metropolitan's panels, in which sages enjoy a pictureon a hanging scrollthey are holding, show the cultivationof painting. In the Seattle screens,sages and boy attendants are depicted playingor watching a game of go. Thus typified and compiled, the images would have been of the FourAccomplishments scatteredacrossthe three sides of the room. One apparentlyodd featurein the Metropolitan'sset is a drunkenold man, who,
24

the group assisted by two boys,approaches This (seebackcover). viewingthe picture old manis mostlikelyLi Bo, the great forhis Chinesepoet,famous Tang-dynasty loveof wine.Althoughrarely seenin extant Li Bo wasone of the works,the drunken in Momoyama mostpopular subjects Japan, in the literature as cited exemplirepeatedly an untrammeled an soul, abiding fying modelforthosewho wishto livefreely. additions anomalous With suchentertaining in the spiritof zukushi, the as this figure

connotationsof the FourElegantAccomplish- imagery. Why andhow did sucha fabulous mentstheme have been broadened.The of Chineseloresuddenly golden"diorama" would have createda sense in a Zen Buddhist entire "diorama" context? Had the appear of what might be called the "Paradise of the SacredPast." The discoveriesmade at the conservation studio,which firstwhetted our connoisseurs' appetites,now lead us to considerlargerand more complicated historicaland art-historicalissues. To sum up the facts at this stage:the Metropolitan's fusumawere painted in i606 by a memberof the Kano school for Seigen'in,a subtemple of Ryoanji,when it was founded in honor of the head of the Hosokawa family,the chief patronof the temple. It is unclearwhich Hosokawa,Yusaior his son, Sansai,was more involvedin the project,but doubtless this was one of the most importantcommissions for a Zen monasterycarriedout under the auspicesof a Momoyama samuraielite. Who, then, painted the Museum'spanels? In i606 Kano Eitoku was alreadydead. Our firstguess was Kano Takanobu,Eitoku's second son, but with the evidence of the Hosokawa connection, Kano Kotonobu (activeduringthe earlyseventeenth century),Eitoku'sthird son, emerges as a strongercandidate.Workingwith almost exclusiveprivilegeunder Hosokawapatronage, Kotonobufirst servedthe family in Kyoto and then moved to their fief, Kumamoto,where he later died. Although no works can be assignedto him with certainty,it might now be possible to reconsider him as the artistof a set of byobu in the collection of the presentHosokawafamily, an ink monochromedepiction of Chinese immortals,and, by extension, as the creator of the Metropolitan'sfusuma (figs. 32, 33). All in all, the most importantand intriguingissue that now confrontsus is what caused such a radicalshift in the constellationof Zen monasticinterior

in the grandspaces of the belonged fusuma samurai castlesor the imperial court,they wouldnot havebeenso surprising. Although it is well knownfromrecords anddocumentsthatby I579Confucian andTaoist on opulent figures goldbackgrounds abounded in AzuchiCastle,the great monument constructed by OdaNobunaga
(I534-I582), never before i606 had such

in a Zen monastery. paintings appeared What changed the imagesystemof the hojo? Wasit anintrusion fromthe outside? Or wasit, rather, a development fromwithin?

34 * DETAIL Flying

FROM

THE

MUSEUM'S

Resshi

PANELS

25

35 * THE OLD PLUM Edo period, I647.By Kano Sansetsu (1590-1651). These panels are typical of the classicizedMomoyama style. Fourfusumaof a set of 8 or I2 from the hojoof Tenshoin, a subtempleof Myoshinji, Kyoto. Ink and colors on gold-leafed paper. 68 3/4x i9II' in. (I74.5X485.5cm). The Harry G. C. Packard Collection of Asian Art, Gift of Harry G. C. Packardand Purchase,Fletcher,Rogers, HarrisBrisbaneDick, and Louis V. Bell Funds,Joseph Pulitzer Bequest, and The Annenberg Fund, Inc. Gift, I975 (I975.268.48).

SHADOW

OF

AZUCHI

CASTLE?

O*
Our understandingof Momoyama screenpaintings has long been distortedby the natureand numberof extantworks. The increasingimportancein the latterhalf of the period of figurepainting, especiallythat based on the Chinese classics,has been largelyoverlookedbecausebird-and-flower themes survivein greaternumbers(fig. 35). This imbalance,which places such a strong has emphasison the nonanthropomorphic, also led to the facile characterization of Momoyamapainting as a uniformlydecorative art. Out of this characterization has come the unfortunatetendency to give short shrift to the diversityand function of Momoyama painting in its originalarchitectural settings. The hojoof a Zen monastery,
26

for example, boundtogether a wide typically of subjects into an ensemble that,in variety vehicleforconturn,becamea complex If we are sciousandunconscious messages. to go beyondthe description "decorative," individual worksmustbe understood as elements withinan original, overall system of meanof symbols-a larger constellation andchanging overtime. ing evolving What is so important aboutthe discoveryof the Ryoanji panelsis thatthrough themwe canglimpsea greatshiftin the of the Zen monastery's interior program at a keymomentof transiimagery precisely tion in Japanese so Thesepaintings, society. fortheirsumptuous goldleafand surprising of Confucian and flamboyant depiction Taoistthemes,do not in factfit ourconvenof Zen imagery tionalperceptions (figs.37, is an era 38).Butwhatwe haveto consider

when virtuallyeverythingin Japaneselife was plunged into structural change as a new form of political power estaboverarching lished itself. We have to look carefullyat the interactionbetween the sweeping movements of the time and what was taking place in one cornerof society.How were images and ideas createdin the microcosmof the hojoin responseto externalinfluences?How were they exchangedbetween the hojoand the outside world? Inevitably,our analysishas to span two extremes:Oda Nobunaga'snow-lost grand Azuchi Castle cycle and Ryoanji's only partlyrevivedhojopaintings. Our aim here is not merelyto confirmthe influenceof the formeron the latterbut, rather,to examine their common roots and how these images appearedin responseto similarhistorical problems.In i579 Nobunaga, the first and

iPL'EN

DE LAVILLE

|J

~~~~~~~~~~~~~.C.

appcdlc lc Pa'adis dc Nobunar.. : /.a.1'.Z.wae{ il 'Eniftr:wur. C*i=f^ Sl: wwMF f e u>rf>. ?B. Sn. .;C. Sf.u

ET CELATEAUDAN,ZUQL AALAN

'

t
i i

-~-- 0--

36 . AZUCHI

CASTLE

Publishedin Charlevoix's Histoiredujapon, Paris,I736.The castlewas built by Oda Nobunaga,the militaryhegemon, on Mount Azuchi, borderingLake Biwa, northeastof Kyoto. Constructionwas completed in I579. The building,with its renownedpaintingsof Chinese immortalson gold backgrounds, supposedlyburneddown after Nobunaga'sdeath in I582.

27

37 * PRIEST

KENSU (SHRIMP)

Momoyama period, ca. 600o.Kensu (Xianzi, in Chinese), a Tang-dynastyZen monk, was known for his eccentricity.He lived only on shrimp or other shellfish and is depicted here eating shrimp.From a set of 4fusuma at Shinjuan,Kyoto. Ink on paper.70 V8 x 36 3/4in. (I78X93.5cm). Photograph: Kodansha,Tokyo. 38 * PRIEST CHOTO (BOAR HEAD)

Momoyamaperiod, ca. 600o.Choto (Zhutou, in Chinese), Kensu'sdisciple,was famous for his bohemianismand eccentricity,which included his habit of eating boars'heads. He is often shown as a pairwith Kensu. From a set of 4fusuma at Shinjuan,Kyoto. Ink on paper.70 8x 36 3/4in. (178x 93.5 cm). Photograph:Kodansha,Tokyo.

28

if short-lived, mostdaring, unifier of Japan, AzuchiCastleas his newpoliticonstructed calcenter, on a hill aboveLakeBiwa(figs. declared his aspi36,39).Therehe forcibly andidealsas a ruler rations by appropriating forhimselfan all-embracing of pantheon andpictorial architectural that symbols wouldlegitimize andglorify his power. fromtop to bottomof this Everything wascarefully orchesseven-story building to create a magnificent trated settingforthe rituals overwhichNobunaga political reguwith and court nobles larlypresided, daimyo tribute to him. The castle's structural paying schemeandinterior imagesystem, particuthe larly grandcycleoffusuma paintings, embodied a cosmosof far-reaching power andoverwhelming dominance. Done mostly on gold-leafed underKano backgrounds, Eitoku's all supervision, theycomprised kindsof subjects thatprojected Nobunaga's and Buddhist, Confucian, godlikeauthority: Taoisticonsandlore;Shintoandtraditional landimperial representations; symbolic bird-and-flower andeven scapes, paintings, folkloric auspicious imagery. surrounds the sudden emerMystery genceof thisgigantic project. Totally in in its to unprecedented Japan attempt statements within embody powerful political an architectural it set sucha monument, modelforthe following compelling generation of major warlords thata boomin the construction of castlesandpalaces andin commissions fortemplesensued. The result wasanunparalleled surgeof enthusiasm andcultural leadamongpolitical, religious, ersforexploring with painters newiconoidiomsthrough whichto express graphical theirthoughts anddesires. At the coreof this search fornewimagesandideaswasa
categorythat might be termed "Chinese lore."Chinese antiquityfor East Asian posterity,just like Greek and Roman

RECONSTRUCTION 39 * THEORETICAL CASTLE AZUCHI

OF

noAzuchiJo Drawing by ProfessorNaito Akira in Maboroshi Tenshu publishedby Nihon Keizai Shimbunshain Fukugen, conjunctionwith the exhibitionof a small-scalemodel at the
World's Fair, Seville, 1992.

29

40

* Su AT

DONGPO'S
THE WIND

VISIT
AND

TO LI JIEQIAO
WATER CAVE

41 * FOUR GRAY-HAIRED MOUNT SHANGSHAN

HERMITS

AT

Momoyamaperiod, early I7th century.Attributedto Kano Colors on Mitsunobu (?- i608). Pair of 6-fold screens(byobu). gold-leafed paper.Each 68 3/4x 49 in. (I74.6x 378.5cm). The Harry G. C. PackardCollection of Asian Art, Gift of Harry G. C. Packardand Purchase,Fletcher, Rogers, HarrisBrisbane Dick, and Louis V. Bell Funds,Joseph Pulitzer Bequest and The Annenberg Fund, Inc. Gift I975 (I975.268.46,47).

for the Western world,was antiquity lookedto as a mytho-historical repeatedly when sagesruled. model-the "sacred past" Toward thatidealdidMomoyama rulers andintellectuals directtheirzeal,buoyedby freshmotivations of theirown.Forambitioussamurai chieftains like Nobunaga, who entertained granddesignson the whole the enshrined country, imagesof the "sacred the symbolic powerto facilipast" provided rivals. tatetheirdomination overstruggling Forothers,on the otherhand,the sanctified of ancientforeignsagesand narratives immortals embodied the exaltednormsand oftenusedto transcend exempla painters of preandturbulent the anarchic reality unified Japan. statusof Chineselore This heightened in the lateMomoyama diverse periodraises If the historical andart-historical problems. builtin rapidsuccession castlesandpalaces

30

over the thirty yearsfollowing the construction of Azuchi Castle were still extant, they would constitute a highly significantstatement about the political imaginationsof the men of power at this historicalturning point. Some scholars,in fact, arguethat the paintingsat Azuchi Castle visuallyanticipated the neo-Confucian doctrinelater to be adoptedofficiallyas a nationalteaching by the Tokugawashogunate.If we accept this argument,then, the problemis how did the paintersin the Momoyamaperiod develop and formulatesuch a new body of iconographyfor the projectsof Oda Nobunaga and other powerfullords?Here, the paradoxis that what we term "Chinese lore"displayedvirtuallynothing of direct, Chinese influence.All the contemporary survivingworks,which are small in number
and mostly byobu, attest to this (figs. 40, 41).

In China the traditionof decoratingpalace

wallswith Confucian andTaoistdidactic narrative hadlongbeenabandoned, subjects diedout afterthe fallof the Tang having in the earlytenthcentury. dynasty This newvision,a totallyfictivesanctificationof Chineseantiquity in Momoyama wasa result bothof the continuing painting, of the assimilation of Chinese process culture sinceancient timesandof freshly motivated fromwithindomesexplorations tic traditions. It is at thispointthatwe must of the hojo in the go backto the microcosm andexamine periodleading up to Ryoanji the uniquerolethe hojo in "incubatplayed culture. ing"Chinesethemesfora samurai In fact,aswill be seenbelow,nothingilluminates morepenetratingly this complex of interaction andevolution thanan process examination of bothradical changeand in hojo from persistent continuity imagery the lateMuromachi periodup to the timeof
31

our Ryoanjifusuma. There is no doubt that gold-leafedfusumadepicting Chinese lore first appearedin warlords'castles and palacesto proclaimthe ideals of a new ruling elite. But their historicalroots lie in the much wider context of the cultivation and propagationof Chinese thought and images, which had been promoted mainly by Zen temples. After the disastrousOnin War of the I46os and 70s led to the decline of the aristocracizedAshikagashogunate,some Zen temples, especiallyDaitokuji,Myoshinji, Ryoanji,and othersthat had formedthe independentrinkagroup outside of the government-supported gozan system,began the role of culturalcatato assume markedly lysts underthe growingpatronageof samurai leaders,now free from the yoke of the old regime.The following century,ending with unificationofJapan,was a Oda Nobunaga's period of social and politicalturmoil,which those Zen monasteriescounteredin a positive way.The Zen milieu in these rinka culture templeswas one of ever-innovative a fresh,welcomingworld in and conviviality, were and hierarchies which class barriers ignoredand a strongsense of community and sharedexperienceprevailed.The hojo was not only a place for Zen practiceand thought but it was also the nucleusof an open culturalforum embodiedby the Zen monasticcommunity.In the uniquelyunfet32

tered atmosphereof the hojo,monks and laymen,warriors,court nobles and wealthy merchants,and artists,men of letters, and tea masters-all gatheredtogetherto participate in a varietyof activities. Of these shared activities the tea ceremony and the poetry gathering were the most important. An integral component of both was the appreciationof Chinese themes in literatureor in art. Poems were often inspired by paintings, and, in both the poetry gathering and the tea ceremony, the appreciationand discussion of paintings were essential arenasfor participants to interact. It was through these activities that Chinese themes became intertwined with elite samuraiculture.And it was in this tradition that over one hundredyears later Hosokawa Yusai became a distinguished man of letters and his son, Sansai, achieved renown as a favorite disciple of the great tea master Sen no Rikyu. In this developmentalcontext, the era of Ryoanji saw "the climactic shaping of history," in keeping with the establishment of the Tokugawaregime. It was also in this advancedclimate of samuraiculture that, as if concluding the searchfor new images and ideas, encyclopedic compilations of Chinese themes in literatureand painting were undertakenby monks and painters during the i6ios, only a short time after the
Ryoanji project (fig. 42).

42

* PAGES

FROM

Koso OF

Shu CHINESE

(PAINTER'S THEMES)

DICTIONARY

Publishedin I6I9. Compiled by Kano Ikkei, a third-generation memberof the Kano school. These pages include entries on the Chinese immortalsand on the iconographyof the Four Elegant Accomplishments.Late i8th-centurymanuscriptin the Thomas J.Watson Library.

It wouldnot be an exaggeration to say of that,withinthisunsurpassed dynamism in the Zen milieuduring artistic creation the periodleading the hojo up to Ryoanji, served as the crucible forforging the of the newsamurai as the culture, imagery in of the warlords, turn,moldedthe imagery in theirroleas patrons. But,then,what hojo wasthe painter's role? We knowthatgroups of painters, suchas members of the Kano in projects at school,wereofteninvolved Zen monasteries. Theirconnoisseurship of ChineseandJapanese wasincreaspainting andsoughtafter. Forpoetry inglyrespected gatherings theywereoftenaskedto create to serveas inspiration forverse. paintings

Moreimportant anddecisive forourcontext, of the mural theywerecreators paintings thatadorned the entiremonastic in complex, the hojo. Sincemonks, particular patrons, andartists shared ideasconcerning the themesandiconography forthesepaintings, in many theybecame waysa truecollaborationof a variety of talents, voices,andpoints of view.At the heartof sucha collaboration in anyof the hojo at rinka projects temples, likeDaitokuji andMyoshinji, therewere Kanomasters. Abovealltheseartists always stoodKanoEitoku.His earliest worksat a subtemple of Daitokuji, a Jukoin, provide forourcomparative examikeymonument nation withthe Ryoanjifusuma.
33

43

* INTERIOR

OF

THE

Hojo

OF

JUKOIN,

KYOTO

A subtempleof Daitokuji,Jukoinwas founded in 1566. The presentbuilding is originalexcept for the modern additionsindicatedin grayon the plan below. Photograph: Shogakukan,Tokyo.

I
44
*

PLAN

OF

THE

JUKOIN

Hojo

by Reproducedin ShinjuanandJukoinofDaitokujiTemple, TanakaIchimatsuand others, Tokyo, I97I.

34

THE

DYNAMICS

OF IMAGE-MAKING

IN THE Hojo

Few buildings,religiousor secular, survivedthe constant,bloody battles that markedthe three decadesbefore the establishment of the Tokugawashogunatein
I603. Jukoin and its screenpaintings,done

in 1566, are among the most memorable the yearspriorto monumentsrepresenting that great change (figs. 43, 44). If we examine the hojoof Jukoin alongsidethat of Ryoanji,it is immediatelyapparentthat the architectural layout of the three front rooms is the same, and yet the ensembleof images at Ryoanjidisplaysa dramaticshift. The voice of the samuraipatrongrew much strongerin Ryoanji,echoing first through the choice of themes and then throughthe treatmentof them. Nothing is more interestingand critical in the image system of the hojothan the organicbalancebetween the functionaldivision of its rooms and the pictorialthemes chosen for them. As mentioned above,the hojofunctioned as the centerfor the transmission of Buddhist teachingsamong monks as well as the point of exchange between the Zen temples and the outside world. Since the fourteenthcenturythe hojo had graduallydevelopedits unique configuration,in which the religiousand public

embeddedin the roleswere structurally layout of the building.The heart of the hojo the areathat containedthe was the butsuma, Buddhist altarand images, but this room was not part of daily activities.Surrounding this unchanging,secretcore, variouslevels of functionalinteractiontook place:public with private,host with guests, monks with laymen, abbotwith disciples,patronswith monks, and so on. Thus, the hojoas a selfcontainedsystem, including a gardenand an adjacentattachedtea house, formed a kind of microcosmof society (figs. 45, 46). Visitors enteredthe hojothroughthe a kind of"drawingroom,"designed reinoma, one"physicallyinto the shicchu to "draw and psychologicallyinto a religiousrealm.The in front of the butsuma and opening shicchu, to the garden,was the location of ceremonies and ritualsattendedby patrons,lay supporters,and men of arts and letters.The next room, the dannanoma, was designed for the use of the temple'spatron-perhaps for meeting with the abbot or holding gatherings for culturalfiguresprominentin the arts.Thus the front three rooms, reinoma, and dannanoma-facingthe gardenshicchu, emphaticallydelineatedthe areasof interaction between the temple and the secular world. The other two rooms, on either side of the butsuma, were more private.The was the abbot's shoin,at the rearof reinoma, The ehatpersonalstudy and living quarters.
35

45 * GARDEN

OF SHINJUAN,

KYOTO

Unlike the rock garden at Ryoanji,this setting is meant for strollingand meditating. Photograph:Shogakukan,Tokyo.

46

* TEA

HOUSE

OF SHINJUAN

Built in I638.This photographshows an approachto the or "crawl-inentrance," a specialguest entry to a nijiriguchi, soan-shiki(hermitage-style)tearoom. Sen no Rikyu, the great Momoyama tea master,is said to have invented the based on the entranceto a fishermen's inn. nijiriguchi, Photograph:Shogakukan,Tokyo.

36

47

* INTERIOR

OF

THE

RYOANJI

Hojo

Originallyconstructedin i606 as the hojoof Seigen'in,a subtempleof Ryoanji,this buildingwas moved to the site after Ryoanji's hojoburneddown in I797.This is a view from west to east. Photograph? Michael S. Yamashita.

sunoma, at the rear of dannanoma, was used

by the monks who attendedthe patron duringa visit. In the radicaltransitionfromJukoin to Ryoanji,the tone alteredin the very first room-the reinoma.Jukoin "draws" in visitors with images of the Eight Views ofXiao

andXiang, a fantasticallystylized ink monochromedepiction of an idealized Chinese landscapein a varietyof seasonal and topographicalsettings. Extremely popularin medievalJapanfor its pleasurable connotationsof a dreamjourneyto an unknownworld, the image would have been recognizedand loved by any layman, whether a student of Zen or not. Reinoma screensin other cases often had monochrome ink paintings of Landscape in the
Four Seasonsor, occasionally, of Birds and

Flowersin theFourSeasons. The underlying psychologicalaim of such subjectswas to lead one awayfrom the mundane,to a calm, ideal world within an eternalseasonal cycle-to createa meditativespirit. In stunning contrast,the Ryoanjihojo greetedvisitorswith the aggressivetheme of done in gold leaf (see p. Tigerand Bamboo io). Expressingpower,courage,and spirit, the tiger, along with the dragon,formed a body of imageryassociatedwith the warrior class duringthis age of turmoil.They were sometimes depicted onfusuma and byobu, locked in vicious combat, and were also used as ornamentaldesigns on seals. What is more important,Tigerand Bamboo became the standardtheme for the entrancehalls of samuraicastles and palaces.In addition to proclaimingthe power of the resident,the
37

48,

49 * TIGER AND BAMBOO

(1519-I592).

Momoyama period, I566. By Kano Shoei

Monochrome ink painting pasted to the wall of the ehatsunoma, disciples'room, ofJukoin. 70 /8x 72 7/8 in. x cm). I85 Photographs:Bijutsu Shuppansha,Tokyo. (I79.5

image seems to have had the magicalfunction of drivingawayevil spiritsand influences,a usage clearlyderivedfrom popularimagination,reflectingthe samurai class'sdeepest roots. It was no doubt because of samuraitaste and custom that a gold suddenlyappearedin the Tigerand Bamboo room of the Zen the "drawing" reinoma, hojo. monastery's Interestinglyenough, however, Tiger also appearsat Jukoin, although and Bamboo not in any of the three most public rooms, but well back in the ehatsunoma, the disciples' room, and not in gold leaf but in monochromeink (figs. 48, 49). Although by the Momoyama period dragonsand tigers became almost emblematicof the warrior class, the images had origins in Zen as well. For example,in veneratingthe famous triptych of Kannon,Monkey,and Craneby Mu Qi, the Southern Song-dynastyZen painter, monks at Daitokuji createda broader
38

cosmology by adding separateimages of a tiger and a dragonon either side. They were thought to enhance a mysteriouspresence that imposed order,much like the guardians of the four directionsin ancient Chinese mythology. Given the functionof the ehatsunomaas to the patron's the antechamber room, have might already Jukoin'sTigerandBamboo been reflectingsomethingof the samurai aesthetics,but the influencewas still indirect. In a processof gradualevolution,andwhile maintaininga deeperlayerof meaning-that of a mysterious protectivepower-the image of the tiger came to express,throughthe immersionin the world of Zen, the samurai's dignityof those who lived for battle.Thus, in Ryoanji,it was no doubt the growingdomiinfluencethat forced nanceof the patron's to appear-in gold-in the TigerandBamboo room that firstpresentedthe face of the world. monasteryto the secular

echoedin the The voiceof the samurai aswell.Here, of the shicchu matter subject and aswith the Tiger againat Ryoanji, an imagewith deeprootsin the Bamboo, Zen milieuwasnot onlytakenup butgiven in andmadeto appear a freshinterpretation the pictorial the forefront, renewing thereby schemeof the hojo. it wasBirds At Jukoinandelsewhere in in theFour andFlowers Seasons, depicted thathadtraditionally ink monochrome, the spaceforrituthe shicchu, characterized andcelebration alsof veneration (figs.50, this themehadnothingto 51).Originally, it belonged do with Zen aesthetics. Instead, in Japanese tradition to a time-honored forexpressing societyof popular imagery of things forandconsecration admiration andFlowers in Thus the Birds supernatural.

theFourSeasons theme, one sharedwith medievalsociety at large, successfully defined the shicchu as a place for exchange between the Zen monasteriesand the of the outside world. As seen in the shicchu oldest survivinghojo,that at Shinjuan, anothersubtempleof Daitokuji, this theme had long formed the nucleus of the entire programof images in the hojo.Occasionally, in theFourSeasons a Landscape replacedthe Birdsand Flowerstheme, yet the implications of these subjects-admiration for naturalbeauty and affinitywith the supernatural-are the same. But at Ryoanji's shicchu,such themes were dramatically replaced with a bravura renditionof human drama enacted againsta gold-leaf background. What was the psychologybehind such a bold new scheme?

50,

51

. BIRDS SEASONS

AND

FLOWERS

IN

THE

FOUR

Momoyamaperiod,1566.By Kano Eitoku (1543-1590). From of a set of i6fusuma in the shicchu at Jukoin. Ink on paper.Each 69 x 56 /8 in. (I75.5 x 142.5cm). Photographs: Shogakukan,Tokyo.

39

to documentary sources, by According the mid-sixteenth before the (well century narrative or Ryoanji panels) figure paintings, still in monochrome ink,beganto although redefine the shicchu the tasteof to reflect in theirdepictions of warrior politicians Confucian andTaoistthemes,especially thoseof hermitsandimmortals (figs.53,54). hermits and sawin ancient Samurai patrons morethanthe wisdom immortals something

andpeaceattained aftersurviving the of life.What theyfound,or at buffetings leastthoughttheyfound,was an expression of theirownlongingto dropthe trappings of powerandentera utopian realmof the of thosesubjects evokedthe spirit.Paintings of a manwith the highest magnanimity who couldallthe more worldly power the world thosewho hadthrown appreciate ideal a sophisticated They emphasized away. of powerthatstemmed not frombruteforce, use of butfroma leader's enlightened culture. is What is mostintriguing, however, forthe shicchu was thatthis newimagery area fromthe mostprivate alsotransposed or the abbot's of the hojo, study, personal of early shoin-as evidenced by the existence of monochrome paintings sixteenth-century in the shoin andimmortals Chinesehermits of of Daisen'in, yet another subtemple

52 * FLYING RESSHI Momoyamaperiod, late i6th century.Attributedto Kano Shoei (I519-I592). Fan painting mounted on a screen. Colors and gold on paper.Honnoji, Kyoto. Photograph:Tokyo National Museum. 53 ' FLYING RESSHI Late Muromachiperiod, earlyI6th century.By KanoYukinobu (active Ist half of the i6th century).Fan painting mounted on scroll.Ink on paper.L. 20 3/ in. ( 52.7cm). Charles Stewart Smith Collection, Gift of Mrs. Charles Stewart Smith, Charles Stewart Smith, Jr., and Howard Caswell Smith, in memory of Charles Stewart Smith, 1914(14.76.10). 40

54

* FLYING

RESSHI

Muromachiperiod, ist half of the i6th century.School of Kei Ink and color on paper. Shoki. Six-panel folding screen (byobu). 58'/4x I30 3/4in. (148x 330.8 cm). SeattleArt Museum, Margaret E. FullerPurchaseFund (74.I8). Photograph:Paul Macapia.

Daitokuji.Along with the physicalshift is a of meaning created,again, transformation by the interactionof Zen monks and their samuraipatrons.The use of images of Chinese hermits and immortalsin the context of the abbot'sprivatestudy reveals, ironically,a close relationshipbetween Zen monks and their samuraipatrons.Zen monks had neverleft the world of power. They had long receivedfinancialsupport and physicalprotectionfrom the ruling samurai; and, in return,monks had supportedthe samurai's political authority in various by serving capacities,including those of diplomatand spiritualor cultural adviser.Here was the basis on which Zen monks sharedwith warriorpoliticianstheir ambivalentfeelings about "beingin the world"-their wish to retreatfrom the world counteredby the necessityof embracing political realities. in However,when the imageryappeared the public centerof the hojo,all sense of the

Zen monkspersonal ambivalence was concealed On the by the newsymbolism. wasa daring surface statement of the ideals of the samurai a proclamation of leaders, benevolence andpower. Basedon the transof the shicchu formation in the mid-sixteenth warriors thoseChinese century, developed themesfarmoreassertively fortheircastles andpalaces in gaudy, flamboyant goldleaf. Thus,Ryoanji's shicchu-very likelythe first to haveChinesenarrative themesin gold leaf-marksthe culmination of a dialectical between Zen monksandsamurai exchange The samurai leaders tookoverand patrons. remade in Zen imagesalready prominent whilethe Zen monkstransformed culture, theirreligious influence spaceas samurai flowed backintothe Zen milieu.

41

55, 56 * FOUR ELEGANT ACCOMPLISHMENTS From a Momoyamaperiod, 1566.By Kano Eitoku (1543-I590). set of 8fusumain the dannanoma, room, at Jukoin. Ink patron's and slight colors on paper.Each 69 x 56 /8 in. (175.5 x 142.5cm). Photograph:Shogakukan,Tokyo.

42

INK

AND

GOLD

AS

SYMBOLIC

FORMS

Every hojois a microcosm;each of its rooms has a definite function, with a unique "tone"or "voice," which is reflectedin and createdby images. These images are part of the greaterstructureand find their set place in the scheme. What we witness at Ryoanji is not a mere aggregationof apparently surprisingdetails-the unusuallylarge panels, the use of gold leaf, and the expressive, flamboyanttreatmentof Chinese figuralsubjects-but featuresthat underliea generalshift in the organicbalancebetween functions and images. As we have seen, the voice of the samurai patrongrew strongerin the first two rooms of the Ryoanjihojo,as comparedto those at Jukoin. But what happenedin the third room, the dannanoma? The third room-the patron's room-was naturally kept closely in tune with samuraiideals, tastes, and psychology.Tellingly,the subject matterin the dannanoma at Jukoin-the FourElegantAccomplishments-was unchangedat Ryoanji.In fact, in no temple does the FourElegantAccomplishments appearin any room other than the patron's room, signalingthe sharpdivisionsof tone in the hojoimage system.This theme, expressingthe ideals of Confucianintellectuals in China, also took root in Japan throughthe world of Zen and was assimilated into the world of the warrior. To the power holderswho sought to be the new leadersof a unifiedJapan,the FourElegant servedto instructand even Accomplishments to proclaimthat their legitimacywas not obtainedby force. Culturalaccomplishments-in painting, music, and literature-

the styledid,andconsequently the Ryoanji, it conveyed. The contrast is stunmessage ning;it is almosta changeof genre. a figure Althoughostensibly painting, Four Jukoin's ElegantAccomplishments might be betterthoughtof as a landscape (figs.55, The are in 56). figures enveloped nature, theirartsamidthe progression of practicing the fourseasons. In the Ryoanji version, there are no the landscape however, seasons; hasbecomemerely a stagesettingfor a of figures the four parade symbolizing TheJukoin workaccomplishments. nature thatcontains but doesnot depicting
overwhelmhuman activity-creates a meditative mood. The same calm, reflective spirit,in fact, unifies all the three front rooms ofJukoin, even though the division of subjectmatteris quite clear.The overall patternat Jukoin is one of harmony;all the works in the three rooms arein ink monochrome, and all arelinkedin the eternal cycle of the four seasons. In the hojoof Ryoanjithe situationis far more complex, and to gain a better understandingof it, we must finallylook closely at the role of the artist.The imageryof the should be interpretedas a Ryoanjifusuma conflationof two fundamentallydifferent sets of issues that the artisthad to address. One set was artisticand inherentin the medium and format,wherebythe physical characteristics of thefusumaitself and those of the materialsused necessarilyinfluenced the final appearance of imagery.The second set was more psychologicalor sociological, involvingthe political, diplomatic,and even of the samuraipatron. personal"agenda" These sets of issues both underlaythe function and design of a new architectural space often defined as the shoinstyle, which had

madethe leader. if the subject matter of the However, dannanoma did not changefromJukointo

to provide a monumental developed setting forpolitical ritual in samurai castlesand And the shoin palaces. styleitself,as is
43

57 * FLYING

OSHIKYO

Momoyama period. Attributedto Kano Eitoku (I543-I590). Immortals at Threefusuma from a set of 8 depicting Chinese Nanzenji, Kyoto. Ink and colors on gold-leafed paper.Each x 98.I cm). Photograph: approx.72 3/ x 38 5/8 in. (183.8 Bunyusha,Kyoto.

evidenced by the factthatit wascalledby reliedheavily the nameof the abbot's study, set by the Zen uponformal precedents schemeof the structural hojo, monastery's whichhadgrownout of its own sociocultural function. betweenthe In this intricate exchange andreligious secular worlds,the artist of the hojo with nature the essential merged castlesand fromsamurai the "messages" into settingsfor whichhadevolved palaces, for diploandcenters gatherings political the of state.Inevitably, macyandaffairs This of pictorial treatment spacechanged. of the product waspartly conscious, change to decisions madeby the artistin order create andfigural dynamic compositional of the monumentality treatments to enhance But it wasalso structures. imagesin samurai of anunplanned consequence pictorial partly
44

forgoldleaf,which the samurai predilection tendsto flattenspaceand by its verynature contours-forcinga simplification sharpen to these of forms.The successful solution in the production whichresulted challenges, of figures of a goldenstagefora parade of proplike landa reduced number against became itselfa newconvenscapeelements, was nevernamed, tion.This style,although downovergenerations andhanded shared of the samekind. forvarious projects found Painters almostunconsciously as a set this newschema veryconvenient withinwhicha variety environment pictorial themescouldbe placedand of"sample" of a zukushi in the manner compireplaced lation.Suchis the casewith a set of early to KanoEitoku,nowat fusumaattributed in Kyoto(fig.57). the Zen templeof Nanzenji or Oshikyo, Depictingthe flyingimmortal

who departed the WangZiqiaoin Chinese, worldon the backof his friendthe crane, the actiontakesplacein a stagesetting the sameas thatof Ryoanji's essentially a backdrop of glowing against FlyingResshi: sceneof trees,ornamental goldin a parklike water. The smallgatherrocks,andflowing ings of peopleandeventhe primary subjects who dominate the sceneare"samples" of of immortals. BothFlying specific categories at Ryoanji andFlyingOshikyo Resshi at arenot single,discrete themes, Nanzenji but,rather, by theirinterchangeability, they standforall the conceivable flyingimmortalsof the pantheon. the Significantly, wereoriginally commisNanzenjifusuma sionedforthe imperial courtandonlylater movedto the templein 1611. Sucha move, we cannowsafelysay,wasquitenatural in the climateof the time.Not onlydoesit reflect the fluidity of the relationship between andsecular domains butit religious alsodemonstrates thatthe imperial court, samurai and Zen establishment all elite, shared thisgeneralized viewandcharacteristic treatment of Chinesethemes. Most important, is that however, thispresentation was although overtly of simplya stagesettingfora zukushi parade Chinesefigures, it wasmorethana covertly convenient set of devices. it funcRather, tionedmoreunconsciously by transforming nature into a newenvironment, to whichthe inhabitants of thesespaces inevitably an responded: intimate, well-controlled, or parklike gardenlike space,in whichthe in the elegant at the participants gathering wereinvitedto join with the Chinese hojo in the paintings. sagesandimmortals works,if onlyfroma much Amongextant laterdate,the mostrefined of this example transformed environment is a set offusuma at Tenshoin, a subtemple of formerly and now in the Minneapolis Myoshinji,

Institute of Arts (fig. 59). Painted in I642 by Kano Sansetsu(1590-1651)in a typical zukushidisplay,it depicts immortals,all originatingfrom a varietyof textualsources, enjoyinga pleasantparty.The environment of unearthlyyet benign beautyis an idealized garden,the rocks, trees, and ponds of which epitomize the best of natureunder man'scontrol. The pivotalfigurein this change had undoubtedlybeen Kano Eitoku. He successfullysolved the problemof combining formal-aestheticand sociopolitical concerns,and transformedthe pictorial scheme of imageryfor public spacesin this new era.The transformation is discernible

58 * DETAIL
RESSHI

FROM PANELS

THE

MUSEUM'S

FLYING

45

59 * CHINESE

IMMORTALS

Early Edo period, I642.Attributed to Kano Sansetsu (I590-I65I). From a set of i6fusuma from Tenshoin, a subtempleof Myoshinji, Kyoto. Ink, colors, and gold on paper.Each 65/4 x 45/2 in. (I65.7x II5.6cm). Minneapolis Institute of Arts, Putnam Dana McMillan Fund (63.37.I-4).

in both his religiousand secularprojects, from his 1566paintings atJukoin,undertaken at twenty-threeyearsof age, to those for Azuchi Castle, done in I579,when he was thirty-six,to the imperialcourt-Nanzenji fusumaof aboutI590, and finallyto the treatmentof the Ryoanji Eitoku-inspired with fusumain I606. In sum, the comparison the Jukoinprovidesthe key to understanding fundamental changethat took placeat Jukoinstill sits placidlyin the Ryoanji. medievalworld. Ink paintingthererevealsa cosmologydefinedby the myth of a continuof the four seasonsand ous regeneration man'ssubordinate placewithin that cycle. Ryoanjibrokewith this cosmology.In casting asidethe world of monochromeink and naturein the four seasons,the artistssought to define a new cosmos. Ryoanjishifted from the retiring,meditativemood of the medieval monasticworld to one basedon positive, dominatinghuman actionand optimistic worldlydesire.The meaningrevealedin the whetherthe monks and Ryoanjifusuma, samurai patronswere awareof it or not,
46

concernsa vision of what might be calledthe utopiaof the rulingelite. Significantly,this new utopia did not replacethe old one, but coexistedwith it within the hojoin a demarcationof public and privatespaces.Judging from the documentaryevidence, the back rooms of the What hojoretainedtheir privatecharacter. we have seen at Ryoanjiin the front rooms-the use of gold and Chinese subjects-are details carriedover into a generalchange in Zenfusuma paintings after Ryoanji.We now recognizethis change as an alterationin the relationshipof the images within the overallpictorialscheme of the hojo.Unfortunately,no originalfusuma are known to have survivedfrom the back rooms at Ryoanji.But a suggestionsof what might have once existed there can be derived by comparisonwith survivingmuch later examplesfrom temples with similaroverall schemes of decorationthat have until now been regardedonly as anomalous.Although in generalgold-leaf paintings dominated, ink monochromedid not disappear

forback oftenbeingretained completely, roomsthathadno publicfunction. The mostintactextantexample is at Tenkyuin, a subtemple of Myoshinji, completed the In after hojo. twenty-five years Ryoanji contrast to the sumptuous goldleafin the frontthreerooms(fig.60), thosein the back inklandscapes. contain Scholars havebeen unsure how to assessthis arrangement, but in tandem with the far now,considered earlier it demonstrates that clearly Ryoanji,

the entirepictorial ensemble wasreconthe hojofusuma did not simplyshift ceived; fromink monochrome to colorsandgold ink andgold tookon specific but,rather, associations andweredeliberately separated in the overall scheme. The eighteenthdoesnot describe the century guidebook backroomsof the Ryoanji butthe hojo, is highthatthey,too, contained probability inklandscapes-likerelicsof the medieval world-hidden, as it were,frompublicview.

60

* INTERIOR TENKYUIN,

OF THE Hojo
KYOTO

OF

Tenkyuinis a subtempleof Myoshinji, Kyoto.The paintings, attributedto Kano Sansetsu,date to I63I.Photograph: Shogakukan, Tokyo.

47

CONSERVATION RYOANJI TEMPLE

AND

REMOUNTING

OF

THE

Fusuma

by Takemitsu Oba and Sondra Castile

elements that Fusumaare architectural define space.When closed, these sliding panels act as a boundarybetween spaces,and when open, as a passageway. They may separatetwo interiorspaces or serve as a borderbetween the inside and the outside. Perhapsmodified from a single stationarypanel,fusumabecame widely used in temples and castles during the thirteenth century. Narrowdouble tracksbetween pillars hold the panels in place at top and bottom. If there are four panels, the center two are set on the inside trackand abut when closed. The leading edge of the exteriorframeof the right of these two panels has a decorativeflange that covers the join, giving a finished appearance. This featureestablishesa room for the use of the most importantguests or ritual.The two panels on the rear trackoverlapthe center ones by the width of the exteriorframe,leaving no visible gap between them. There is a slight tolerancein the uppertrackso that the panels may be easily removed or exchanged. Each panel has an interiorlatticework of standing and cross pieces carefully fitted and set in an outside frame, which may be joined at the cornersin a numberof ways. The constructionof this inner core is extremelyimportantto

I - Asian-art conservation staffworking on afusuma.

the preservation of what will be mounted on the surface.Both sides of the core with many layersof papers areprepared in a varietyof methods before the painting, textile, or decorativepaperis applied.If thefusuma are to survivea long time, great attention to every detail of constructionis required. Sincefusumaarepreparedfor an architectural setting with predetermined dimensions, the measurementsof the entire panel, including its frame,are evidence of the structurefor which it was made. The work mounted on the frame cannot by itself providethis information.What was immediately was strikingabout the Ryoanjifusuma their large size and the fact that the four

Itl-

ilI/

/ / / //'////

Z,

,mY

3 * Leading edge of exteriorframe, showing flange. See also fig. 5.

2 ? Arrangementof set of fourfusuma.The center panels face into the more important room.

48

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panels formed a continuousunit without interruptionof pillars.Thesefusuma thereforemust have been in a room of a minimum size of twenty tatami mats 500 squarefeet), and (approximately much larger.The two panels probably that close with the decorativeflange were the center of the group,the midpoint along one wall between pillars. The paintingson either side of the four panelswere from two sets, which faced into adjacentrooms. The image of the Immortals was on the side with Chinese the decorativeclosure.The reverse, with a more discreetelement where the panels meet, enablingthe centralones to pass on the track,depicted the Four ElegantAccomplishments. Planning for Conservation mm In orderto exhibit all of the panels simultaneouslyand better to assuretheir the decision long-term preservation, was made to separatethem and remountthem as two four-panelsets. A thorough examinationand photographicrecordof each panel was made. This included extensivenotes on the location of tears,condition of pigments, previousrepairs,and inpainting.It was determinedthat some panelswould requireextensivepigment stabilization. When initial condition assessmentsare made on a set of paintings,it is common to find that deteriorationis similar throughout.However,the conditions of these panels differedgreatly.The many processesof priorrestoration,the repairsmade through the years,and perhapseven the location of the panels had producedthis uneven deterioration. Removal ofMetalwork and Exterior Frames mm First, the metal fittings used to slide the panels manuallywere dismantled. Each set includes a decorativeplate,

which preventswear and surrounds the hole cut in the panel to receivethe "well"-shaped piece for the hand. The or well, recess,had a largepeony flower design, and the surrounding plate bore the trunkand leaves of a tree peony.It was clearthat these could not have been the originalfittings;they were in no of the taste and style way representative of the Momoyamaperiod. Exactly when these fittingswere replacedwas not then determined,but the installation of more appropriate ones would be an additionalfactorin the remounting of the panels. When the metalworkwas removed, the first of severaldiscoverieswas made. The position of this hardware had been changed at some time to a location about / inch fartherinto the painting from the adjacentexteriorframeto maintainvisualbalanceand leave space for the installationof traditionallocks. The new position left a crescent-shaped area-later coveredby the metalworka convenientspot for the carpenterto numbereach panel accordingto its
placement in a room: 13, 14, 15, i6 on one side; and i, 2, 3, 4 on the other.

4 . Fusumawith metal fitting removed. Position and size of previousfitting and a numberwritten in black ink have been revealed.

Fromthis informationwe learnedthat the room into which the Immortals faced had at least sixteenpanels and that on the reversewere the firstfour in the set of the FourElegantAccomplishments. frames Next, the exteriorlacquered were removed.These werejoined at the cornersand securedto the interior frame.Their removal,dependingon the type ofjoinery and method of attachment to the inner core, could cause severeshock to the paintings'surfaces. Therefore,beforethis work could begin, all the areasthat were particularly unstable or susceptibleto pigment loss were coveredwith rayonpapercut to the shapeof the fragileareaand adhered with a very dilute seaweedpaste.These papersheld the pigmentsin place and preventedfurtherloss duringremovalof the frames.
49

Proceedingslowly,we carefullyseparatedthe exteriorframesfrom the inner core. The exteriorframewas attachedto the core by a techniquecalled inrobuchi, a term derivedfrom the way the coverof an inro,or accessorycase, forms a to receivethe edges of the con"pocket" tainer.The exteriorframewas not fitted flush to the edges of the interiorcore, as in anothercommon method of attachment, but had flangesthat tightly graspedthe front and back edges of the core. Paste had been used to bond the top edges of the core to the lacquered pieces. Thefusuma had been repairedat techvarioustimes, but the carpentry exterior in the niques employed fitting frameswere not those common to the Kyoto area,and this relativelyrecent method was not in use when thefusuma were built. We thereforeassumedthe exteriorframeswere replacedwithin the last one hundredyears.

Pigment Consolidation Animal glue was the binderfor the pigments used. Over time this medium the loses some of its adhesiveproperties; bond between individualpigment granules or between the supportand painting may degrade,with the resultthat the slightestchange in tension on the painting surfacemay unsettle the pigment. Such was the observablecondition of many of the pigment surfaceson the eight paintings.The loss of pigment adhesionhad also been hastenedby other factorsin the existing composition of the whole. The imbalancecreatedby the manylayersappliedin patchwork the uneven tension fashion aggravated on the surface.The painting also consisted of uneven layersof pigment from past restorationeffortsand inpainting. In orderto improveadhesion, a 1.5-2

inrobuchi

5 . Kamahozo join of upright to bottom horizontal piece of exteriorframe.The raised technique. edges are part of the inrobuchi

6 * Detail of pine tree on panel 13,showing the condition of the surfacebefore conservation.

7 * Same section as figure 6 after conservation.

50

percentsolution of animalglue was appliedwith a small brush to the individualpigments. This time-consuming processwas carefullymonitoredto see that each applicationwas perfectly absorbed.Any residueremainsas gloss and can cause the surfaceto drawand flake.Absorptionby each pigment dependsupon granulesize and how much of the formerbinder remains. Thereforepigments have differentrates of absorptionand must be treatedone by one. Animal glue was applied numeroustimes until each pigment ceased to absorbit. Furtherconsolidation was periodicallyrepeatedin some areaseven throughthe last phases of conservation. Removal of the Paintings from the Panels When the exteriorframeswere removed,the existing edges of the paintingswere revealedto be folded over and pasted along the outside edges of the inner frame.The paintings'edges were dampenedand lifted up after the paste softened. Using a bamboo tool just beneath the spatula-shaped "floating" layer-the last appliedin the of the panel-the paintings preparation with their backingswere slowly freed from the panel. (The traditional method of applyingthe paperlayers over the latticeworkframe,when skillfully executed,makes it possible to removethe paintingsfor conservation or for remountingwithout great difficulty or stressto them.) We began the removalprocesswith panel 14, as it had the least amount of pigmented areaand would providethe best opportunityfor assessingdifficultiesthat might ariseas we progressed. Becausethe repairproblemson panel I6 had been addressedin many ways, separationof this painting from the inner framewas very slow and complicated.It had many uneven layersof

backing, a large tear,splits, and other damage.The previouswork had been accomplishedby applyinga numberof overlapping,uneven layers,and the various methods employedhad rendered the whole stiff and thick. Removal of the Backings The surfaceof each paintingwas dampenedevenlywith a fine mist of water.Rayonpaperin I2-inch squares was appliedwith a soft brush over the entire painting. So that no gaps remainedand to aid in removal,the by about /4 inch. The pieces overlapped was then turnedface down on painting the worktable,and the reversewas dampenedwith a brush.Moisture slowly penetratedthroughthe many layers of backing, and the paintingwas then brushedout flat. When the paste had softened, the backingpaperwas carefully peeled awayin small pieces. It became apparentthat the painting had been treatedabout four times, and some repairsfrom each of these occasionsstill remainedon the reverse.A very mottled composite of as many as eight layers, thick and thin pieces appliedin every conceivablemannerand direction,was the productof priormending and backing. This resultedin extremelyuneven tension throughoutthe surface.Repairs to correcttearsleft bits and pieces of paper,as old mends were not completely removedand new ones were often added on top of or partiallyoverlapped them. As a result,some areaswere prone to stretchand some to shrink;some were taut and some buckled.In orderto avoidfurthercomplicationfrom this stressduringthe removalof backings, the thickestpieces were taken off firstto try to establisha betterbalance.Then all removed backinglayerswere gradually down to the firstbacking,that which is adhereddirectlyto the papersupportof the painting.Beforethis backingcould

8 - Figures on panel i6 before conservation.For condition after conservation, see front cover.

5I

9, Io * Detail of figureson panel 13before and after conservation.

11-13 - Figure on panel 3 with stains on face (left).

Same figurefrom reverse,showing the pigmented or dyed papersthat caused the staining (bottom). Figure after conservation (right).

52

be safelytaken off, the pigmentswere carefullyexaminedagainand further stabilizedwhere necessary. During this conservationprocess,a very importantdiscoverywas made on fusuma I3. Beneath many layerswere found notes, bills, and receiptsfor work done-papers recycledfor repair.It was clearthat most of these could not be removedintact or saved, and as we had to proceed,photographyprovidedthe only permanentrecordof most of them. The curators were alertedbeforethe paperswere removed,as it was hoped that these papersmight provideimportant historicalinformationaboutthe fusuma. Subsequentresearchrevealed that the sliding panelshad belonged to RyoanjiTemple in Kyoto.The numbers that were previouslyuncoveredwere thereforean aid in determiningtheir preciselocationwithin the temple. It is fortunatethat the last conservation was not more thorough,as all of the remnantsof the earlierbackingwould have been replaced.Perhapstechnical impedimentsdeterredthe mounters.As it was, this panel was the only one to containinformationaboutthe temple. The removalof the firstbackingon fusuma13was a very slow process,and necessitatedthinning some remnants that could not be taken off. Efforts during this phase of work were directedto making as even a layeras possible of the painting and whateverbackingor repairshad to remainin place. Paperwith pigments or ink on it had been used in places on the reverseto mend tears,and this had sometimesbled throughto the surfaceof the painting, most of causing staining. Fortunately, these stainswere later quite successfully eliminated,sometimesby using a suction table. Found under the detritus of formerbackingswere portions of the originalfirstbacking,which consistedof natural,undyedand unbleachedpaper made from kozo(papermulberry). Some previousrestoration had been

done with relativecare,but some work seemed to lack anyparticular thought or Paste was often planning. very unevenly Weakened and areas, tears, applied. other losses were treatedby different methods. Variousskillsand techniques were used by the mounters,who had treatedthese paintingsperhapsonce everyone hundredyears.It was sometimes difficultto distinguishbetween originaland laterinpainting,much of it completedlong ago. Moreover,the extremelack of conformityin the use of materialsand techniquescausedmany difficulties with both the pigmentedand gold-leafedsurfaces.Removalof most of the earlierrepairs was essentialin restoring consistencythroughoutand to prevent continuingloss. Tearswere drawn losses were togetherand reinforced; compensated.Paintedlines that did not meet properlywere realigned.When all repairshad been made on the reverse,a 2.5percentsolution of animalglue was brushedoverthat whole surfaceto aid the adhesionof pigments to the support. Then the firstnew backingof kozopaper was applied.

14 ? Variouspapersappliedin haphazardfashion on reverseof panel I3.

15 * Removing a document from reverseof a panel.

53

Treatment of Previous Inpainting

mm
During the remountingmany areas that had been overpaintedor inpainted had to be evaluatedand decisions made. Our conservationmust preservewhere it exists, and establishwhere it does not, a visualbalanceof old and new repairs and inpainting.The difficultyof making these decisions rests in the process of selection:which details from previous restorationshould remainbecause,in general,they enhance the readabilityof the painting and which should be replacedbecausethey detractfrom the effect of the painting as a whole. Inpainting done long ago, although providingsome linear details,which we would rathernot include, had acquired a patina that now blended well with the originalpigment, and it would not be possible to replacesome of these areas more effectively.Replacementwas confined to deterioratedor obtrusive repairs.Inpainting made duringthis conservationwould blend in new repairsbut would add no line or detail. Making the New Panels

mm
Since the paintingswere to be mounted as eight panels, four new interior core frameswere needed. Carpentry was done on the four existing framesto

strengthenany weakness and stabilize the joinery. Carefulconsiderationwas given to the selection of the rawwood materialsand the type ofjoinery. Final measurementsmust be exact. Miscalculation on any work on the interiorframe can resultin seriouscompromiseof the paintings'condition in the future.Lacqueredexteriorframesand channeled trackswould also have to be made. These three elements constitute one unit. architectural Interiorframeworkmust be light and stable.If it is too heavy,the panel will wear excessivelyand erode the subtly renderedtrack.As noted above, instabilityof the frame can cause prematuredeteriorationof the paintings, and since these panels areparticularly large, finding a high-qualitylow-resin wood was a priority.It was determined that a well-seasonedvarietyof Japanese cedarwould be used. This cedarhas very little resin comparedwith varieties

i6, 17 * Details of figure at left of panel 2, showing misalignment of folds on sleeve of robe and folds after conservation.

i8, I9

Tape attachedto face of figure on panel i and face after conservation.

54

found in America, and the cut of the wood necessaryfor this work is more readilyavailablein Japan. The inner core frameconsists of horizontal and verticallaths joined to four pieces, which form the outside edges. All pieces were preciselycut andjoined to make a stable supportfor the many layersof paperappliedbefore the painting and decorativepaperwere pasted on either side. Unlike shoji, which have only one layerof paperon one side of a very light frame,fusumaframeshave to bear a great deal of tension from the paste and paperscoveringthem. The framesmust bear this stressevenly without developingtorsion. The cedarselectedwas cut from the least resinouspartof the tree and dressed beforejoining. Hozojoins (see fig. 5) were used to attachhorizontalandvertical pieces and for settingin the outer frameof the core.No bamboopegs were used. The cornersof the outerframe werejoined and set with a modernwood glue that is of no interestto insects.

Two "floating" layers,in which the sides are only pasted, leaving the center of the sheet unattachedto the layersbeneath. F. Coveringlayerof mid-weight kozo.
E.

2o

? Detail of design of printed paperfor reverseof remountedfusuma.

Covering Materialfor the Reverse of the Panels Since eachpanelwould have a painting only on one side, it was decidedthat paperwould be used as a materialfor the reverse.First, a numberof patterns to the periodand subjectof appropriate the paintingswere chosen.Many of the areknown patternsunderconsideration in painted throughtheir appearance handscrollsor as surviving fragmentsof coloredor figuredpaperorigikarakami, nallybroughtfrom China. Kenkichi Senda of Kyoto,whose family maintainsa very importantcollection of earlywoodblocksused for the printing of these papersand has a long history of printing them, was askedto make severalsamplesusing different motifs, tones, and materials. After consideringthese and making a few adjustments,a patternof paulownia and chrysanthemum emblemswith surrounding interlockingkey-fret was chosen. The lozenges (sayagata) whole design was printedin mica on a light ocher ground, on Echizen
55

Paper Layers on the Interior Frame Before beginning the layeringof paper,paste was appliedto both sides of the frameworkcore to aid in sealing the wood and to make the adhesionof the next layereasier.All processeswere followed preciselyon both sides so that tension and balanceof the materials remainedconstant. Paperwas pasted on the frameworkin this sequence: A. A thick kozo paper. B. Maniae paper.The type used here was a combinationofgampi (Wikfibersand recycledkozowith stroemia) considerableclay content. This paperis soft and will hold a lot of paste, adding strength.It is also effectiveas a resin barrier. c. Kozoin three overlappinglayers. D. A coveringlayerof thick kozo.

a strong, heavy,large sheet torinoko, with a smooth lustroussurface.Two widths of this paperwere requiredto cover the panel. The woodblock is
small, approximately n I4 by I8
/2

inches,

and had to be impressedtwice across the width of each sheet and seven times from top to bottom. Great precision was requiredin registrationto match the pattern,including an overlapof about '/8 inch, where later the two sheets would be joined. The block was made from a variety of magnoliathat producesa softer line than the wood generallyused for ukiyoe prints, in which a crisper,finer line is desired.The print is issued by rubbing the block only with the hands. No rubbing pad is used. Gofun,or shell-white pigment, was mixed with ocher ground color and brushedon the torinoko paper; on this ground the woodblock pattern was impressedin mica. Exterior Frames The new lacqueredexteriorframes must match the existing ones as closely as possible. They were made with many layersof black lacquerappliedover gauze on cypresswood and finished in a very subtle semigloss. Then they were attachedto the interiorframeby the method and a simple slot join inrobuchi that does not requirehammeringto set. If thesefusumawere actuallyto function, the pieces would have to be set as

before and hammeredinto place to be strong enough to slide frequently.For exhibition thefusumawill be lifted in and out of the tracks.The slot join allows fitting and removalof the frames when necessary, without causing shock to the paintings. Some Further Discoveries mm In addition to the numberswritten under the metalworkfittings and vestigial papersonfusuma 13,a militaryconscriptionnotice from the thirty-seventh
year of the Meiji period (I904) was

found. Also uncovered,embedded in the paperlayers,was the previous mounter'sname, date, and the place where the mounting was done: Kamei, the year of the cock, in the Showa period (I92I), Fukuoka. From this inscrip-

22 * Sheet uncoveredon panel 13,giving information about previous mounter.

tion we learnedthat the work was completed about seventyyears ago. It was then that thefusumawere alteredto fit of Ito the smallerspace requirements them. had who Denuemon, acquired The metal fittings were changed at this time, as were the exteriorlacquered was of a style frames.The carpentry then used in Fukuoka.
In the early I930S the scholar

Tsuchida Kyosoninvestigatedthese panels thoroughly,talkingwith many people who were in some way relatedto their history.He interviewedIto Denuemon, who was then the owner. Tsuchidaspoke also with Ito'swife and with many otherswho had trainedat RyoanjiTemple or who had some other associationwith it. His findingswere
published in a book in 1934, following

2z * Hikidokko join of interior frame to exteriorframe.

the exhibition of seventy-onefusumaat Osaka Castle. Researchcontinues in orderto confirmhow the eight paintcollecings now in the Metropolitan's tion first left RyoanjiTemple. Tsuchida must certainlyhave learnedthis, as most people who would have been involvedwere still alive at the time. But about this matterhe kept silent.

56

NO T ES
I (p. 6) Zen monasteryfisuma around1600. Fusumain gold leaf are known mainly through documents. Some survivebut their originalarchitecturalsettings arelost. The exceptionis Zuiganji in Matsushima.According to one theory,the fusumatherewere done shortlyafter the temple's constructionin 1609. 2 (p. 6) Fusumain the hojo.Tsuneo Takedahas discussedthe shift in the image system of the hojo aroundthe turn of the I7th century.The substantiatehis theory. Metropolitan'sfusuma noKenkyu Tsuneo Takeda,KinseiShohekiga (Studies in JapaneseScreenPaintingsin the i6th and i7th Centuries),Tokyo, 1983,pp. I95-200. 3 (p. 6) Beppu and Seattlefusuma.The Metropolitanwas notified about these worksby their owners,who had learnedof the Museum'sdiscovTimesarticleof ery through TheNew York
December 20,
I990.

some of them and provided Bijutsu reproduced Toyo of the original a more complete reconstruction The London panels, exhibited as a arrangement. from a back set room, postdate the complete other paintingsby a century. 7 (p. 12) Backing papersoffusuma. Tarashima Tetsu, "Fusuma Byoubuno ShitabariMonjo" (BackingPapersas Historical Documents), Museum,474,Tokyo,I990, pp.25-34. 8 (p. 12) Ryoanjiin the I6th and I7th centuries. Gensho Chugan, DaiunsanShiko(History of Ryoanji),Kyoto, I830. 9 (p. I5) Ryoanjiarchitecture.Bunkacho,Bunkazai HogoIinkai Hokoku (Reportof the Research on CulturalProperties),no. 34, Tokyo, I967. Bunkazai(Newly RegBunkacho,ShinshiteiJuyo isteredImportantCulturalProperties),Tokyo,
1982, p. 59. 10 (p. 25) Kano Kotonobu. Kotonobuwas record-

17 (p. 32) Compilations of Chinese themes. The Nanzenji Zen monk Ishin Suden edited a thematicallyarrangedcompilationof Gozanmonks' poems, Kanrin GohoShu (ca. I6Io). For the Koso Shu, 1619,see fig. 42. 18 (p. 35) Design and function of Zen monastery hojo.Mitsugu Kawakami,Zen'inno Kenchiku (Architectureof the Zen Monastery),Kyoto, 1968. The paintI9 (p. 37) PainterofJukoin reinoma. are confirmed and dannnanoma the of shicchu ings works by Kano Eitoku. All the others, including aretraditionallyattributed those of the reinoma, to his father,Kano Shoei (I519-I592).
20

(p. 40) Eremitism in Zen monastic life. Hiroshi Onishi, "KeiinShochiku Zu (Cottage by YoshitakaIriyaand Shujiro a Mountain Stream)," Shimadaed., ZenrinGasan, Tokyo,I987,pp. 216-223. 21 (p. 43) Shoin-style architecture.HakutaroOta, ShoinZukuri(Shoin-style Architecture),Tokyo, 1966.Tetsuo Tamai, "Kinseini okeruJukyoto Shakai"(Architectureand Society in Early ModernJapan), SocialHistoryofJapan,vol. 8, Tokyo, 1987.
22 (p. 44) New canon of interior imageryin

4 (p. 6) Kano Takanobu.Takanobu's projectsfor the imperialcourt are recordedin Kano Eino's history of Japanesepaintings,HonchoGashi documents. (ca.i678),and other contemporary See also Michio Fujioka,KyotoGosho (Imperial Court in Kyoto), Tokyo, I956;and Yoshimichi Ozaki, "KanoTakanobuno Sakufuni tsuite"(On Takanobu's 128,Tokyo, 1990, Style), Bijutsushi, pp. I36-I5I. 5 (p. 9) Thefisuma after Ryoanji.Investigations at Ryoanjiafter the Metropolitan's discovery revealedthat thefusuma had been sold to another temple, Higashi Honganji in Kyoto, in 1895. (JisekiChosa Hyo, the Ryoanjiregistrationreport written by the abbotUsaki Ryoen in I918.)In the meantime the scholarHiroko McDermott found an account (dated November3, I895) in the diary of Mitsui Takaakira recordinghis interestin, but not confirminghis purchaseof, Kano Eitoku's fusuma at Ryoanij.The owner of the Beppu fusumainformedus that his father had bought these paintingsfrom Ito Denuemon, the coal magnate,who was well known to have had close ties to the Mitsui conglomerate.It is highly likely that thefusumawent to Ito Denuemon through the intermediationof Mitsui. The Beppu owner also providedthe informationabout the exhibition at Osaka in 1933.Its catalogueand an article on the exhibition (Toyo Bijutsu,20, I934),written by the poet and art loverTsuchidaKyoson, had come to him along with thefusumafrom Ito Denuemon. 6 (pp. Io-II) Reconstructionof arrangementof Ryoanjifusuma.The I933Osaka exhibition included severalother panels from the Ryoanji hojothat arelost. The catalogueand the articlein

Hikki (the 17th-century ed in the now-lost Sho'un artist Kano Sho'un'schronicleof painters),which is listed by Asaoka Kotei in his KogaBiko(Tokyo, 1904, p. I585).Aside from two other names used by Kotonobuand the fact that he died at 37, nothing else is known.
11 (pp. 27, 29) Azuchi Caste. Akira Naito,

no Kenkyu" (A Studyof Azuchi Castle), "Azuchijo

Kokka, no. 987 (Tokyo, 1976), pp.7-II7; no. 988

(Tokyo,1976), pp. 7-63. 12 (pp. 27, 29) Thematic programof Azuchi Castle Ki (Chronicle fusuma. Ota Gyuichi, Nobunaga-ko of Oda Nobunaga), ca. i600. RepublishedI969, Tokyo. 13(p. 29) Boom in construction of castles and palaces.A detailedreportis found in the I6thcenturyJesuit missionaryLuis Frois'sHistoriade later partlypubJapam(unpublishedmanuscript; lished in Japanese,Tokyo, I980). I4 (p. 31) Neo-Confucian ideas in Azuchi Castle Ideology: imagery.Herman Ooms, Tokugawa
Early Constructs, I570-1689, 35-4I. I5 (p. 32) Gozanand rinka. TakejiTamamura, Princeton, I985, pp.

samuraicastles and palaces. Subject,format, of screenpaintingsin media, and arrangement codified about the earlyi7th were building public centuryand officiallyrecordedby Kano Eino in HonchoGashi,which emphahis late 17th-century sizes the combinationof Chinese figures,polychrome, and gold leaf for the most formalrooms.
23 (p. 46) Back rooms at Ryoanji.Although the

I933Osaka exhibitionincluded the London fusuma as belonging to a back room of the hojo, they are obviouslymuch later.

CHRONOLOGY M* MuromachiPeriod: MomoyamaPeriod: Edo Period: ca. I330-caI570 ca. I570-I6Io ca. I6Io-I867

GozanBungaku (Literatureof Gozan Zen Monks), Tokyo, I955.Martin Collcutt, Five in Institutions Mountains: theRinzai Zen Monastic MedievalJapan,Princeton,1981. I6 (p. 32) Tea ceremoniesand poetry gatherings at Ryoanji.Among many elegant gatheringsheld at Ryoanji,the one presidedover by Toyotomi Hideyoshi, the second unifierof Japan,in i588 is the most famous. Gensho Chugan, ibid.

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The Metropolitan Muiseiinm of Art Buletmin Index New Volume LI Summer

1993-Spring 1994 Series,

A
The Arts of South and Southeast Asia. No. 4, 1-88 Agni, seated, India, ca. 3rd cen., 24 Amitayus, see Buddha art history of region, 5, 11-16, 70, 78, 80, 85 Avalokiteshvara, 10, 35, 80; seated in royal ease, Cambodia, ca. last quarter 10th-lst quarter 11th cen., 80; fourarmed, Thailand, 8th cen., 72, 75; standing, Thailand, ca. early 7th cen., 15, 72, 73; standing four-armed, Thailand, ca. 9th cen., 72, 74 bodhisattva[s],9-11, 21, 22; head of, Afghanistan, ca. 2nd-3rd cen., 21, 22; Manjushri, 11 bowl (?), presentation, probably Malaysia, ca. 7th-8th cen., 70 Brahma, 6, 35, 41, 82; ..., Shiva, and Vishnu, Pakistan, 9th cen., 35, 36; standing, Cambodia, ca. 1st quarter 10th cen., 82 Buddha, 8, 9, 11, 13, 15, 21, 64; Amitabha, 10; Amitayus, seated, Burma, 11th-12th cen., 85; Amoghasiddhi attended by Bodhisattvas, Tibet, 1st half 13th cen., 64, 65; bronze, group, 73; codified representations, 10; Crowned and Jeweled, India, 9th cen., 33, 34; Crowned and Jeweled, seated, India, late 10th cen., 39; Dhyani, 9; jatakas, 23; life, 8, 21; mudras, see mudras, scenes from life, see manuscript covers, relief, reliquary, seated, India, late 6th-lst half 7th cen., 29; seated, Thailand, late 15th-16th cen., 16, 17; standing, Burma, 11th-12th cen., 85; standing, India, 5th cen., 26, 27; standing, India, late 6th-early 7th cen., 29; standing, India, 2nd half 8th cen., 38; standing, Indonesia, 7th-8th cen., 15, 76; standing, Pakistan, ca. 6th cen., 30; standing, Sri Lanka, 11th-12th cen., 4; standing, Thailand, 7th-8th cen., 15, 73, 74; standing, Thailand, 15th cen., 86; Tathagatas (Cosmic Buddhas), 64, 66; transcendental, Vairochana (?), seated in a western fashion, Indonesia, ca. mid-9th cen., 76, 78; Vairochana, 9, 76, 78; Vairochana (?), seated, Indonesia, ca. late 9th cen., 76, 78 Buddhism (Buddhist), 5-8, 11, 13, 15, 16, 19, 21, 27, 31, 61, 70, 78, 80, 86; Esoteric, 15, 39, 41, 64, 66, 78, 84; Hinayana, 8-9; Mahayana, 8-9, 15; Theravada, 8, 15; Vajrayana (Tantrism), 9, 15 Chamunda, India, 10th-llth cen., 52, 53 cord clasp, ear plugs, pubic shield, ring, Indonesia, 1st quarter 10th cen., 78, 79 covered box, 15th-16th cen.; incense holder in form of hunchback,15th-16th cen.; kendi(spouted vessel), 14th-15th cen.; kendi in form of hamsa, 15th-16th cen.; vessel in shape of elephant with rider, 15th-16th cen.; water dropper in form of kneeling man, 15th-16th cen., 86, 87 deity (deities): group, from Vajradhatumandala, Indonesia, last quarter l0th-lst half 11th cen., 15, 78, 79; female, standing (Uma?), Cambodia, ca. mid-l1th cen., 83; male, seated six-armed, India, 12th cen., 40, 41; male, standing four-armed (prob. Shiva), Cambodia, ca. mid-lth cen., 14, 83 DemonsFighting overan Animal Limb,India, late 17th cen., 57, 58 devata, dancing, India, 12th century, front cover, 49, 51 Durga, 19; as slayer of demon buffalo, India, 12th cen., 40, 41; as the slayer of the demon buffalo, Nepal, 14th-15th cen., 61, 63; standing four-armed, India, 9th cen., 33, 35. See also proto-Durga earring, royal, one from pair, India, ca. 1st cen. B.C.,19, 20 female, kneeling, Cambodia, 2nd half 11th cen., 80, 81 Ganesha, 41, 72; seated, Thailand, 15th cen., 86; standing, Cambodia, 2nd half 7th cen., 73 Garuda, 11, 22, 43, 76; abducting Queen Kakati, Pakistan, ca. 3rd cen., 22; seated in royal ease, India, 2nd half 8th-early 9th cen., 43. See also Krishna gold, Indonesian, see cord clasp

Gopis Beseeching Krishna to Return Their Clothing, India, ca. 1560, 56 great teacher, portrait of, surrounded by lamas and mahasiddbas, Tibet, ca. 1300, 66 guardian figure, standing, (or Shiva?),Vietnam, 10th cen., 84 Hari-Hara, 13; standing, Cambodia, late 7th-early 8th cen., 13, 70,71 Hevajra, bust of, Cambodia, late 12th-early 13th cen., 84 Hinduism(Hindu), 5, 6, 8, 9, 11, 13, 15, 19, 27, 28, 35, 61, 70, 72, 80,82, 84 history of region, 5, 11-15, 21, 31, 55, 70, 78, 80, 85 Indra, standing, India, 2nd cen., 24 Indravamnancasket, the, Pakistan, A.D.5-6, 23 Jainism (Jain), 5-7, 9, 19, 27, 52; Digambara ("sky-clad")sect, 9; Jinals], 9; Mahavira,9; saints in, see Tirthankara[s], Shvetambara ("white-clad")sect, 9 vessel with jar,4th cen. B.c-3rd cen. A.D.,stem cup, 1500-1250 B.C.; a flaringfoot, 4th cen. B.c-3rd cen. A.D., Thailand,11, 69 king, deified (?), (JayavarmanVI?),Cambodia, 2nd half 11th cen., 80, 82 kneeling female, Cambodia, 2nd half 11th cen., 81 kneeling male figure, Cambodia, ca. 921-45, 13, 14 Krishna, 48, 55; battling horse demon, Keshi, India, 5th cen., 28; on Garuda, Indonesia, 2nd half 9th cen., 76, 77; Yashoda and, India, ca. early 14th cen., 48. See also Gopis Beseeching... lamp, hanging, in form of kinnari, Indonesia, ca. 2nd half 9th-earlylOth cen., 76 linga, 6, 35; with one face, Afghanistan, 9th cen., 6, 35, 37 loving couple, India, 13th cen., 50, 51 Maitreya, 21, 35; Pakistan, ca. 7th cen., 35, 36; standing, Nepal, 9th-10th cen., 60, 61; standing, Pakistan, ca. late 2ndearly 3rd cen., 21 mandala, 15, 66, 78; of Jnanadakini, Tibet, late 15th cen., 66, 67 mandapa, see meeting hall, Jain manumanuscript covers; from Asbtasahasrika Prajnaparamita script, India, late 9th cen., 40-41; pair, painted, scenes from life of Buddha, Nepal, 12th cen., 61, 62 map, Indian subcontinent, 7; Southeast Asia, 12 meeting hall, Jain, ceiling of, 54, 55; details, inside front cover, inside back cover mithuna, see loving couple mudra[s](gestures), 11, 15, 16, 33, 72, 76, 78, 80 nagaraja, see serpent king nagini, see serpent queen Padmapani Lokeshvara seated in meditation, Pakistan, 7th cen., 35,36 Padmapani, standing, Nepal, 11th-12th cen., 60, 61 Parvati, 6, 44; as Kali, 6; standing, India, ca. 1st quarter 10th cen., 6, 44. See also Shiva proto-Durga, plaque with, and attendants, India, 1st cen. B.C., 18, 19 Rama, Sita, and Lakshmana at the Hermitage, India, ca. 1775-80, 57, 59 religions of region, overview, 5-16 reliefs: Buddha's Descentfrom the Tushita Heaven, India, 2nd half 3rd cen., 25; Conversion and Ordination of Nanda, India, 3rd cen., 25; The Gift ofAnathapindada, Pakistan, 2nd-3rd cen., 21, 22 reliquaries, 23; with scenes from life of Buddha, India or Pakistan, ca. 10th cen., 8, 33, 35 ring stone with four goddesses and four date palms, India, 3rd-2nd cen. B.C.,19 saint, seated, India, 14th cen., 44, 46 serpent king (nagaraja), India, ca. 2nd quarter 5th cen., 27 serpent queen (nagini), India, ca. 2nd quarter 5th cen., 27 Shalabanjika, India, 12th-13th cen., 50, 51 Shiva, 6, 11, 13, 35, 41, 44, 84; and Parvati, India, late 17th cen., 57, 59; as linga, 6; as Lord of the Dance (Nataraja),

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India, ca. late 11th cen., 11, 13, 44, 45; detail, 88; as Mahesha (or Brahma?),South India, 10th cen., 6, 46; attributes, 11; seated with Uma, India, 9th-10th cen., 39, 41; standing, Cambodia or Vietnam, late 7th-early 8th cen., 70, 71. See also Brabma; deity, guardianfigure shrine, portable, section of, with two scenes from life of Buddha, Pakistan, ca. 5th cen., 31 stupa, 21, 22, 76; model, Pakistan, ca. 4th cen., 23 Tara, standing, Nepal, 14th cen., 61, 63 Taras, stela with twenty-one white, prob. Tibet, 2nd half 11th cen., 64 Tirthankarafs],9, 11; seated Jain, India, 11th cen., 9, 51, 52 Two Ascetics beneath a Tree, India, 1685, 57, 58 vessel: in form of ax, Indonesia, 2nd cen. B.C.-5thcen. A.D., 11, 68, 69. See also covered box, jar Vishnu, 6, 13, 35, 41, 46, 48, 76; as Keshava, standing, India, 1st quarter 12th cen., 46, 47; as Vaikuntha Chaturmurti, India, ca. 2nd half 8th cen., 32, 33; attributes, 6, 11, 33; seated four-armed, India, 2nd half 8th-early 9th cen., 42, 43; standing four-armed, Vietnam, ca. 2nd half 7th cen., 6, 72. See also Brabma water spout in form of makara, Indonesia, 10th-llth cen., 79 yaksha[s (yakshi[s), 19, 24, 51; India, ca. 50 B.C.,19, 20

Belloli,Lucy.See Th Changng Image.

C
Castile, Sondra. See Immrwtals and Sages. The Changing Image: StOdbs in Painting Conservation. No. 3, 1-52 "Case of Recurring Deception, A," 8-19 Christus, Petrus, 5; Portrait of a Carthusian, 1446, 5, 6; Saint Eligius, 1449 (detail), 5, 7 "Colorand Light in the Museum Environment,"44-52 Cruyl, Lieven, engraving of piazza of Pantheon, 30 "Effectsof Time, The: Georgia O'Keeffe's Black Hollyhock, Blue Larkpur," 38-43 Introduction, 5-7 La Tour, Georges de, The Penitent Magdalen, ca. 1638-43, 48 light, effect on materials, 6, 50-52 light, properties and characteristics, 44-47; artificial, 48; charts showing distribution of, 46, 50; daylight, 44, 46-48; incandescent, 48-49; fluorescent, 45, 49-50, 52; natural, 46-48, 52; northern, 47, 49; skylight, 45-49; southem, 47, 49; sunlight, 44-49; ultraviolet (UV), 15, 49, 50, 52; visible, 44, 50 lighting, in galleries, 6, 44-45, 47, 48, 50, 52 Master Franke, Man f Sorrows, ca. 1400, 10; detail, kneeling angel, 10; exhibition of works by, 10; kneeling angel, 11; overall, 10 Master of Saint Veronica, Man of Sorrows, early 15th cen., 18 Metropolitan Museum of Art (building): ariel view, 44; attic space, 45; galleries, Nineteenth-Century European Paintings and Sculpture, 45, 52; galleries, Robert Lehman Collection, 50, 51, 52; gallery, Manet, 45; lighting of, see lighting, in galleries Moroni, Giovanni Battista Abbess Lucrezia Agliardi Vertova,25 Bartolommeo Bongbi, ca. 1553-63; additions, 20; cleaning, 22, 24; dating, 20; detail, X-radiograph mosaic, before restoration, 23; inscription, 21-22; overall after conservation, 21; overall before restoration, 20; overall during treatment, 24 "New Look at a Seventeenth-Century Dutch Still Life, A," 32-37 "Note on the Dimensions of Juan de Pareja, A," 26-31

O'Keeffe, Georgia in Metropoitan Museum, 38-43; Black Hollybock,Blue Larkspur, detail, white haze, 39; details, flaking, 42; drawing, box and frame, 43; flaking, 42; haze, 38, 40; state, 1937, 38, 39; state, 1992, 39; state, 1993, 40, 41; techniques for preservation, 40-41, 42-43 Black Hollyhock, Blue Larkspur,in private collection, 41 "RestoringBartolommeo Bongbi," 20-25 Roselli, Cosimo, Madonna and Child with Angels (detail), 46, 47 Talpino, Enea (called Salmeggia), copy after Moroni's Bartolommeo Bonghi, 24, 22 unknown Flemish artist, Man of Sorrows, late 15th century, 8-19; acquisition, 11; additions, date of, 18; background, 11, 14, 17-18; called forgery, 9, 12; cracks, false, 16; cracks, surface, 12, 14; cryptogram, background, 11; Christ'sbody, authentic element, 12; description, 9, 11; detail, Christ's body, 13; detail, Christ'sbody, X-radiograph, 13; detail, Christ'shead, 14; detail, Christ's head, upper chest, 15; detail, Christ'shead, upper chest, ultraviolet light, 15; detail, Christ'shead, upper chest, Xradiograph, 15; detail, Christ'sleft hand, 16; detail, Christ'sleft leg, 14; detail, cracks, false, 16; detail, donor, 17; detail, kneeling angel, 10; donor, authentic element, 14; kneeling angel, 11, 12; overall, present state, 17; overall with modem additions, 8; overall with original elements only, 17; pigment analysis, 12, 16; pigments used, 16-17; publication, 9-10; restoration, 12, 15, 17, 18; ultraviolet light, 15; wood panel, 12; Xradiograph, 12, 15 unknown Spanish artist, TheMass of Saint Gregory,ca. 1500, 19 ultraviolet (UV) light, see light Velazquez, Diego Cardinal Camillo Massimi, 1649-51, 29 Juan de Pareja, ca. 1650, 26-31; canvas, folded, 27, 28-29; overall, 26; unfolded canvas, from back, 27 Juan de Pareja, copy of, ca. 1800, 28 Juan de Pareja, sold at Christie's,London, 29, 31 Pope Innocent X, 1649-50, 31 Vermeer, Johannes, Young Woman with a Water ug, early 1600s, 49 Vosmaer, Jacob Flower Piece with a Crown Imperial, 32, 35 Vase with Flowers, A, 32-37; after restoration, 34; alterations to original, 33; before restoration, 32, 33; detail, butterfly, rose, fritillaria,anemone, 36; detail, flame tulip, 37; flowers, 32, 33, 36; restoration, 36-37 X-radiograph, 12, 15, 22, 25, 30, 32

Hale, Charlotte. See The Changing Image.

I
Immortals and Sages: PaintnWs from Ryoanji Temple. No. 1, 1-56. Azuchi Castle, 25, 27, 29, 31, 46; theoretical reconstruction, 29 Birds and Flowers in the Four Seasons, Momoyama, 1566, 39 Birds and Flowers in the Four Seasons, Muromachi, 1491, 16 Chinese Immortals, Edo, 1642, 45, 46 Chinese Immortals, Momoyama, 1606, 6, 22, 23 Chinese Immortals, Momoyama, early 17th cen., 7, 16, 49 Chinese Immortals, Momoyama, 24, 25 "Chinese Lore for Japanese Spaces," 3-47 "Conservationand Remounting of the Ryoanji Temple Fusuma," 48-56 Daitokuji, 13, 32, 33, 38, 39, 41; Daisen'in, 40; Jukoin, 35, 37, 38, 43, 46; Jukoin, interior of hojo, 34; Jukoin, plan of

bojo, 34; Shinjuan, 39; Shinjuan, bojo interior, 17, Shinjuan, garden, 36; Shinjuan, tea house, 36 Flying Oshikyo, Momoyama, 44, 45 Flying Ressbi, Momoyama, late 16th cen., 40 Flying Ressbi, Momoyama, 1606, cover, inside front cover, 6, 9, 18-19, 23, 45; detail, 45 Flying Ressbi, Muromachi, early 16th cen., 40 Flying Ressbi, Muromachi, 1st half 16th cen., 41 Four ElegantAccomplisbments, Momoyama, 1566, 42, 43 Four ElegantAccomplishments, Momoyama, 1606, 6, 9, 12, 16-17, 20-21, 23, 24, 43, 49, back cover; detail, Sage and Attendant, 8; detail, Sages Viewing a Scroll, 7 Four Gray-Haired Hermits at Mount Sbangshan, Momoyama, early 17th cen., 30, 31 fisunma,3, 6, 9, 12, 15-17, 23, 25, 28, 29, 32, 33, 37, 43-50, 53, 55, 56 belonging to Metropolitan Museum: arrangement, 48, 49; attribution, 6; backing, removal, 51-53; conservation staff working on, 48; detail, figure, panel 1, face after conservation, 54; detail, figure, panel 1, face with tape, 54; detail, figure, panel 3, after conservation, 52; detail, figure, panel 3, reverse, 52; detail, figure, panel 3, with stains, 52; detail, figures, panel 13, before and after conservation, 52; detail, figures, panel 16, before conservation, 51; detail, panel 13 after conservation, 50; detail, panel 13 before conservation, 5,0 detail, panel 13, papers on reverse, 53; detail, paper for reverse (new), 55; details, figure, panel 2, sleeve of robe before and after conservation, 54; evidence of provenance, backing papers as, 12, 56; evidence of original provenance, Miyako Rinsen Meisbo Zue as, 14-15; frame, 49-50, 56; frame, diagram, 48, 50; frame, paper layers, 55; history, 9, 25; metal fitting removed, 49; inpainting, 54; new panels, 54-55; numbers on panels, 9, 49; paintings, removal from panels, 51; paper, panel reverse, 55-56; pigment, 50-51, 53; removing document, panel reverse, 53; restoration, 9, 48-56 Game of Go, A, Momoyama, 1606, 6, 22-23 bojo(abbot's quarters), 4, 6, 9, 12, 15-17, 25-27, 31-33, 35, 37-39, 40, 41, 43-47. See also Ryoanji. Jukoin, see Daitokuji Koso Sbu, pages from, pub. 1619, 33 Miyako Rinsen Meisbo Zue, pub. 1799, 14, 16, 23, 47 Myoshinji, 32, 33, 45, 47; Tenkyuin, 47; Tenkyuin, hojo interior, 47; Tenshoin, 45 Oda Nobunaga, 25, 27-29, 30-32 Old Plum, The, Edo, 1647, 26-27 Priest Choto (Boar Head), Momoyama, ca. 1600, 28 Priest Kensu (Shrimp), Momoyama, ca. 1600, 28 Ryoanji, 2, 3, 4-5, 6, 9, 12, 13, 15, 17, 23, 25, 26, 32, 33, 35, 37-41, 43, 45-48, 53, 56; hojo, interior, 37; hojo, plan and pictorial scheme, 10-11; rock garden, 2, 4, 5, 6, 15; Seigen'in, 6, 15, 25 Shinjuan, see Daitokuji Su Dongpo's Visit to LiJieqiao at the Wind and WaterCave, Momoyama, early 17th cen., 30 Tigerand Bamboo, Momoyama, 1566, 16, 37, 38, 39

M
McGlinchey, Christopher. See The Chaging Image. Mahon, Dorothy. See The Changing Image.

Oba, Takemitsu. See Immortals and Sages. Onishi, Hiroshi. See Immortals and Sages.

R
Recent Acquisitions: A Selection, 1992-1993. No. 2, 1-96. Africa, Oceania, and the Americas. Kate Ezra, Heidi King, J. Kenneth Moore, 84-85 bondjo, Zaire (Ekonda people), ca. 1915, 84-85 figure vessels, pair, Mexico (Colima, Mixtec), 12th-15th cen., 85 sword, Nigeria (Edo, Court of Benin), 15th-19th cen., 84 Ancient World.Dorothea Arold, Joan Aruz, Prudence O. Harper, Joan R. Mertens, Elizabeth J. Milleker, CarlosA. Pic6n, Deitrich von Bothmer, 6-19 aryballos, Greek, late 6th-early 5th cen. B.C.,9; side view, 9 attachments in the form of heads, Greek, late 4th-early 3rd
cen. B.C., 12-13

crab, Greek, 3rd-lst cen. B.C., 14 cylinder seal, griffin attacking stag/humans/lions, "International style" with Near Eastem and Aegean elements, 14th cen. B.C., 7 handles from hydria, vertical, Greek, mid-5th cen. B.C., 14 head, deity wearing Dionysiac fillet, fragmentary, Roman (prob. Julio-Claudian), A.D. 14-68, 13 head of man, Greek, late 6th-early 5th cen. B.C., 11 herm head, bearded deity, Greek (Attic), ca. 450 B.C., 12 incense bumer, Etruscan, late 6th-early 5th cen. B.C., 10 Pan, statue of, Roman, 1st cen. A.D., 15 perfume container, form of fat boy, Greek, ca. 540-530 B.C., 10 relief, nereid riding triton, Roman (Trajanic),ca. A.D. 100-120, 16 sarcophagus lid, with reclining couple, Roman (late Severan),
ca A.D. 220, 17

Kossak, Steven. See The Arts of South and So-theast Asia.

L
Lerner,Martin. See The Arts of South and Soztheast Asia.

support, oblong water basin, Roman, 2nd cen. A.D., 18-19 vase, monkey-shaped, with young, Egyptian (Dynasty 6), reign of Pepi I, ca. 2289-2255 B.C.,6 vase, monkey-shaped, with young, Egyptian (Dynasty 6), reign of Merenre, ca. 2255-2246 B.C., 6 vessel fragment, with nude female figure, allegedly Iran, early 1st millen. B.C.,8 vessel, ram-shaped handle, allegedly Iran, early 1st millen. B.C.,8 Asia. Barbara B. Ford, Steven M. Kossak, MartinLerer, Suzanne G. Valenstein, James C. Y. Watt, 86-96. anonymous, Wild Geese Descending to a Sandbank, Korean (Early Choson [Yi dynastyD, 15th cen., 90 Avalokiteshvara,the Bodhisattva of Infinite Compassion,Seated in Royal Ease, Cambodian (Angkor, style of Banteay Srei), ca. last quarter 10th cen., 94-95; back view, 95 bottle, Shonsui-ware, Chinese (Ming dynasty) prob. Ch'ungchen reign (1628-44), 88 Durga Mahishasuramardini, the Demon Buffalo Slayer, Indian (Pala), 12th cen., 91 figure, male, kneeling, Cambodian (Angkor, Koh Ker style), ca. 921-45, 93 kosode, with shells and sea grasses design, Japanese (Edo [1615-1868D, early 17th cen., 89 mandala, base for, Chinese (Ming dynasty), early 15th cen., 87 plaque, with royal family, Indian (Bengal [Chandraketugarh], Shunga), 1st cen. B.C.,91 stoneware: Vietnamese, bowl, presentation, 15th-16th cen.; ewer, phoenix, 14th-15th cen.; jar,Mei-p'ing, 14th cen., 96

Tirthankara, seated Jain, Indian (Gujerat [or Rajasthan], Solanki), ca. 1st half 11th cen., 92 yamantaka-vajrabhairava, Chinese (Ming dynasty) early 15th cen., 86-87; detail, 87 Europe 1 70-1900. Malcolm Daniel, James David Draper, Maria Morris Hambourg, Colta Ives, Clare Le Corbeiller, Laurence Libin,Jessie McNab, Michele M. Majer, Helen B. Mules, StuartW. Pyhrr, Olga Raggio, William Rieder, Gary Tinterow, 38-55 Brun, Samuel, Moses Brent, pair of flintlock pistols, English (London), 1800-1801, 42 Bruschi, Gaspero, Massimiliano Soldani Benzi, corpus from a crucifix, Italian (Doccia), ca. 1745-50, 40 Caetani, Michelangelo, Castellani Firm, letter opener, Italian, 1815-1930, 48 casaquin and petticoat, Italian (prob. Venice), ca. 1725-40, 38 Deck, Joseph-Theodore, dish, French (Paris), 1866, 48, 49 Degas, Edgar, Study of a Young Woman's Legs, 53; TwoMen, ca. 1865-69, 55 Dijon, V., attr., Farmyard Scene, early 1850s, 44 Fenton, Roger, Spoils of Wood and Stream, 1858-59, 46 FPias,Joseph de, attr., guitar, Spanish (Seville), ca. 1780, 41 Giardoni, Francesco, The Virgin and the Child Triumphing over Evil, Italian (Rome), 1731-40, 39 Gilbert, Sir Alfred, de Vesci seal, 1891-96, 49 Lautrec, Henri de Toulouse, Madame Tbadce Natanson (Misia Godebska, 1872-1950) at the Theater, 1895, 52 Pissarro, Camille, Woman at a Well, 1891, 47 settee, Italian (Sicily), ca. 1790-1800, 43 Sisley, Alfred, A Road in Moret in Winter, 1891, 54 Vallou de Villeneuve, Julien, Untitled, 1851-53, 45 Van Gogh, Vincent, Shoes, August 1888, 50; Wheat Field with Cypresses,June 1889, 50, 51 Wyatt,James, Matthew Boulton, John Fothergill, hot-water jug and tripod, English (Birmingham), 1770s, 41 Islam. StuartW. Pyhrr, Marie Lukens Swietochowski, Daniel Walker, 20-23 flask in shape of mango, Indian (Mughal), mid-17th cen, 23 hilt of sword (talwar), Indian, 17th cen., 23 jali (pierced screen), one of pair, Indian (Mughal, period of Akbar), 2nd half 16th cen., 22 Tekelu, Ahmed, workshop of, yatagan, ca. 1525-30, 21-22 textile, with mythological beasts, fragment, Indian (Sultanate), 14th-15th cen. or earlier, 20 Medieval Europe. BarbaraDrake Boehm, Timothy B. Husband, Daniel Kletke, Charles T. Little, 24-27 chair, northwest European (poss. Normandy or England), ca. 1450-1500, 27 leaf from missal, northeast French (Beauvais?), ca. 1290, 26 oven tile with Samson combating lion, south German or Austrian, ca. 1490, 26 silver-stained roundel with judgment or allegorical scene, South Lowlands (Brussels?), ca. 1520, 25 ThreeMarys at the Holy Sepulcher, North Italian (Milan?),early 10th cen., 24 NorthAmerica 1 700-1900. KevinJ. Avery, Alice Cooney Frelinghuysen,MorrisonH. Heckscher, Donald J. LaRocca, ThayerToiles, CatherineHoover Voorsanger,H. Barbara Weinberg, 56-61 Brown, Henry Kirke, TheFilatrice, 1850, 57 Cassatt, Mary, Portrait of Adaline Havemeyer in a WhiteHat, begun 1898, 60 Grudchos, Julius, and Selmar Eggers, percussion target rifle, American (New Bedford, Mass.), ca. 1856-60, 58-59 Hinckley, Thomas Hewes, page from a sketchbook of landscape and animal subjects, 60 Hunzinger, George Jakob, settee, American (New York City), ca. 1876-85, 58, 59 John Locke,American (Philadelphia, Pa.), 1765-75, 56 Price, William Lightfoot, leaded-glass window, from set of four, American (Philadelphia, Pa.), ca. 1905, 61

Tiffany, Louis Comfort, Samuel Colman, armchair, American (New York City), ca. 1891, 59 Tucker, Thomas, Tucker Porcelain Factory, vases, pair, 1828-38, 56-57 Renaissance and Baroque Eurpe. Suzanne Boorsch, Everett Fahy, William G. Griswold, Laurence Libin, Walter Liedtke, Helen B. Mules, Nadine M. Orenstein, StuartW. Pyhrr, Olga Raggio, Clare Vincent, 28-37 ax, horseman's, Italian, ca. 1532, 30, 31 Claussone, Comelis Willem, called Bos, The Battle of the Centaurs and Lapiths at the Wedding of Hppodamia, 1550, 32 Goltzius, Hendrick, The Fall of Phaeton, 33 Iliaco (Genius of the Sun), north Italian (prob. Ferrara), ca. 1465, 28 Immaculate Conception, The, Italian (Rome), 1635-45, 36 Lievens, Jan, Bust of an Oriental Man, ca. 1631, 35 Master I?V, Apelles Painting Alexander and Campaspe, 30 Mola, Pier Francesco, The Rest on the Flight into Egypt,33 Nouailher, Couly II, Alexander the Great, French (Limoges), ca. 1541, 31 Passeri, Giuseppe, The Ecstasy of the Blessed Hyacintha Marescotti, 37 Peruzzi, Baldassare, Atlas, 29 portrait of Holy Roman Emperor Charles V, north Italian, ca. 1530, 29 Rembrandtvan Rijn, Portrait of a Man, 1632, 34, 35 Tielke, Joachim, violin, German (Hamburg), ca. 1685, 36, 37 Tuentieth Century.Jane Adlin, Elliot Bostwick Davis, Maria Morris Hambourg, J. StewartJohnson, Clare Le Corbeiller, William S. Lieberman, Lisa M. Messinger, Sabine Rewald, Jeff L. Rosenheim, Lowrey S. Sims, Catherine Hoover Voorsanger, 62-83 Arad, Ron, drawing for "BigEasy, Volume 2" armchair, 1988, 83 Atget, Eugene, Versailles, 1923, 64 Bartlett,Jennifer, Five AM., 1991-92, 73; Five PM., 1991-92, 72 Bustamante, Jean-Marc, Lumiere, 1991, 79 Coper, Hans, pot, 1975, 81 Davis, Stuart, Reportfrom Rockport, 1940, 66 Dehner, Dorothy, Target, 1950, 76 Fonseca, Caio, Tenth Street, #5, 1992, 74 Freud, Lucian, Naked Man, Back View, 1991-92, 64, 65 Greene, Charles Sumner, Henry Mather Greene, Peter Hall Shop, armchair, 1907-9, 80 Knox, Archibald, W. H. Haseler & Co., decanter, English, 1900-1901, 81 Matta-Clark,Gordon, Splitting, 1974, 78 Newman, Bamett, The Song of Orpheus, 1944-45, 75; Untitled, 1960, 75 Noel, Georges, Lohengrin, 1988, 74 Oppenheim, Dennis, Studyfor Chain of Pearls, 1984, 76 Picasso, Pablo, At the Lapin Agile, 1905, 62; Head of a Peasant (osep Fontdevila), 1906, 63 Polke, Sigmar, Untitled, 1975, 70 Rothenberg, Susan, Galisteo Creek, 1992, 71 fruit bowl, Sottsass, EttoreJr., and Memphis, "Murmansk" 1982, 83 Spruance, Benton Murdoch, American Patern-Barn, 1940, 67 Steichen, Edward, Brancusi's Studio, ca. 1920, 79 Stickley Brothers, desk, 1904, 82 Williams, Fred, Landscape with Rocks I, 1957-58, 69 Wilson, Jane, American Landscape, 1959, 68 Wonnacott, John, Night Portrait with Blue Easel, 1990-91, 77

V
Von Sonnenburg, Hubert. See The Changing Image. Copyright ? 1994 The Metropolitan Museum of Art

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