Art Treasures From Japan (Art Ebook)

ART TREASURES
FROM
JAPAN
A
in
Special Loan Exhibition
Commemoration
the
Peace Treaty
of the
in
Signing of
San Francisco
September 1951
M. H.
DE YOUNG MEMORIAL
MUSEUM
The Exhibition
is
held jointly by the
Cultural Properties Protection Commission

of
M, H.
de
Japan and
the
Young Memorial Museum

of
San Francisco
FOHEWOHI)
Tlie opening of this great exhibition of Japanese art
museum
has had for a good
many
the fulfilhiient of a desire our
San Franciscans
years: to demonstrate to
American people
larger sense to the
means
and
in a
the richness and greatness of the ancient arts of
Japan.
Americans know
since
tlie
Western world began
tlien attention
for
at
relatively little about
Japanese
only a matter of decades
art. It is
Far East, and
to devote a serious interest to the arts of the
was largely centered on Chinese
art.
Thus, the
fact
was overlooked
thai
the Japanese people have produced a magnificent art quite of their own,
many centuries
times derived from or influenced by foreign patterns, but altogether as indigenous and
original as that of most
There
is
European countries
No
and almost jealous love of the Japanese people
other nation in the world has so diligently cared for
and guarded against the exportation
come
truly
It is
of
its
way
for their
its artistic
its
own
heritage
art,
it
was almost necessary
to
to the far-off islands.
for this very reason that the present exhibition
assumes a singular importance.
In view of the special occasion of the Treaty Conference in
deavor to make this exhibition a
fitting
San Francisco, and
number
in the en-
symbol of the resumption of cultural co-operation
between our two countries, the Japanese Government has consented

tionally large
and
art
outstanding treasures. Hence, in order to be-
aware of the particular greatness of Japanese
travel all the
each other.
one more reason for the West's scant knowledge of Japanese
significance: the genuine

creations.
in relation to
of great national treasures for their first
to release
an excep-
showing outside of Japan.
Nearly half the works have the distinction of being "Registered Important Art Objects,"
normally not allowed to leave the country for any purpose whatever.
While the few former displays

cipally devoted to painting
since
it
of ancient art
from Japan held abroad were prin-
and sculpture, the present exhibition
also covers various other fields of the arts.
The
wood-block prints, metalwork, lacquer, ceramics and
is
more encompassing
inclusion of choice examples of

textiles can only help to
the understanding of the American public for the creative invention,
and the inimitable
The
skill of
tlie
deepen
refined taste
the Japanese artists.
idea of this important exhibition having been born but a few short weeks ago,
the efforts of the Japanese authorities to organize and assemble
it
and
to bring
it
over on
time must have been enormous, and

grateful to them.
Our
consent to our plan
we here
special thanks are
America have every reason
in
owing
to the
Japanese Government for
to the Cultural Properties Protection
of the exhibition jointly with the
to he deeply
Commission which
M. H. de Young Memorial Museum, and
is
its
ready
in charge
in particular to
Dr. Seiichiro Takahashi, Chairman of the Commission and to Mr. Takashi Morita, Chief
of the Secretariat; to the National
and
its staff
members, upon
packing the exhibits;
to the
museums, and private
whom
to express
my own
whose quick
fell
of
Tokyo,
Director Mr. Nagatake Asano
the formidable task of selecting, collecting, and
which, among famous

Emperor
His Majesty
collectors, include
;
to
many
the
officials
and untiring
temples, shrines,
for the generous
and other persons unknown
to further this undertaking. Finally,
special gratitude to Dr. Jiro
initiative
its
numerous lenders
contribution of their treasures
no doubt, worked hard
Museum
Harada
me who,
wish to take this opportunity
of the National
efforts the exhibition
to
Museum without
could not have materialized.
Walter Heil, Director
M. H. de Young Memorial Museum
PREFACE
It
was a great pleasure
for us to accept a proposal
from Dr. Walter Heil, Director of the
M. H. de Young Memorial Museum, San Francisco,

commemoration
art in
an exhibition of Japanese
to hold
of the Peace Treaty Conference.
We had
portunity to show the art of Japan in the United States, in
been hoping for an op-
way of expressing our gratitude
for the goodwill towards us as well as of affording a better understanding of the ideals
and
achievements of our people.

It
was only a few weeks ago that we received the request. The opening day of the
Peace Treaty Conference had been fixed, and we had so short a time
During
throughout by the
support of the Japanese people. This
full
had such an extensive exhibition

and we believe
it
will give a
make
satis-
however, we did our best, and were encouraged
factory arrangements.
this time,
left to
of representative
is
the
first
time
we have
examples of Japanese
comprehensive survey of our
art history.
learn which portions of the exhibits interest you most, and your frank
We
ever
art abroad,
should like to
comments
will
be
helpful in promoting mutual understanding.
Our
the
M. H. de Young Memorial Museum and
make
tion
best thanks are due to the City of
San Francisco,
to Dr.
to the
Board
Walter Heil. whose zeal alone could
the present exhibition possible in such a short period of preparation.
is
extended
to
of Trustees of
our museums, organizations and persons
Our
apprecia-
who were good enough
to
lend their collections for this event of international significance.
Seiichiro Takahashi,
Chairman
Cultural Properties Protection Commission of Japan
Tokyo, August, 1951
LENDERS
COLLECTORS
'Vhv Imperial Household, 15,40.
The
(ailtural I'roperties Proleetioii Coniniissioii.
Mr. Kunisuke Akashi, Kyoto,
Tokyo, 13,46, 125.
The National Museum, Tokyo,
4, 5, 6, 10, 14, 18, 19,
1.52.
Mr. Shigesue Akita, Tokyo, 98.
21, 23. 25, 31. 33, 34, 37, 39, 50, 51, 52, 55( 1-51
65. 66. 6H. 80, 83, 84, 85, 86, 87, 92, 93. 96, 99,
Mr. Kyubei Ando, Fukushima. 44.
100. 102. 122, 124, 126, 127, 131, 132, 133, 134,
148, 150, 158. 161, 162, 163, 164, 165, 166, 167,
168, 169, 170, 171, 173, 177.
Mr. Nagatake Asano, Kanagawa. 123.
The Tokyo University of Arts, 28, 53.

The Homnia Museum, Yamagata, 130.
The Nagao Museum, Kanagawa, 42, 74,
Mr. Kokichi Aoyama, Tokyo, 103.
Mr. Ino Dan, Tokyo,
9.
Mr. Yorizumi Furukawa, Tokvo,
15, 120.
Mr. Kango Furuta, Tokyo, 47.

Mr. Keita Goto, Tokyo, 57, 61.
147, 153. 154.
The Nezu Museum, Tokyo, 121, 137, 149.

The Daihiko Institute of Textile Art Research,
Ishii,
Tokyo,
Mrs. Sue Hara, Kanagawa. 35, 54.
Mr. Moritatsu Hosokawa, Tokyo, 16, 30, 106,
Tokyo, 155, 156, 157, 159, 160.
The Dolls and Toys Society, Tokyo, 172,

The Seikado Foundation, Tokyo, 43.
Mr. Minoru
175, 178.
109. 111.
Mr. Ryoichi Hosomi. Osaka, 90, 91, 95.
Mr. Junji Hozaka. Kanagawa, 38.
BUDDHIST TEMPLES
Mr. Goro Katakura, Nagano, 48.

Mr. Masataka Kato, Kanagawa, 62.
Bujoji, Tottori, 3.
Mr. Torasaburo Kawase, Nara, 105.
Daigoji, Kyoto, 8.
Mr. Tokutaro Kimura, Tokyo, 104.
Horyuji, Nara, 59, 70.
Mr. Masahito Kiyota, Kyoto, 112.
Jinshoji, Shiga, 89.
Mr. Ataru Kobayashi, Tokyo, 29.
Kanchi-in, Kyoto,
Mr. Junzo Kosaka. Tokyo, 49.
2.
Kawai-dera, Osaka, 76.

Kodai-in, Kyoto,
7.
Kodaiji, Kyoto, 128, 129.
Kofukuji, Nara,
1.
Mr. Masanari Matsubara. Tokyo, 67, 69.
Mr. Tomijiro Miyazaki, Kanagawa, 113, 114. 116,

117, 118,119.
Mr. Munehiro Mizoguchi. Tokyo. 20. 22.
Kongoji, Kyoto, 41.
Kongobuji, Wakayama, 77.

Konjiki-do Iwate, 88.
Myoho-in, Kyoto, 78.
Mr. Eiichi Mori. Kanagawa, 110.

Mr. Kan-ichiro Morikawa, Aichi, 136. 138.
Mr. Kinta Muto, Hyogo, 45.
Myoshinji, Kyoto, 27.
Mr. Nobutoshi Naito, Tokyo, 108.
Reiun-in, Kyoto, 24.
Mr. Yozo Nakajima, Tokyo, 135.
Saidaiji, Nara, 73.
Mr. Gakuryo Nakamura, Kanagawa, 36.
Saikokuji, Hiroshima, 56.
Mr. Tsuneichiro Nakamura, Tokyo, 79.
Saikyoji, Shiga, 60.
Mr. Kunio Nakao, Nagasaki, 142.
Todaiji, Nara, 81.
Mr. Shinzo Noguchi, Tokyo, 174. 176.
Toshodaiji, Nara, 71, 72.
Mr. Taromatsu Okano, Tokyo, 107.
Yakushiji, Nara, 75.
Mr. Masatoshi Okochi, Tokyo, 139, 140.
Yohoji, Kyoto, 94.
Mr. Kishichiro Okura, Tokyo,

Mr. Saneharu San jo, Tokyo,
SHINTO SHRINES
12.
17.
Mr. Matasaku Shiobara, Tokyo. 145.
Mr. Tsusai Sugawara, Kanagawa, 64.

Atsuta Jingu, Aithi,
.58.
Mr. Hirosuke Uehimoto, Fukuoka, 141.
Hyozu Jinja, Shiga, 151.

Kasuga Taisha, Nara, 82.
Mr. Hikotaro llmezawa, Tokyo, 63.
Mitake Jinja, Tokyo, 97.
Mr. Giichi Umezawa, Tokyo, 143, 144, 146.
Nibutsuhime Jinja, Wakayama, 101.
Mr. Zenjuro Watanabe, Tokyo, 32.
JNTHODLICTION
In those islands of the Far East called Japan, there are
It is
found many rare
interesting to see that the species which landed there
sorts of flowers.
from the West and the South
have borne unexpectedly beautiful flowers.
The Japanese were comparatively

came
to
have contact with the Chinese
followed.
Still,
isolated from other peoples in the Stone Age, i)ul

to a considerable degree in the
Bronze Age which
peculiarly Japanese pieces of art were produced, such as the
shaped bronzes) and the Haniwa (terra-cotta grave figures)
works
Dotaku
(bell-
expressive of the
character of the ancient Japanese people.
However,
it
was
after the introduction of
Buddhism from the Continent in A. D. 552
that Japanese art developed rapidly in architecture, sculpture, painting
In the 7th
and 8th Centuries
came intimate and

to a
in the
art as the
arts.
Japan's communication with the Continent be-
in particular
frequent. This fact, along with the national adoption of Buddhism, led
golden age of Buddhist art
works of
and applied
Grand Buddha
world (about
fifty-five feet
pieces of applied art as those
Japan.
in
It is in this
of the Todaiji
period that
Temple
in
we
find such large-scale
Nara, the largest bronze statue
high). Dating from this period also are such unique
still
preserved in the Imperial repository, Shoso-in, Nara.
This famous treasure-house contains art objects associated with the Emperor Shomu, the
great Imperial patron of
Buddhism
in the
T'ang Dynasty prospered on the Continent
8th Century.
It
was the time when the Chinese
in close contact with western countries. Nat-
urally Japanese art was influenced by the Chinese art of the day, which
influenced in
An
some measure by Greece, Persia and
excessive prosperity
Japanese Buddhist
art
is
One
to
One
in turn
been
India.
be accompanied by abuses. The golden age of
was no exception. Various forms
occurred late in the 8th Century.
from Nara
likely to
had
of these
of reaction against these excesses
was the transfer
of the capital of the routitry
Heian, present Kyoto. Art turned from splendor to spiritual vigor.
aspect of the reaction was a decrease in the intercourse with the Continent from
the 9th through the 12th Centuries. At the

try gradually declined
time, the Imperial control over the coun-
and was replaced by the power
aristocratic arts of purely
applied arts
same
products
Japanese
of close
of the Japanese people
of the nobles.
There developed
taste, .lapanese architecture, painting,
harmony between the nature
are distinctive
among
of
sculpture and
Japan and the
the arts of the world.
sensitivity
From
class.
the 13th to the 15th Century the nobles lost power to the samurai or warrior
Communication with the Continent was resumed, and Japanese
under the influence of Continental

priests of
for
art.
The
art
once more came
leaders of Japanese culture in this period were
Zen Buddhism, a sect which was more
of a philosophy than a religion in
profound spirituality through simple, contemplative
living.
its
search
People of the time
culti-
vated such quiet and sober enjoyments as are found in the cha-no-yu or tea ceremony. In
this
atmosphere was born the
art of suiboku, or black-and-white painting,
which conveyed
acute expression with a few brief strokes of the brush.
Late in the 16th Century, the nation-wide social disturbances incurred by warring
nobles and traditional clans were settled by dictators of bold and progressive personality.
Art became gorgeous and grand in scale in this period under the
was
in this period that brilliant, ornate screen paintings
was also in
this period that art,
dane interests of man's
life
which had been devoted
new phase
new
were made
to religion,
heroic leaders.
It
number.
It
in large
came
to serve the
of Japanese art that brought
it
mun-
closer to the
modern view.
From
upon
this period
art related to
through the 19th Century the
people exerted an influence
an improvement of their economic condition. Profoundly spiritual
went out of fashion, and instead there arose

acter
common
arts
and
crafts of a
more entertaining
char-
which were frank expressions of popular enjoyments. Beautiful woodcut prints,
tumes and pottery

If
our earth
is
reflect the interests of the
round,
sible that this foreign art
if
cos-
people at that time.
the border of the East
from Japan may give
art
is
the beginning of the West,
rise to a
is it
not pos-
new species of flower in Western art ?
PERIODS IN THE ART HISTORY OF JAPAN

PRE-BUDDHISTIC PERIOD:
(.
551 A.D.
MUROMACHI PERIOD:
Sculpture, 66, 67, 68, 69.
Painting, 18,
Metal Work, 85, 86.
Sculpture, 83, 84.
9, 20,
(1334-1572).
21, 22, 23, 24, 25.
Metal Work, 91, 93, 94, 95.
ASUKA PERIOD:
(552-644).
Sword Furniture,
103.
Sculpture, 70, 80.
Lacquer, 125, 126.
NARA PERIOD:
(645-781).
MOMOYAMA
PERIOD:
(1573-1602).
Painting, 11.
Painting, 26, 27, 28, 65.
Calligraphy, 56.
Calligraphy, 65.
Sculpture, 71, 81.
Sculpture, 83, 84.
Textiles, 150.
Metal Work, 92, 96.
HEIAN PERIOD:
Painting,
(782-1185).
1, 2, 3, 4, 5, 6.
Calligraphy, 57, 58, 59, 60, 61, 62, 63, 64.

Sculpture, 72, 73, 74, 75, 76, 82.
Armor, 99.
Sword Furniture,
104, 109.
Lacquer, 127, 128, 129, 133.

Ceramics, 136, 137, 138.
Metal Work, 87, 88.

Textiles, 152, 153, 154.
Sword Furniture,
100.
Lacquer, 123.
EDO PERIOD:
(1603-1867).
Painting, 29, 30, 31, 32, 33, 34, 35, 36, 37, 38,
KAMAKURA PERIOD:
(1186-1333).
39, 40, 41, 42, 43, 44, 45, 46, 47, 48, 49, 50,
51,52,53,54,55.
Painting, 7, 8, 9, 10, 12, 13, 14, 15, 16, 17.
Sculpture, 77, 78, 79.
Sword Furniture,
105, 106, 107, 110, 111, 112,
113, 114, 115, 116, 117, 118, 119, 120, 121.
Metal Work, 89, 90.

Lacquer, 130, 131,133.
Armor, 97, 98.

Ceramics, 139, 140, 141, 142, 143, 144, 145,
Sword Furniture,
101, 102.
146,147,148,149.
Lacquer, 122, 124.

Textiles, 155, 156, 157, 158, 159, 160, 161, 162,
Ceramics, 134, 135.

Textiles, 151.
163, 164, 165, 166, 167.

Dolls, 168,
169
..
178.
PAINTING
III
the early days of Japanese painting sul^ject matter
was exclusively
From
religious.
the 6th to
the 15th Century the artist devoutly painted images of Buddhist divinities. In this exhihition there
are specimens of the Heian period (12th Century), the

ries),
some images of the founders of Japanese Buddhist
tration of the Life of
Kamakura period
sects (e.g..
(13th and 14th Centu-
Image of
Priest Jion
and
Illus-
Sakyamuni: Eight Aspects of Buddha's Life) and such iconographical draw-
ing as Shinkai's Bishamon-ten from the Daigoji collection.
Registered Important Art Object
Priest Jion Daishi.
7 Manjusri Crossing Over the Ocean.
12th Century.
Color on silk. Kakemono. H.
Kofukuji (temple), Nara.
95%
in.,
W. 49y8
in.
Middle
Yama).
Sanskrit:
3
*
in.,
W. 25
in.
of 12th Century.
Color on silk. Framed. H. 40M>

Bujoji (temple), Tottori.
in.,
W. 20 Vi-
in.
37%
in.,
W. 20 V-'
in.
11
Late 12th Century.

Color on silk. Kakemono. H. 61
National Museum, Tokyo.
Konrin (Buddhist
Ichiji
Sanskrit: Vairocana).
divinity,
Fragment of the
in.,
W. 15%
in.
Illustrated Inga-kyo Sutra.
8th Century.
in.,
W. 79%
Color on
in.
silk.
Mr. Minora
Kakemono. H. 10%
Ishii,
in.,
W. 10%
in.
Tokyo.
divinity,
silk. Kakemono. H.
Museum, Tokyo.
Scroll painting
in ancient
i-lVs in.,
W. 33 y2
in.
a kind of illustrated story
is
a combination of literature
and painting invented
China. Introduced to Japan, this form greatly interested artists and writers.
works are seven specimens of
here are masterpieces of the

painted scrolls
1
in.
of 13th Century.
Color on
National
isting
W. 22%
Late 13th Century.

Color on silk. 4 Kakemonos.
H. 43% in. each., W. 12% in. each.
Mr. Ino Dan, Tokyo.
Early 14th Century.

Color on silk. Kakemono. H. 44
each.
5 Nirvana.
Middle
in.,
Sanskrit: Ksitigarbha).
Buddhist sages).
Middle of 12th Century.
Color on silk. Kakemono. H.
Sanskrit: Vaisravana).
10 Jizo Bosatsu (Buddhist
4 Arhats (Two of the sixteen images of

*
in.
9 Eight Aspects of Buddha's Life.
Fugen Bosatsu (Buddhist divinity,

Sanskrit: Samantabhadra).
Middle
W. 41%
in.,
By Shinkai. Late 13th Century.

Ink on paper. Kakemono. H. 51V4
Daigoji (temple), Kyoto.
of 12th Century.
Color on silk. Framed. H. 44 Ms

Kyoto.
Kanchi-in temple
56%
8 Bishamon-ten (Buddhist demi-god,
2 Emma-ten (Buddhist King of Hell,

*
End of 12th Century.

Color on silk. Framed. H.
Kodai-in (temple), Kyoto.
in
illustrated
Among
Buddhist scriptures of the 8th Century. Exhibited
Kamakura period (13th and
14th Centuries)
when
excellent artists
great number.
2 Court-guards in Equestrian Training.

* Ascrihed to p'ujiwara Nobuzane.
Slight color on paper. Scroll. W. llVi in.,
Mr. Kishichiro C)kura, Tokyo.
13 Scroll Illustrating Seats of Courtiers

* in the Order of Ranks.
L. 93 in.
ex-
Believed to have been executed by an artist

Nobuzane School. Late 13th (!cnlury.
Cultural Properties Protection Cnunuission, Tokyo
of
..
14 Scroll of Long-nosed Goblins.

Late 13lli Century.
Color on paper. .Scroll. W.
15 Scroll of the Life of an

Late 13tli Century.
Color on paper. Scroll.
Imperial collection.
16 Scroll of the Story of Haseo.

*
421%
ll-'i in., L.
in.
17 Scroll of the Horse-race
Artist.
W. 11%
in.,
L.
310%
in.
Suiboku or black and white painting

Buddhist
sect
in the 14th
were
known
and
in
18 Priest Kensu.
ByKao-Ryozen (1317-1345).
Ink on paper. Kakemono. H. 34%
in.,
L. 1.53 V4 in.
Japan, flourishing especially

artists of these
times
to the teach-
and 16th Centuries
representative. Later in the 15th
Noami and Motonobu became famous
birds. This exhibition contains
Royal Palace.
were usually based upon subjects related
their paintings
Shubun and Sesshu are
secular artists such as
for their paintings of landscape,
examples of Suiboku painting by the

22 Kannon Bosatsu (Buddhist
artists
mentioned.
divinity,
Sanskrit: Avalokitesvara).
in.,
W. 13%
By No-ami (1397-1471).
in.
Ink on silk. Kakemono. H. 30% in.,

Mr. Munehiro Mizoguchi, Tokyo.
19 Landscape.
Ascribed to Shubun
(died 1470)
Slight color on paper. Kakemono. H.
National
became popular
in.
With the introduction of the
art form.
Century and the Muromachi period (1334-1572). Most of the
ings of Zen. Kao,
and
in the
Early 14lh Century.

Color on paper. .Scroll. W. 11%
Mr. .Saneliaru Sanjo, Tokyo.
an ancient oriental
is
as Zen this kind of painting
priests of the sect,
flowers
Early lltli Century.

Color on paper. Scroll. W. ll-'/s in., L. 423
Mr. Morilalsu Ilosokawa, Tokyo.
29%
in.,
W. 13%
in.
W.
151/2 in.
23 Spring and Summer Landscapes.

* By Sesshu (1420-1506).
Museum, Tokyo.
Slight color on silk. 2
Kakemonos.
H. 58V2 in.. W. 29% in. each.

20 Landscape.
Ascribed to Shubun (died 1470
Mr. Muneliiro Mizoguchi, Tokyo.
)
in.,
W. 12%
in.
24 Landscape with Flowers and Birds.

*
Ascribed
to
Kano Motonobu
1476-1559)
Slight color on paper. 2 Kakemonos.

H. 70 in., W. 46K' in. each.
21 Kanzan and Juttoku, the Two

* Legendary Chinese Priests.
Ink on paper. Kakemono. H. 39VL>
National
Ryoun-in (temple) Kyoto.

,
in.,
W. 14%
Museum, Tokyo.
Folding screens are often used
in
in.
25 Rei-sho-jo, Chinese Girl of the T'ang Dynasty.

By Kei Shitsusai. Middle of 16th Century.
Slight color on paper. Kakemono. H. 35VL> in., W. 15':;
in.
Japanese rooms as temporary partitions. Their large area pro-
vides a fine field for painting and calligraphy. In the exhibition there are ten painted folding
screens dating from the middle of the 16th to the 18th Century. Subjects for such screens varied
from flowers and birds

their visit to
to
landscape and genre and even included scenes of Europeans enjoying
Japan and playing
their
26 Hawks.
*
By.Sesson (1504-1589).
Ink on paper. Pair of six-leaf folding screens.
H. 62% in., W. 135% in. each screen.
Western musical instruments.

27 Peony and Plum Blossoms.
* By Kaihoku Yusho (1533-1615).
Color on paper. Pair of six-leaf folding screens.
Myoshinji (temple) Kyoto. Illustrated in color.
,
32 Autumn Grasses.
* By Ogata Korin (1655-1716).
28 Eagles and Pines.

By
artist of the
Kano
school. Early 17th Century.
Color on paper. Pair of two-leaf folding screens.

H. 60% in., W. 68 in. each screen.
Mr. Zenjuro Watanabe, Tokyo.
Color on gold-foiled paper.

Pair of six-leaf folding screens.
H. 6^% in., W. 143% in. each screen.
Tokyo University of Arts.
3.^
29 Westerners
*
in
Japan.
Tides of Ch'ien-t'ang River.
Early 17th Century.

By Ikeno Taiga (1723-1776).

H. 65 in., W. 144 in. each screen.

Mr. Ataru Kobayashi, Tokyo.
30 Westerners Playing Their Music.

*
34 Rainy and Snowy Landscapes.
Early 18th Century.

H. 40V4 in., W. 119 in. each screen.
Mr. Moritatsu Hosokawa, Tokyo.
By Matsumura Goshun (1752-1811).

Slight color on paper. Pair of six-leaf folding screens.
National
31 Scenes on and Back of the Stage.

Ascribed to Hishikawa Moronobu (died
Color on paper. Two-leaf folding screen.

H. 57 in., W. 561/2 in.
Mrs. Sue Hara, Kanagawa.
The Edo period (17th-19th Centuries)
1.
Museum, Tokyo.
35 Autumn Grasses and QuaiL

* By SakaiHoitsu (1761-1828).
c. 1694)
H. 1571/2 in., W. 400 in. each screen.
artists,
Landscape at Lake Hsi and Overlooking
is
marked with
the rise of a
number
of schools and able
namely:
Sotatsu-Korin School
Works
of the school, established by Sotatsu (flourished in the begin-
ning of the 17th Century) and Korin (1658-1716), are highly decorative, presenting landscapes
and figures
2.
in
ornate style. Such artists as Sosetsu, Koho, Korin, and Hoitsu belong to this school.
The school
Tosa-Sumiyoshi School
painting developed in the Heian period, as
is
is
loyal to the traditional style of classic Japanese
represented by the work of Sumiyoshi Gukei
among
who belong
to this
the works exhibited.
3.
Maruyama-Shijo School
Works
of Okyo, Goshun, Rosetsu and Soken
school are popular because of their realistic style and elaborate workmanship.
4.
Literati
School
of this literati school.
Hyakusen, Taiga, Buson, Mokubei, Kyosho and Kazan are among masters
They are
artists
who represented nature symbolically through
flowing lines
and a remarkable use of space.

5. Ukiyo-e
School
Artists of this school, noted also for their beautiful
wood-block prints,
were genre painters who painted for the common people. Moronol)!!, Kaigetsiido, Choshun,
Masanobu, Shunsho and Utamaro were famous masters of
38 Yuima (Indian sage, Sanskrit: Vimalakirti).
36 Poppies.
By Kitagawa Sosetsu. Middle of 17th Century.
Color on paper. Kakemono. H. 43 in., W. 16% in.
Mr. C.akuryo Nakamura, Kanagawa.
By Ogata Korin (1655-1716).

Mr. Junji Hozaka, Kanagawa.
in.,
W.
21 '2
in.
39 In and Around Kyoto.
37 Wistaria, Maple and Peonies.

By Honnami Koho (1601-1682).
Color on paper. Kakemono. H. 43
this school.
By Sumiyoshi Gukei (1631-1705).

in.,
W.
15
in.
Color on paper. Scroll. W. 16i,s

National ^luseum, Tokyo.
in.,
L. 467''v( in.
40 Birds and Fishes.

By
48
Jakuchu (1716-1800).
Color on silk. Kakemono. H. 56 5/16
Ilo
in.,
W. 31%
Portrait of Ichikawa Beian.
By Watanahe Kazan
Color on
in.
Imperial (Collection.
silk.
(1793-1841).
Kakemono. H. 49
in.,
W. 23
'/li
in
Mr. (Joro Katakura, Nagano.
41 Waves.
* By MaruyamaOkyo (1733-1795).
.Slight color on paper. 12 Kakemonos.
H. 68% in., W. 36 '/s in. each.
49 Album of
*
Insects
and Fishes.
By Watanabe Kazan. Has inscription dated 1837.

Color on silk. Album. H. 11% in., W. 9% in.
Mr. Jimzo Kosaka, Tokyo.
Kongo ji (temple) Kyoto.

,
50 Young Woman.
42 Landscape
*
in Moonlight.
By Nagasawa Rosetsu 1755-1799)
Ink on silk. Kakemono. H. 38% in., W. 14
Nagao Museum, Kanagawa.
By Kaigetsudo Ando. Late 17th Onliiry.

Color on paper. Kakemono. H. 37^/4 in., W. 16%
in.
51
43 Peacock.
*
By Yamaguchi Soken 1759-1818)

Color on silk. Kakemono. H. 63 in., W. 25V^
(
in.
in.
Woman
Flying on a Crane.
By Miyagawa Choshun (1682-17.52).
Color on paper. Kakemono. H. 37 in., W. 1414
in.
Seikado Foundation, Tokyo.
52 Villa at the Foot of Ogurayama Hill.

By Okumura Masanobu (1690-1768).
Color on paper. Kakemono. H. 12% in., W.
44 Lotus Flowers.
By Sakaki Hyakusen (1698-1753).
Color on paper. Kakemono. H. 39 in., W. 10%
Mr. Kyubei Ando, Fukushima.
45 Landscape
in
in.
By Yosano Buson ( 1716-1783)

Mr. Kinta Muto, Hyogo.
in.,
W.
51
(1726-1792).
Color on silk. Kakemono. H. 37% in.,
Tokyo University of Arts.
in.
54
*
in.
53 Young Women.
By Katsukawa Shunsho
Snow.
46 Sunny Morning
19
at Uji.
By AokiMokubei (1767-1833).
Color on paper. Kakemono. H. 19% in., W. 23% in.
Cultural Properties Protection Commission, Tokyo.
Woman
W. 13%
in.
Changing Dress.
By Kitagawa Utamaro (1754-1806).

Color on silk. Kakemono. H. 46% in., W.
Mrs. Sue Hara, Kanagawa.
21 1/16
in.
47 Crapes.
By Tachihara Kyosho (1785-1840).
Color on paper. Kakemono.
H. 35'/, in., W. 15% in.
Mr. Kango Furuta, Tokyo.
UKIYO-E (Wood-Block
Remarks:
The large
The medium
The narrow
2.
1.
size is
The
15
in.
15
Ages of Ukiyo-e
sentative artists:
x lOMi
IOV2
size is
size is
largest
in.
in.
paper
size is
29%
in.
x 20Vi
Prints)
in.
in.
x8
3%
in.
in.
prints: First period
c.
1661-1688. Black
line print called Sumizuri-e. Repre-
Hishikawa Moronohu, Torii Kiyonohu and Kaigetsudo Ando.
Second period:
c.
1689-1715. Black line print and vermilion applied with hrush, called
Tan-e. Representative artists: Hishikawa
Moronohu, Torii Kiyomasu, Kaigetsudo Ando and Torii
Kiyonohu.
Third period:
c.
1716-1744. Black line print with red, green and yellow
in
hrushwork, called
Beni-e.
With
the addition of glossy black
by the use of a
sort of glue,
lacquer-black picture. Representative artists: Torii Kiyonobu
Shigenaga,
II,
it is
called Urushi-e,
Kiyomasu
Torii
II,
meaning
Nishimura
Okumura Masanobu and Okumura Toshinobu.
Fourth period:
c.
1745-1764. Primitive polychrome
print, called Benizuri-e, at first red
green alone, later with the addition of yellow and purple. Representative
artists:
and
IshikawaToyonobu
and Torii Kiyomitsu.

Fifth period:
1765-1867. Elaborate polychrome
c.
ten colors. Intermediate colors such as gray
The most elaborate
in color-printing
print, called Nishiki-e,
and indigo came
was Utagawa Toyokuni
to
III,
done
in
more than
be produced by double printing.
who used over
forty colors in his
depiction of actors. Representative artists: Suzuki Harunobu, Torii Kiyonaga, Kitagawa Utamaro,
Toshusai Sharaku,
3.
The
Ando Hiroshige and Katsushika Hokusai.
exhibits listed below are
551 Scenes
at
from the National Museum
Yoshiwara (gay quarters in Edo).
6 pictures. Large size Sumizuri-e.
By Hishikawa Moronobu.
To be exhibited throughout
552 Young
Woman
Holding a Poem Card.
By Kaigetsudo Dohan.
5512 Young Woman on the Verandah.

Medium size Nishiki-e.
Narrow size Urushi-e.

By Okumura Toshinobu.
exhibited in the
first
week.
By Suzuki Harunobu.
To be exhibited in the second week.
exhibition.
554 Fan Dealer.
To be
first
a Lute.
5511 Couple at the Verandah.

killer).
Largest size Tan-e.
By Torii Kiyomasu.
To be exhibited throughout
55-10 Young Woman Playing

By Suzuki Harunobu.
To be exhibited in the
exhibited throughout exhibition.
553 Shoki (demon
559 Okiku and Kosuke (heroine and hero of

a Kabuki play).
Large size Benizuri-e.
By Ishikawa Toyonobu.
To be exhibited in the third week.
exhibition.
Largest size Sumizuri-e.
To be
collections.
By Suzuki Harunobu.
week.
third week.
5513
555 Beautiful
Sei Shonagon (historical court lady

in full dress).
Girl of Osaka.
Narrow size Urushi-e.

556 Beautiful
Narrow
Large
Large
size Urushi-e.
Women
in Disguise as Travelling
in
the
first
Monks.
week.
Women in Travesty of Kanzan and

Juttoku (Chinese hermits).
558 Two

week.
size Nishiki-e.
By Torii Kiyonaga.

To be exhibited
first
5514 Taking Shelter from Shower.
Girl of Kyoto.
557 Two
size Nishiki-e.
By Torii Kiyonaga.
5515 Enjoying Evening Cool on the

Riverside at Shijo.
Large size Nishiki-e.
By Torii Kiyonaga.
third week.
5516 A Coquettish Type:

From
Large
the series "Ten Physiognomic Types of Women.'

size Nishiki-e.
By Kitagawa Utamaro.
To be exhibited in the first week.
5517 Young
From
Woman
the series
Reading a Letter:
"Ten Physiofinomic Types
55-27 Somenosuke of the Matsubaya (a brothel)

of
Women."
Large size !\ishiki-e.

By Kitagawa Ulamaro.
To
l)e exliil)ite(i in
55-18 Love
in
the series "Beauty Contest of (Jirls

of (iay Quarters."
Large
the second week.
From
size Nishiki-e.
By Ichirakutei Eisui.
To he exhihited in the
third week.
Middle Age:
the series depicting women in travesty

from a group of famous poets of the Heian Period.
From
Large size l\ishiki-e.

By Kilagawa LItamaro.
To he exhihited
From
Large
in tile third
as Shiga Daishichi.
5529 Yamato-ya:
From

By Toshusai Sharaku.
To he exhihited in the
Large
first
as Ishii Cenzo.

By Toshusai .Sharaku.
5530 Otowa-ya:
From
in the
the series "Portraits of Actors on the .Stage.'

size Nishiki-e.
By Utagawa Toyokuni.
week.
5520 Actor Bando Mitsugoro
the series "Portraits of Actors on the .Stage.'

size Nishiki-e.
By LJtagawa Toyokuni.
To he exhihited in ttie first week.
week.
5519 Actor Irhikawa Koniazo
To be exhibited
55-28 Koraiya:
second week.
Large
the series "Portraits of Actors on the Stage.'

size Nishiki-e.
By Utagawa Toyokuni.
5521 Actor Arashi Ryuzo
as the
money lender
Ishibe Kinkichi.
55-31 Red Fuji:

By Toshusai Sharaku.
To be exhibited
From
in the third
the series "Thirty-six Views of Mt. Fuji.''

By Katsushika Hokusai.
week.
To be exhibited
in the first
week.
5522 Suma:
A
satirical depiction of the
scene of
Suma
from the classic novel. Tales of Genji.

By Hosoda Eishi.
To be exhihited in
the
first
week.
5523 Itsuhana:
the series "Beauty Contest of
Geisha Girls at Yoshiwara."
size Nishiki-e.
By Hosoda Eishi.
55-24 Ohane and Ofuku:

From
the series "Beauty Contest of

Geisha Girls at Yoshiwara."
By Hosoda Eishi.
To be exhibited in
5525 Young
Large
the third week.
Woman
and Wind-bell.
the series "Thirty-six Views of Mt. Fuji.

By Eishosai Choki.
From
first
week.
the series "Thirty-six Views of Mt. Fuji

To be exhibited
in the third
week.
5534 Yoshitsune Uma-arai no Taki (waterfall

where the warrior Yoshitsune washed his horse)
From
the series "Famous Waterfalls Throughout Japan.

55-35 Ono Waterfall:

From
size Nishiki-e.
5526 Kascn of
From
55-33 Mt. Fuji Reflected on Lake Misaka:
From
Large
5532 Enoshima:
the series
"Famous Waterfalls Throughout Japan.

the Ogi-ya (a brothel);
From the series "Beauty Contest

of Gay Quarters."
55-36 Yoro Waterfall:

of Girls

By Chokosai Eisho.
To be exhihited in the second week.
From
the series
"Famous Waterfalls Throughout Japan.

To be exhibited
in the third
week.
5537 Enkvo Bridge.

Large
5545 Sensoji Temple
at Aisakusa:
From
the series "Hundred Famous Places in Edo."

By Ando Hiroshige.
size Nishiki-e.
By Ando Hiroshige.
week.
first
5538 Kambara:
From
tlie series "Fifty-three Stages

the Tokaido Higliway."
By Ando Hiroshige.
To be exhibited
on
5546 "Fox Fire" (Sort of Jack-o-Lantorn)
the series "Hundred Famous Places in Edo."

By Ando Hiroshige.
second week.
in the
5539 Snow Landscape
at
River Fuji.
Largest size Nishiki-e.

By Ando Hiroshige.
5540 Snow on River Sumida
5547 Lumber-yard
the series "Famous Places in

Narrow size Nishiki-e.
Edo
in
Four Seasons.'
5548 Tsukuda-jima Across
the series "Hundred Famous Places in Edo.'

By Ando Hiroshige.

By Ando Hiroshige.
exhibited in the second week.
5549 Jumantsubo
5543 Night Scene
at
From
5544 Hikifune
Fukagawa:
the series "Hundred Famous Places in Edo.

By Ando Hiroshige.
third week.
Saruwaka-cho:
Famous Places
the series "Hundred

By Ando Hiroshige.
To be exhibited
at Susaki,
From
5542 Peony and Peacock.

By Ando Hiroshige.
Eilai Bridge:
From
week.
first
the series "Hundred Famous Places in Edo.'

By Ando Hiroshige.
5541 Camellia and Bird.
To be
Fukagawa
at
From
From
By Ando Hiroshige.
at Oji:
From
55-50 Yabukoji
in
5551 Shower
at Yotsugi:
From
the series "Hundred

Famous Places
in
Foot of Atago Hill:

By Ando Hiroshige.
week.
in the first
at the
From
Edo."
at
Ohashi Bridge:
From

By Ando Hiroshige.
Edo.
By Ando Hiroshige.
CALLIGRAPHY
These works are mostly specimens of Kana (Japanese syllabic characters) written or copied upon
decorative papers.
Some
are of decorated scripture.
56 Konkomyo-saishoo-kvo
*
59 Fan-shaped Hoke-kyo
(Buddhist Scripture) Vol. 8.

in gold ink upon purple paper.
H.93/I6in., W.
Written
W.
9%
Total L. 27 ft. 2
Saikokuji (temple), Hiroshima.
Scroll.
in..
Sutra.
Late 12th Century.

19'/^ in.
(top),8i4
in.
(boiium).
Horyuji (templet, Nara.
in.
60 Fan-shaped Hoke-kyo Sutra.

57 Hoke-kyo (Buddhist Lotus Sutra,
known
as Kunoji-gyo).

Scroll.
W.
10 '/4
in..
Total L. 132
Late 12th Century.

H.9-'H in., W. 19'-.. in. (top),?",;,
Saikyoji temple , Shiga.
in.
(bottom).
in.
Mr. Keita Goto, Tokyo.
61 Fragment of
58 Hoke-kyo (Buddhist Lotus Sutra).

*
Late 12th Century.

W. lOVi in.. Total L. 152
.Atsuta Jingu (shrine), Aichi.
Scroll.
(Known
Wakan
11th Centurv.
in.
Roei-shu Anthology.
as Ota-gire).
11.9':; in., Vi.
ll's
in.
Mr. Keita Goto, Tokyo.
62 Fragment of Kokin-shu Anthology.

*
64 Fragment of Sanju-rokunin-shu
(Anthology of Selections from Thirty-six Poets,
(Ascribed to Minamoto Toshiyori).

Early 12lh Century.
II.
8%
in.,
W. 15%
known as
Mr. Masataka Kato, Kanagawa.
H. 7'/in., W.eViin.
Mr. Tsusai Sugawara, Kanagawa.
63 Fragment of Sanju-rokunin-shu
(Anthology of Selections from Thirty-six Poets,
known
Ishiyama-gire).
Early 12th (-entury.
in.
65 Poem Written Upon Decorated Paper.
as Ishiyama-gire).
17th Century.
Calligraph by Koetsu, Painting by Sotatsu.
Early 12th Century.

H. 8 in., W. 121/2 in.
Mr. Hikotaro Umezawa, Tokyo.
H. 13'/in., W.27yin.
SCULPTURE
The clay
ture
figures
made
(Haniwa) exhibited here are representative of the indigenous Japanese sculp-
as grave figures in the ancient burial
dhism
(c.
3rd
and eloquently expressive. Some
primitive, simple in representation
was replaced by the Chinese sculpture
native art
mound age
style
to 5th Centuries).
They are
critics regret that this
which was introduced
into
type of
Japan with Bud-
in the 6th Century.
During the Asuka and Hakuho periods (6th and 7th Centuries) many excellent Chinese works
must have been brought
were made by Chinese
to
Japan
artists in
either directly
Japan. Japan
is
from China or possibly by way of Korea. Others

thus an excellent repository of Chinese sculpture
of these centuries.
During the 9th

Almost
all
to
12th Centuries a characteristic Japanese style of sculpture was developed.
of the existing works are of wood, often lacquered or colored. Prior to the 13th Century,
Japanese art in general reflected a court civilization centering around the two old capitals of Kyoto
and Nara. Highly organized

were
built
and
divinities
sculptors' guilds
were constantly
at
work
were represented in painting and sculpture
court rank for the repose of their dead mothers, fathers, husbands.
duction, statues which in the early
block of wood were
now made
number
of a
was created
known
samurai
class.
This new
dating from the
works of the
Kamakura
late
period.
civil
war these were
style, side
later restored
by
by side with the graceful rep-
was continued through
exhibits here include four specimens of the
style, three
facilitate the increased pro-
as the shogunate seized control of the gov-
machi (1334-1572). This was the period of great progress
Asuka
wish of persons of high
resentation of the preceding court civilization,
The
Temples
Kamakura period ( 1186-1333) A realistic and expressive style
in the
to serve the taste of the
To
cities.
of separately carved parts.
ernment. Although temples in Nara were damaged during the
new samurai regime early
at the
two
Heian period (782-897) would have been carved from a single
Late in the 12th Century a powerful group
the
in these
in
the next period, the
Muro-
Japanese sculpture.
Haniwa clay
Nara period, three others of
the
figures,
one specimen of the
Heian period, and four statues
73 Hosho Nyorai (Buddhist divinity,

* Sanskrit: Ratnasambhava).
66 Tcrra-cotta Grave Figure (Man).

Ancient Burial Mound Age.
Late 8th Century.

Wood, lacquered. H. 29%
Nara.
H.29y8in.
National
Museum, Tokyo.
Saidaiji (temple)
67 Terra-cotta Grave Figure (Head of a

Girl).
74 Yakushi Nyorai (Buddhist

*
H.6liin.
Mr. Masanari Matsubara, Tokyo.
Wood. H. 19% in.. Total H. 38 MNagao Museum, Kanagawa.
76 Tamon-ten (Buddhist demigod,

*
H. 5% in.
Mr. Masanari Matsubara, Tokyo.
70 Kannon Bosatsu (Buddhist
12th Century.
divinity,
77 Seitaka (Cetaka, Oneof the

* Eight Attendants of Fudo Myo-o)
7th Century.
One of the two attendants of
of the Golden Hall.)
Bronze, gilded. H. 24 in.
Amida Nyorai
Sanskrit: Vaisravana).
Wood, colored. H. 51 in.

Kawai-dera (temple), Osaka.
Sanskrit: Avalokitesvara).
Horyuji (temple)
Early 10th Century.

colored. H. 66Mi in.
Yakushiji (temple), Nara.
Wood,
Museum, Tokyo.
69 Terra-cotta Grave Figure (Hen).

in.
75 Eleven-headed Kannon.
in.
National
divinity,
Sanskrit: Bhaisajyaguru).
9th Century.
68 Terra-cotla Grave Figure (Horse).

H. 24ys
in.
12th Century.
Wood, colored. H. 40% in.. Total H. 47

Kongobuji (temple), Wakayama.
in.
Nara.
78 Kongo Rikishi (Buddhist Guardian Gods,

*
71 Head of a Bosatsu (Bodhisattva).

*
Late 8th Century.

Wood, dry-lacquered. H. 30
Toshodaiji (temple), Nara.
Sanskrit: Yajirapani).

Wood, colored. H. 65Vi in. (each).
Myoho-in (temple), Kyoto.
in.
79 Juni Shinsho (One of the Twelve

* Escorts of Yakushi Nyorai)
72 Torso of Buddha.

Wood, colored. H. 27% in.
Mr. Tsuneichiro Nakamura, Tokyo.
Late 8th Century.

Wood. H. TO'/a in.
Toshodaiji (temple), Nara.
MASKS
Gigaku was originally a Chinese dance performed
This dance was often performed
8th Centuries).
tion
number
were formerly
in the
to
music. Dancers wore colored wooden masks.
Japanese court during and after the Nara period (7th and
of excellent masks date from this time.
in Horyuji, oldest of
Japanese temples located
ferred to the Imperial collection and then to the National
The
three other
Gigaku masks come from Todaiji,
the
Two
in
of the masks in this exhibi-
Nara. These were later trans-
Museum where
monastery
in
they are
now
treasured.
Nara famous for the Grand
Bronze Buddha.
The dance known
as
Bugaku was
also introduced
from China. In origin
it
combines music and
dance of India and Chinese Turkestan with that of China. Japanese court nobles were familiar with
Bugaku
as early as the
Nara period. The
earliest existing
masks for
this dance,
however, date only
from the 12th Century.
The Japanese Noh play has

It is
its
origin in the
Gigaku dance but
not only a musical performance but also tells a story.
The
is
actors
more
like the
modern drama.
wear masks and assume the
The
roles of liiimaii characters.
They represent sculpture by

time onward
earliest
masks come from the Muromachi period (1334-1572).
the best masters of the period, as religious sculpture
83 Four Noh Masks.
6th-7lli Centuries.
16th-17th Centuries.
colored.
Wood, colored
Daikof u
L.
Wood,
Ko-omote: L. 8% in., W. 5 7/16

1
2 Hannya: L. 9% in., W. 7 in.
Heita: L. 8 in., W. SV^ in.
:i
4 Myoga Aku Jo: L. 8% in., W. 6 'A
12% in., W. 778 in.

15% in., W. 8V2 in.
2 Riivishi: L.
81 Three Gigaku Masks.

*
8th Century.
Wood, colored.
a Suiko-o: L. IT'/k
b
c
temple)
in.
in.
84 Two Masks for Kyogen.
W. 9% in.
Konron: L. 151/4 in., W. 11 in.
Baramon: L. 11 in., W. 8Vi in.
Todaiji
this
in decline.
80 Two Gigakii Masks.
was from
16th-17th Centuries.
in.,
Buaku:
6% in., W. 5% in.
7%
5% in.
L.
2 Usobuki L.
in., W.
:
Nara.
82 Four Bugaku Masks.

*
12tli-13th Centuries.
Wood,
colored.
a Chikyu: L. 8%
b Sanju L. IQiA
W. 61/4 in.
W. 81/4 in.
Shin Toriso: L. 8% in., W. 6VNasori: L. 7% in., W. 6% in.
:
in.,
in.,
Kasuga Taisha (shrine
),
in.
Nara.
METAL WORK
Dotaku (bell-shaped bronzes) are the most ancient objects
have been made about or even prior
dhist ceremonial
to the 1st
implements and mirrors
in the exhibition.
They are believed
Century. Other bronzes exhibited are mostly Bud-
typical Japanese metal works. There are also exhibited
iron kettles for the Japanese tea ceremony.
85 Dotaku (bell-shaped bronze).

About 1st Century B. C.
Excavated at Kojin-yama, Tsuri-mura,
Nishi Hamana-mura, Shizuoka-ken.
89 Keko (Two Trays Used in Flower-Sprinkling

* Ceremony in Buddhist temple).
13th Century.
Bronze, gilded, with design in openwork and
plated with gold and silver.
D. (a) llVs in., (b) 111/4 in.
Jinshoji (temple) Shiga.
H. 291/8 in., W. 15% in.

86 Dolaku.
About
1st Century B. C.
Excavated at Muko-yama, Ibaraki, Higashi
Uchihara-mura, Hidaka-gun, Wakayama-ken.
H. 32% in., W. UVh in.
87 Mirrors. 12 Pieces.
llth-12th Centuries.
Bronze. D. 4'/:. in., SVa
90 Mirror.
*
13th Century.
Bronze. D. 9 in.
Design of chrysanthenumis and a pair of sparrows.

Mr. Ryoichi Hosomi, Osaka.
91 Ashiya:
* Type of kettle
in.
Discovered in Mitarashi Pond in the precinct of
15th Century.
Haguro Jinja (shrine), Haguroyama, Yamagata-ken.

Iron. H. 914
88 Keman (Pendent Ornament

* Buddhist Temple).
of a shape
in.,
known
as Shin
D. of body: IOI/4
formal
in.
Design of raised spots, maple trees and deer.

in
12th Century.
Bronze, gilded. H. 11 Vi in., W. 12i/s in.
From the ornament inside the Main Hall of the
Chusonji (temple), Iwate.
to
92 Ashiya:
Kettle of shin shape, used in tea ceremony.
16th Century.
Iron. H. 7V4 in., D. of body 914 in.
Design of pine and plum trees.
:
National
Museum, Tokyo.
95 Mirror.
93 Hanging lântcrn.
Inscription dated 28 July, 1550.

Bronze. H. 9 in., D. between opposite sides: l.'iVi in.
Design of plum branches and bamboos in openwork.
National
Museum, Tokyo.
96 Kettle of "Flat Spider" Type.
94 Sutra Box.
*
Century.
Bronze. D. 9 in.
I.ate 16th
Design of paulownia, bamboo and phoenix.

Inscription dated 28 May, 1555.

in.. H. 4Vk
Bronze, gilded. L. ll's in., W.
Design of lotus scroll in openwork.
7%
Yohoji (temple)
Iron.
Late 17th Century.

H.3'/sin., D.of body: 12Mi
in.
Kyoto.
in.,
D. of
mouth
1/16
in.
ARMOH
The
three suits of
and
armor made especially
for generals are good examples of 13th, 14th, 15th, 16th
7th Century craftsmanship.
97 Armor with Gradated Purple Lacing,

* with Helmet and Shoulder-pieces.
ISthCentury. H.c. 32I2
99 Dark-Blue Laced Armor with Two-piece
Cuirass.
(Used by Kobori Enshu).

H.38in.
in.
Mitake Jinja (shrine), Tokyo.
98 Cuirass with Lacing of Jay-bird's Feather Color,

* with Helmet and Shoulder-pieces.
Late 14th Century. H. 42
in.
Mr. .Shigesue Akila, Tokyo.
SWORD MOUNTINGS
The sword mountings and sword cases are varied
shape and style according
in
to the
which they were made. Examples of ceremonial swords from each period are present
bition, the earliest
of pure gold, with design of lions

in relief. L.
10th Century.
Gilded, with designs in openwork, nacre inlay
and gokl lacquer niaki-e L. 40% in.
National
in this exhi-
being of 12th Century design and craftsmanship.
100 Sword Mounting of Tachi Type.
periods in
44V2
and peonies
in.
Mr. Kokichi Aoyama, Tokyo.
104 Sword Mounting of Itoniaki-iio-Tachi Type.
Museum, Tokyo.
16th Century.
Scabbard of wood, aventurine-lacquered, with

design of chrysanthemums in nacre inlay and
maki-e. Metal accessories of pure gold with
design of chrysanthemums. L. 39'/4 in.
Mr. Tokutaro Kimura, Tokyo.
101 Sword Mounting of Hyogo-Gusari-no* Tachi Type.

13lh O'ntury.
with design of lions and peonies

openwork and relief. L. 38 in.
Nibutsuhime Jinja (shrine), Wakayama.
(;ii(led,
in
102 Sword Mounting of Koshigalana Type.
105 Sword Mounting of Vchigatana Type.

Nth Century.
.Scabbard of wood, cinnabar lacquered, with design
of wistaria sprays in inlay of nacre and sheet gold.
Hilt wrapped with dark blue braid. Accessories.
14th Century.
Cilded
silver,
with design of peonies
in relief.
L. IS'/s in.
cloisonne. L.
Mr. Torasaburo Kawase, Nara.
103 Sword Mounting of (Jchigatana Type.

*
Late 15th Century.
wood, aventurine-lacquered. Hilt

wrapped with purple braid. Metal accessories
.Scabbar<l of
37'''>(
in.
106 Sword Mounting of Wakizatht Type.

*
8lh Century.
made by Somin.
.Metal accessories
L. ISVi in.
107 Sword Mounting of Katana Type.
108 Sword Mounting of Koshigatana Type.
* Early 19th Century.

Scabbard of wood, black-lacquered, with floral design
in gold lacquer and inlay of nacre and sheet gold. Hilt
wrapped with dark blue braid. Metal accessories of
shakudo (gold and copper alloy), with design of
flowers and birds in overlay of metals of different
colors. L.
38%
19th Century.
Scabbard of wood, with design of wistaria sprays in

gold lacquer and inlay of nacre and sheet gold. Metal
accessories of pure gold, made by Goto Ichijo, with
design of wistaria flowers in relief. L.
Mr. Nobutoshi Naito, Tokyo.
22%
in.
in.
Mr. Taromatsu Okano, Tokyo.
SWORD FURNITURE
Sword furniture
is
the decorative ornamentation for sword cases.
Muromachi period (mid-16th Century) and

Just as
Noh masks
later
It
was produced
in the late
by the master metal workers of each province.
represent the best of Japanese sculpture from the 16th Century onward, so does
sword furniture represent the masterpieces of metal work during this same time. Works
bition are representative of the most
famous masters of various
in the exhi-
schools.
114 Guard.
109 Guard.
Late 18th Century.
Late 15th Century.

Iron. Fist-shaped, with design of
Bishamon-ten
Iron. Oval-shaped, with design of plovers in relief
(Buddhist demigod) in relief and overlay of gold

silver. Longer D. 3 in., shorter D. 2% in.
Made by Kaneie, inhabitant of
Fushimi, Yamashiro Province.
and overlay of metals of
different colors.
and
Inscription: Yasuchika.
Inscription:
Longer D. 3 in., shorter D. 2% in.

Mr. Tomijiro Miyazaki, Kanagawa.
115 Guard.
*
110 Guard.
Late 18th Century.

Iron. Octagonal-shaped, with design of water and dragon
in relief and overlay of metals of different colors.
Early 17th Century.

Brass. Melon-shaped, with design of grapeyard.
Inscription: Umetada Myoju.
Longer D. 3 in., shorter D.
in.
Mr. Eiichi Mori, Kanagawa.
Inscription: Yasuchika.
Longer D.
in., shorter D. 3^/^
3%
in.
Mr. Yorizumi Furukawa, Tokyo.
2%
116 Guard.
*
Ill Guard.
Early 17th Century.
Inscription: To-u.
Longer D. 3% in., shorter D. 3% in.

Mr. Tomijiro Miyasaki, Kanagawa.
Iron. Flower-shaped, with design of nine luminaries
and cherry blossoms
Late 18th Century.

Copper. Oval-shaped, with design of a
fishing-net and plovers in openwork.
in
openwork and
inlay.
Inscription in gold inlay: Matashichi.

D. 3% in.
117 Kozuka (knife-sheath worn

*
112 Guard.
Early 18th Century.
Iron. Square-shaped, with design of Omori Hikoshichi
(warrior) in relief and inlay of gold, silver and
shakudo. 3 in. square.
Inscription: Toshinaga.
Mr. Masahito Kiyota, Kyoto.
113 Guard.
18th Century.
Brass. Square-shaped with rounded corners, with
design of a man collecting scouring-rush in relief
and overlay of metals of different colors.
Longer side 3V2 in., shorter side 2% in.
in scabbard).
Early 18th Century.

Shakudo (gold and copper alloy), with design illustrating heroes of the History of the Three Kingdoms, China.
Inscription: Somin. L.
3%
in.
118 Kozuka.
*
Early 18th Century.
Shakudo, with design of peony spray.

Inscription: Somin. L. 3% in.
119 Kozuka and Menuki

*
(ornamental rivet-head covers).

Early 18th Century.
Rogin (silver and tin alloy), with design of tigers.

Inscription: Somin.
L. Kozuka, 3 13/16 in.; Menuki, I'/g in.
120 Sel of Sword Furniture:
4.
Menuki.
1%
in.
(a) Yoshino. L.
(b) Tatsuta. L. \V-2 in.
With design of cherry blossoms at Yoshino and

maple leaves at Tatsuta. Early 19th Century.
1.
Yoshino. Longer D. 3'/:! in., shorter D. 3 1/16

Tatsuta. Longer D. 3 in., shorter D. 2% in.
(a)
(b)
2.
in.
Mr. Yorizumi Furukawa, Tokyo.
Kozuka. 2 pieces.
(a)
Yoshino. L.
(b)
Tatsuta. L.
3.
All made by Goto Ichijo. Shakudo, with design

of cherry and maple trees in relief and overlay
of metals of different colors.
Oval guards. 2 pieces.
Kogai (pins
121 Guard.
3% in.
3% in.
for
Late 19th Century.

Iron. Oval-shaped, with design of a peony.
trimming
(a)
Yoshino. L.
W\
(b)
Tatsuta. L.
81/4 in.
hair). 2 pieces.
By Kano Natsuo.
Longer D. 2% in., shorter
Nezu Museum, Tokyo.
in.
1). 21/4
in.
LACQUER ART
Lacquer
an exceedingly long history.
art in the Orient has
maki-e ware, or gold lacquer,

already highly developed
Kamakura
period.
is
in the
the most beautiful
Among
Japanese works of lacquer art
and representative. The technique of maki-e was
Heian period and became extremely elaborate
The technique has been applied ever
cabinets, shelves, saddles, chairs,
drums,
in the
since on a variety of objects, such as boxes,
etc.
Nacre inlay for ornamentation of lacquer ware had a remarkable development

kura period
we
in particular, as
122 Box with Design of Plovers
in
Maki-e
16th Century.
12th Century.
Front pommel: H. 13 in., W. 15 in.
Rear pommel: H. 15 in., W. 19 in.
12.S
*
in
Maki-e.
Century.
L. 9 1/16 in., W. 11% in., H.5%
17th Century.
Saddle: H. 10%
-
16th
(>ainellia Trees.
129 Chair with Design of Chrysanthemums
Onlury.
Asuka Jinja (shrine).
10%
in.,
W. 13%
(>rasses
Late 16th Century.

F"rom a set of lacquered furniture.
L. 19% in., W. 12V4 in., H. 8% in.
Kodaiji (temple), Kyoto.
in.
Formerly one of the sacred treasures of

L.
in., W. 16 Vs in.
W. 5% in., H. 10% in.
Stirrups:
128 Cabinet with Design of Au'.umn

* and Bamboo Grove in Maki-e.
1.5th
Box with Design of Pine and
in.
127 Saddle and Stirrups with

Design of Reeds in Maki-e.
Mr. Nagatake Asano, Kanagawa.
W. 14M. in., H. 10%

Museum, Tokyo.
L. 281/4 in.,
National
in nacre inlay.
124 Box with Design of Fans
in.,
H.
Kama-
126 Desk with Design of Lotus and

Peony Flowers in Openwork.
in.
123 Saddle with Design of Cherry Blossoms

*
in the
see in the elaborate pieces exhibited.
(gold lacquer).
13th Century.
L. lOy* in., W. 13% in., H. IV^
following
9%
in.
Cultural Properties Protection Commission, Tokyo.
Late 16th Century.

From a set of lacquered furniture.
H. 30 in., W. 281/4 in.
Kodaiji (temple
Kyoto.
I
in
Maki-e.
ISO Sword l{<>x willi I)<-!>i{;n of (Ihr.vsanthemiim.s

and i'aiilowniu FIowts in Maki-<'.
Karlv
X'.V.i
Drum
131
17lli (.ciilurv.
(el Small drum hody with dcsi<in of hanihoo and

I.alc 16lh Century.
II. y"s in., D. 3% in.
17lh Century.
in.,
National
i;i2
29
L.
W.
in.,
13
in.
Museum, Tokyo.
drum hody with

Karly 17th Ontury.
Il.'>y,in., D. 3-yi in.
(d)
Shelf with Design of Fishing Net

and Herons in Maki-e.
(
Century.
11. 22'- in., L. IVYs in., W.
.Sfiiali
round fans.
17lh (icntury.
12%
in.
II.
in
10
Nali<iiial
(.ERA MIC
ceramic wares
desifîi of
>ijier.
Small drum hody with dcsi};n of rice ears.
17lli
Among
Pieces.
l)i)(ly
(hi Drimi hody with desifjn of holly and lo/enês.

I.alc 16th Century.
11. liy, in., 1).4'/-! in.
Shelf with Design of Kokei Sansho

(three (^hinese sages) in Maki-e.
11.25%
.i
with design of shells.

Laic 16lh Century.
11. IIV, in.. 1).4'L. in.
L. 18'V, in.,
W.4''Nin., ll.SViin.
Iloinina iMusciiin, Yamafiala.
liodies with Design in Maki-e.
Drum
(a)
3%
in.. 1).
in.
Museum, Tokyo.
ART
Japan, earthenware existed already
in the
archaeological age, and in the
8th and 9th Centuries Japan had glazed pottery (lead glaze) under the influence of the Chinese
T'ang
art.
But
it
was
after the 14th or 15th Century that fine pottery pieces of artistic value
came
to
he produced in Japan. Exhibited are good specimens beginning with the Seto ware.
Ceramic art developed rapidly

Japanese character
in
and after the 16th and 17th Centuries, and wares of peculiarly
in glazes of beautiful color
came to be made
in
Kyushu, Kyoto, Kaga and other
ceramic manufacture centers. Famous pieces among these wares are on exhibit, such as Karatsu
ware,
Kakiemon ware, Nabeshima ware, and Imari ware
works of such
1.34
artists as
of Kyushu, Kutani ware of Kaga, and
Ninsei and Kenzan of Kyoto.
139 Tea Bowl.
Pot.
Century.
Old Seto ware. Yellow glazed,
with engraved design of peonies.
H. 10% in., D. of body: 11 in.
17th Century.
Black Baku ware. By Donyu. Named: Tamamushi.
H. 3V4 in., D. of mouth: .5 in.
Mr. Masatoshi Okochi. Tokyo.
14tli
140 Tea Bowl.

1.S5
Pot.
17lli
Century.
Bed Baku ware. By Donyu. Named: Kan Kobai.

H. 4Vs in., D. of mouth: 3V-' in.
14th Century.
.Selo ware. Brown glazed,
with engraved design of tree leaves.
H. 1114 in., D. of body: 7Vi in.
Old
Mr. Masatoshi Okochi, Tokyo.
Mr. Yozo Nakajima, Tokyo.
141 Pot with Three Ears.
136 Oblong Bowl.

Early 17th Century.
.Shino ware. Design of reeds and birds.
H.2in., L.8'/..in., W.Q'în.
Mr. Kan-ichiro Morikawa, Aichi.
Cray
17th Century.
E-garatsu ware.
H. 61/4 in.. D. of mouth: 3-H
in..
D. of base: SVi
in.
Mr. Hirosuke Uchimoto, Fnkuoka.
142 Bowl with Mouth
in
Shape of Flower
Petals.
Century.
Kakiemon ware. Design of flowering grasses
I81I1
137 Square Bowl.

Early 17th Century.
Orihe ware. Design of stripes.
H. 2% in., L. 9 in.
<ivergla/,e
H.
11%
enamel
in.,
in
colors.
D. of mouth:
10%
in.
Mr. Kunio Nakao, Nagasaki.
Nezu Museum, Tokyo.
143 Large Dish.

1.38
Small Bowl.
17th Century.
Green Orihe ware. Engraved design of
H. 2Vs in., D. of mouth: 6'-l> in.
Mr. Kan-ichiro Morikawa, Aichi.
18lh (Century.
Nabeshima ware. Design
man
ridinj; horse.
of hibiscus flowers and

chrysanllicniums in overglaze enamel colors.
11. 314 in.. 1). of mouth: 12'-.. in.. D. of base: 6V4 in.
Mr. Ciichi I'mezawa, Tokyo.
147 Large Shallow Bowl.
144 Bowl.
Ontiiry.
01(1 Imari ware. Design of Dutch ships in
overglaze fiolil and enamel colors.
H. 4 in., D. of moulh: 13''i in., D. of base:
Late 17th Century.

Blue Kutani ware. Design of a tree in
overglaze enamel colors.
II. 41/4 in., D. 17 in., D. of base: 7 in.
18tli
6%
in.
Mr. Giichi Umezawa, Tokyo.
145 Octagonal Dish.

148 Porcelain Tea
Late 17th Century.

01(1 Kutani ware. Design of peonies in
11. 2',s in., D. between opposite sides: l.'5'j
Mr. Matasaku .^hiobara. Tokyo.
in.
Jar.
Ontury.
By Nononuira Ninsei. Design of moon and
plum tree in overglaze enamel colors.
17th
II.
liy,
D. of body: lO-'^
in.,
in.
Museum, Tokyo.
National
146 Large Dish.

Late 17lh Century.
Old Kutani ware. Design of a kingfisher

149 Dishes with Different Designs.
in
5 Pieces.
Late 17th to early 18th Centuries.
H. 2V-' in., D. of mouth 13 in.. D. of base: 7~s

Mr. Giichi Umezawa, Tokyo.
:
By Kenzan. D. 6% in.-6V-!
Nezu Museum, Tokyo.
in.
in.
TEXTILES
The
eight pieces of textile fragments
They are part of
from the Shoso-in Repository date from the 7th or 8th Century.
the ail ohjects deposited in the National
Imperial repository of national treasures and

to
show
Museum from
now belonging
to the
the Shoso-in, formerly an
Government. They are enough
the highly developed techniques of textile art in that old period.
Shown
here, besides these ancient fragments, are representative pieces of costumes of different
periods and of all sorts of textile techniques: weaving, dyeing, embroidery and gold-leaf im[)rint.
155 Kosode.
150 Textile Fragments (8 pieces) from the

Shoso-in Imperial Repository.
Asuka and Nara periods (7th-8th Centuries).
Framed. Size of frame: 23% in. x 18 in.
Deposited
in the
National
18th Century.
White silk crepe, with design of screens and
resist dyework
in yuzen dyeing
H. 66V-.. in., W. 50 in.
Daihiko Institute of Textile Art Research, Tokyo.
hawks
Museum, Tokyo.
151 Ban (pendants used in Buddhist ceremony).

*
14th Century.
2 Pieces. -Silk, with design of sanimaya-gyo
156 Kosode.
18th Century.
Light blue silk, with design of Fight .Scenic \'iews
in Onii in yuzen dyeing. H. 66'
in.. \\
55 in.
Daihiko Institute of Textile .Art Research, Tokyo.
(symbols of Buddhist divinities) in embroidery.

(a) Total length: 731/4 in.,
tails missing)
(b) Length
I
llyozu Jinja
152
Priest's
<
shrine
),
W. 12%
in.
34V-! in.,
W. 11%
;>
in.
Shiga.
Robe.
Late 16th Century.

Hemp, with design
157 Furisode (kimono with long hanging sleeves).

19th Century.
in tsiijigalidna-zonie
Itied-dyeing and brushwork

Mr. Kiinisuke Akashi. Kyoto.
)
11.
48
in.,
W. 47
silk, with design of autumn grasses

yuzen dyeing. H. 71 in.. W. 49 in.
Daihiko Institute of Textile Art Research, Tokyo.
While figured
in.
in
153 Jimbaori (coat worn over armor).

Late 16th Century.
Hemp, with design
H. 50 in., W. 61 in.
158 Uchikake (lady's overgarment).

19th Century.
in tsujifidluinii-zoitie.
White figured
II.
71 'j
National
1.54
Kosode (kimono with short hanging
sleeves).
Late 16th Century.

Figured silk dyed in large color zones, with design of
flowers and birds of the four seasons in end)roi(lery
and gold-leaf imprint. H. .S9 in.. W. 48 in.
silk.
W. 491/+ in.
Museum, Tokyo.
in.,
1.59
Katabira
(summer
coslunu-).
18th Century.
While hetiip, with design of flowers, cottages anil

curtains in rhuyii-zome dyeing. H. 73'l> in.. W. 51 'j
Daihiko Institute of Textile Art Research. Tokyo.
in.
164 Noh Robe of Nui-haku Type.
160 Katabira.
19tli
Onliiry.
18th Century.
Silk covered with gold leaf, with design of
autumn grasses in embroidery.
White hemp, willi design of streams and

mandarin oranges. H. 68 in., W. 51 in.
Dailiiko Institute of Textile Art Research, Tokyo.
161 Koshimaki (ladyV summer dress).
H. 63 in., W. .52^! in.

165 Noh Robe of Nui-haku Type.
19th Century.
Black silk, with design of symbols of riches.
18th Century.
silk, with design of autumn gra>ses
gold-leaf imprint and embroidery.
H. 611/j in., W. 51 in.
While
H. 69% in., W. 49% in.

in
162 IVoh Robe of Kara-ori Type.

17th Century.
166 Obi (sash).
Ked
silk twill, with design of diagonal s(|uares.

H. 661/2 in., W. 59M! in.
18th Century.
Scarlet velvet, with design of flowering grasses
and puppies. L. 153 in., W. 10V-> in.
National
Museum, Tokyo.
163 Noh Robe of Kara-ori Type.

18th Century.
Silk twill in stripes of scarlet, light blue and black,
with design of flowers and conventionalized waves
pattern. H. 67^! in., W. 56 in.
National
Museum, Tokyo.
167 Obi.
19th Century.
silk, with design of diagonal squares and
in embroidery. L. 173 in., W. ll'Yt
Purple
chrysanthemums
National
in.
Museum, Tokyo.
DOLLS
There are many kinds of Japanese dolls: Gosho Ningyo, figures of lovely children; Saga Ningyo,
wooden
dolls carved
and colored; Nara Ningyo, wooden dolls made
special beauty of carving; Isho Ningyo, dolls to be dressed;
in
Nara, distinguished by their
Kimekomi Ningyo, wooden
clothing attached; and Mitsuori Ningyo, dolls with movable limbs.
dolls with
The exhibition contains
fine ex-
amples of these types.

174 Kimekomi Ningyo (wooden doll
168 Draping Doll (Woman).
with attached clothing).
Late 17th Century.

H. 12in.
169 Cosho Ningyo
19th Century.
of the Temmei era." H.
Ascribed to Daihachiro.
"Dandy

"Ushiwaka and Kumasaka."
H.: Ushiwaka, 30 in.; Kumasaka, 31
National
2%
in.
Mr. Shinzo Noguchi, Tokyo.
(royal-gift doll).
in.
Museum, Tokyo.
175 Kimekomi Ningyo.

19th Century.
"Figures of the Sambaso dance."
Dolls and Toys Society, Tokyo.
170 Gosho Ningyo.

"Spirits of crane and tortoise" (symbols of longevity)
H. 2414 in.
II. 3V-;
176 Kimekomi Ningyo.

Late 18th Century.
"Bird catcher." H. 6V in.
Mr. Shinzo Noguchi, Tokyo.
171 Gosho Ningyo.

"Young
National
piper." H. 9
in.
177 Nara Ningyo (wooden
Museum, Tokyo.
dolls
made
in
Nara City).
Late 19th Century.
172 Mitsuori Ningyo
(dolls with
movable limbs).

H.: man, M'/o in.; woman, 12%
173 Saga Doll.

Late 17th Century.
"Beauty." H. 9 7/16 in.
in.
"Ushiwaka and Kumasaka." By Morikawa Toen.

H.: Ushiwaka, 6V-2 in.; Kumasaka, 11 in.
178 Dolls for the
Girls' Festival in

H.: man, 14% in.; woman, 12 in.
March.
?1 #.
'V ;i. gp
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FRAGMENT OF THE ILLUSTRATED INGAKYO SUTRA
^
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8th Century
PAINTING
EMMA-TEN
(YamaJ
12th Century
Fl
GEN BOSATSU
(Samanlabhadra)
12th Century
ICHIJI
KONRIN
(Vairocana)
12th Century
ARUATS
12tli
Century
10
JIZO
BOSATSU
(Ksitigarbha)
\M\ Cenlury
^
i!^'
^/T.
8
^ ^
li^.
BISHAMONTEN
CFfliVato/iaj
13th Century
MANJUSRI CROSSING OVER THE OCEAN
13th Century
EIGHT ASPECTS OF BUDDHA'S LIFE
13th Century
i!
1
i
.^
J^^-'^
1
12
COURT GUARDS
IN
EQUESTRIAN TRAINING
I
13th Ceniury
14
SCROLL OF
L()\(-\()>K1)
plm
f
(.()]!l.l\
l.llli
CcnliiiN
."^
^/
.:
"*
,.
15
SCROLL OF THE LIFE OF AN ARTLST
13th Century
16
SCROLL OF THE STORY OF HASEO
17
SCROLL OF THE HORSE RACE
IN
14th Century
THE ROYAL PALACE
14th Century
"h /^
-i
V'
^- ^r ^^
t
71
;*
IM^
18
PRIEST KENSU
By Kao Ryozen
..
14th Century
20
LANDSCAPE
Altrilnilfd to Sliiihim
lolli
OiUiirv
4>
/X.^^V'v.
24
LAND.SCAPK VVnil H.OVVEHS AMU BIRDS

Atlriliuted to
2S
SUMMER LAN
BySesshu
1-1
W\.
15th Century
Kano Motonobu
16th Century
22
k\\ \\,\()\
By No-Ami
I!()>\T>1
iAvuloLitv.suint)
15th Century
21
25
REISHO-JO OF THE T'ANG DYNASTY

By Kei
Sliilsusai
16tli (ientiiry
KANZAN AND JITTOKL
loth
Ontury
>
^
26
llAWkS
28
EAGLES AND PINES
B) Se>M,n
16th Century
Attributed to
Kano Eitoku
17th Century
26
HAWKS
28
EAGLKS AND PINES
BySesson
16th(.,niiir>
Atirihut.a
to
kaim
i;ii,,ku
ITih
Ccutun
30
WESTERNERS PLAYING THEIR MUSIC
35
I8th Cciiuii>
AUTUMN GRASS AND QUAIL
By Sakai Hoitsu
19ih Century
29
32
WESTERNERS
IN
AUTUMN CRASS
JAPAN
17th Century
By Ogata Korin
17th Century
3;^
\M)--(
\l'i;
B> Ike Taiga
\T l,\Ki:
IISI
and overlooking tides of CH'IEN-TANG rivek
18th Century
W.--^
31
SCENES ON AND B A (K
ol-
I'HE
STAGE
ViimImh,-,!
lli^lnk.iua
^^'
M.u
.1mi
I7i1i (..ni
-!4Û^'''
34
SNOWY LANDSCAPE
.31
SCENES ON AND BACK OF THE STAGE
By Matsumura Goshun
18th Century
Aiirihiiua
i..
lli-lnkaua M.unnoLu
i:il,
<
.miui)
41
WAVES
By Maniyama Okyo
18th
Centun
41
WAVES
By Mariiyama Okyo
18th Century
65
POEM WRITTEN UPON DECORATED PAPER

Painting by Sotatsii
38
YVIMA
Calligraph by Koetsii
17th Century
(Vimalakirti)
By Ogata Korin
18tli Ceiitur\
'
"^
Rk
iii
wmfc^*<
^\^^
'^>
ij-.
T'
't'-'
1^
37
WISTAKIA
IN
BLOOM
By Honnami Koho
.i6
l'Ul'l'IK.>
By Kitagawa Sosetsu
17th Century
17th Century
47
GRAPES
By Tachihara Kyosho
44
LOTUS FLOWERS
By Sakai Hyakusen
49
18th Century
19th Century
ALBUM OF INSECTS AND FISHES

By Watanabe Kazan
19th Century
MORNING
U>
Sl'NNY
45
LANDSCAPE
IN
IN UJI
SNOW
By
A-.ki M..lsMl)ci
By Yosa-no Buson
lyih Cfiiiiiry
I81I1 C.-ntiiry
40
GROUP OF COCKS
By
Ito
Jakuchu
18th Century
43
PEACOCK
By Yamaguchi Soken
18th Century
-t
i^ ff
-f
i^
it ^.
48
>^.
j-1
LANDSCAPE
By Nagasawa
IN
MOONLICHT
Rost-Isu
I81I1
Ccniiiry
#A
^
.-*>
A.
i^ j^
-^"
J^
;i
-^
PORTRAIT OF ICHIKAWA BEIAN

By Watanabe Kazan
42
^ ^^
19th Century
^^
^ i
!l
39
IN
AND AROUND KYOTO
52
By
Siiniiyo>lii dikt-i
17th Century
VILLA AT THE FOOT OF OGLRAYAALV HILL

By Okumura Masanobu
18th Century
54
WOMAN CHANCING HER

By Kitagawa Utamaro
DRESS
18th Century
55-1
SCENE OE YOSHIWARA
By Hishikawa Moronobii
18th Century
55-2
YOUNG WOMAN HOLDING A POEM CARD

By
Kaigetsiido Dolian
18th Century
53-11
COUPLE TALKING AT THE VERANDAH

By Suzuki Harunobu
18th Century
55-16
A COQUETTISH TYPE
By Kitagawa Utamaro
55-21
ACTOR AKASUl RYUZO AS A MONEY-LENDER

By
Toshii.sai
Sharaku
19th Century
19lli
Century
35-35
ONO WATERFALL
By Katsushika Hokusai
19th Century
55-51
SlIOWKK AT OMASIll
Ando Hiroshige
19tli
BKII)(;K
Century
t^
-Vk
v1^
^ r
-^)k.
-^
m- y^^
*
,5.
rt
6'']
if
i.
1'-
t^f/
}"'
J-*
^
J
&1fc
-^
U
rR
<^
r
^t
-1
'
J 1
^
1
i5-~
a|s!^
3^
^^
-^^
1(^
^
.ft/-til^
'
5
in
1
"=1
^^*\
X.
^ ft
fit
-* 4^
In
,S^
^>
'^
^^C^
^p;]-
-^J^-
^-^
c
/
1 '
'A
-7'/
-4-
^f
*'^
>-
t
^v.
3x-
.:^1
7i
&7U
4VV
it
.^
.-^^
f'l
fit
:i
^-i^c ^T
i^
*/i
-^
^
56
KONKOMYO-SAISHOO-KYO SUTRA
8th Century
58
HOKEKYO SUTRA
12th Century
60
FAN-SHAPED HOKEKYO SUTRA

12lh
CALLIGRAPHY
Ontury
'r
63
62
FRAGMENT OF SANJUROKUNINSHU ANTHOLOGY
FRAGMENT OF KOKINSHU ANTHOLOGY
Aiiributed
to
12th Century
Minamoto-no Toshiyori
12th Century
69
TERRACOTTA GRAVE FIGURE
(Hen)
SCULPTURE
66
TERRACOTTA GRAVE FIGURE

4lh-5th Century
67
TERRA-COTTA GRAVE FKU'RE

4th-Sth Century
Hcid
oj a nirl)
(Man)
70
KWANNON BOSATSU
( Avalokitesvara)
7th Century
72
TORSO OF A BUDDHA
8th Century
71
HEAD OF A BU>Ai>l
(
74
YAKUSni NYORAI
(BaisajyaguruJ
9ili
Cciiiury
Bodhisattva)
8th Century
76
TAMON-TEN
(VaisravanaJ
12th Century
77
SEITAKA DOJl
(Cetaka)
13tli
Ontury
78
KOW.O
R\K\S\\l
(I
ajirapani)
13th O-nlury
80
GIGAKU MASK
7th Century
81
GIGAKU MASK
8th Century
GIGAKU MASKS
81
(;IGAKU
MASK
8th Century
80
GIGAKU MASK
7th Century
BUGAKU MASKS
83
NOH MASK
Ko-Omoie
16th-17lh Century
82
BUGAKU MASK
82
Shin Toriso
BUGAKU MASK
Chikyii
12th Century
12th Century
NOH
KYOGEN
MASKS
and
83
NOH MASK
Myoga Akujo
16th-17th Century
83
NOIl
MASK
Limn;
16th-17th Century
84
KYOGEN MASK
16th-17th Century
Buaku
84
KYOGEN MASK
16th-17th Century
Us<)l)uki
METAL WORK
85
DOTAKU
(Bell-shaped bronze)
First
Century B.C.
88
94
SUTRA BOX
KEMAN
12th Century
16ih Century
87
MIRRORS FROM HAGURO SHRINE

llth-12th Century
91
ASHIYA KETTLE
FOR TEA CEREMONY
15th Century
96
FLAT KETTLE FOR TEA CEREMONY
17th Century
97
ARMOR WITH HELMET
ARMORS
(Purple lacing)
13th Century
98
ARMOR WITH HELMET

(Jay-bird feather color)
14th Century
99
CUIRASS
(Dark-blue lacing)
16th Century
SWORD FURNITURE
I
t
100
SWORD MOUNTED FOR CEREMONIAL USE
101
SWORD MOUNTED WITH CHAINS
13th Century
W
105
SWORD MOUNTING
(Uchigatana type)
108
SWORD MOUNTINC;
Koshigatana
ly,>e)
JOth Century
17th Century
19ih Century
^v:>^^îj^f,
106
107
^
SWORD MOUNTING
SWORD MOINTING
(Wakizashi type)
19th Century
s-Ji
(Katana type)
19th Century
115
SWORD (UIARD
I81I1
By Yasuchika
Ontiiry
113
SWORD GUARD
SWORD (;UARD
17th Century
By Umetada Myoju
SWORD GUARD
By Umetada Myoju
18th Century
17th Century
119
110
110
By Yasuchika
KOZUKA AND MENUKI
By Yokoya Somin
18th Centuiy
121
SWORD GUARD
By Kano Natsuo
19th Century
114
SWORD GUARD
By Yasuchika
18th Century
120
SWORD GUARD
Carved by Goto Ichijo
I'Jth
Century
120
SWORD (;UARD
Carved by
(Joto Icliijo
I9tli
(!enlury
LACQUER
ART
123
LACQUERED SADDLE WITH DESIGN OF CHERRY BLOSSOMS

12th Century
127
LACQUERED SADDLE
AND STIRRUPS
17th Century
122
LACQUERED BOX WITH DESIGN OF PLOVERS
124
13th Century
LACQUERED BOX WITH DESIGN OF FANS
16th Century
125
LACQUERED BOX WITH DESIGN OF PINE AND CAMELLIA

Containing a
set of toilet articles
16th Century
128
LACQUERED CABINET WITH DESIGN OF AUTUMN GRASS
129
16th Century
LACQUERED CHAIR
WITH DESIGN
OF CHRYSANTHEMUMS
16lh Century
148
PORCELAIN TEA JAR By Nonomiya
Ninsei
17th Century
CERAMIC ART
135
BROWN GLAZED POT
(Old Seto ware)
14th Century
134
M;1.I.()\\
14tli
(,I,\/,|;|)
Century
pot
old Seto
ivarej
138
SMALL GREEN BOWL
(Oribe ware)
17th Century
i\\.M'\'\
B'^^^'^'J^s
137
SQUARE BOWL
Oribe ware)
17th Century
136
OBLONG GRAY BOWL
(Shino ware)
17th Century
^T*'
139
CEREMONIAL TEA BOWL

By Do-nyu
Black Raku ware)
17th Century
140
CEREMONIAL TEA BOWL

(Red Raku ware)
17th Century
141
JAR WITH THREE EARS (YcGaralsu
ware)
17th Century
By Do-nyu
144
149
PORCELAIN BOWL
DISHES WITH DIFFERENT DESIGNS
(Old Imari ware)
By Kenzan
18th Century
17th Century
146
LARGE PORCELAIN DISH
149
DISHES WITH UIFFERLNT DESIGNS
(Old Kutani ware)
17tli
By Kenzan
Century
17tli
Century
143
LARGE PORCELAIN DISH
142
(Nabeshima ware)
PORCELAIN BOWL
18tli
Century
(Kakiyemon ware)
18th Century
150
TEXTILE FABRICS FROM THE IMPERIAL REPOSITORY SHOSOIN
7th-8th Century
TEXTILES
154
KOSODE SILK KIMONO
16th Century
-^p^-:^.
162
NOH KOBE OF
KARAOKl TYPE
17th Century
166
SCARLET VELVET OBI
(Sash)
18th Century
171
PRINTED
IN U.
S. A.
BY
H. S.
GOSHO NINGYO "YOUNG PIPER"
CROCKER
CO., INC.
19tli
Century
WITH BLACK AND WHITE ENGRAVINGS BY WALTER
J.
MANN
CO.,
SAN FRANCISCO
s\-^^
^ss^m-^

Art Treasures From Japan (Art Ebook)

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ART TREASURES

Special Loan Exhibition

held jointly by the

Cultural Properties Protection Commission

Young Memorial Museum

has had for a good

the fulfilhiient of a desire our

larger sense to the

the richness and greatness of the ancient arts of

Western world began

relatively little about

only a matter of decades

Far East, and

to devote a serious interest to the arts of the

was largely centered on Chinese

original as that of most

and almost jealous love of the Japanese people

other nation in the world has so diligently cared for

and guarded against the exportation

was almost necessary

to the far-off islands.

for this very reason that the present exhibition

assumes a singular importance.

In view of the special occasion of the Treaty Conference in

deavor to make this exhibition a

San Francisco, and

symbol of the resumption of cultural co-operation

between our two countries, the Japanese Government has consented

outstanding treasures. Hence, in order to be-

aware of the particular greatness of Japanese

travel all the

one more reason for the West's scant knowledge of Japanese

significance: the genuine

of great national treasures for their first

showing outside of Japan.

While the few former displays

from Japan held abroad were prin-

and sculpture, the present exhibition

also covers various other fields of the arts.

wood-block prints, metalwork, lacquer, ceramics and

inclusion of choice examples of

the understanding of the American public for the creative invention,

and the inimitable

the Japanese artists.

the efforts of the Japanese authorities to organize and assemble

time must have been enormous, and

consent to our plan

special thanks are

America have every reason

Japanese Government for

to the Cultural Properties Protection

of the exhibition jointly with the

M. H. de Young Memorial Museum, and

packing the exhibits;

museums, and private

Director Mr. Nagatake Asano

the formidable task of selecting, collecting, and

which, among famous

and other persons unknown

to further this undertaking. Finally,

special gratitude to Dr. Jiro

contribution of their treasures

no doubt, worked hard