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Documente Profesional
Documente Cultură
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JAPAN BEFORE BUDDHISM
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DuringthesecondcenturyB.C.an influxof
peoplefromthe continentbroughtthe firstof
severalwavesof foreigninfluencethathave
shapedJapaneseculture,initiatinga more
advancedculturalstageknownas Yayoi.
Whenricecultivationandbronzeandiron
metallurgywereintroduced,probably
throughKorea,the isolatedandself-sufficient
lifeof theJ6mongavewayto a communal
societyorganizedto carryout thedemanding
agricultural cycle.Architectural stylesand
ornamentalmotifsreflectotherinfluences
fromsouthernChinaandthe Pacificislands
stretchingfromKyushuto Taiwan.
Thesocialandaestheticcharacterof the
transformed cultureof Yayoiis vividly
reflectedin its ceramicvessels.The finely
articulated shapeof thisstoragejarfromthe
Nagoyaarea,withits bulbousformrising
froma small,flatbaseto the flaringrimof its
wheel-turned neckandmouth,is enhanced
by the burnished surfaceof its warmred
body. The irregular,vigorousshapesof
J6mon vessels havebeen replacedby sturdier,
morefunctionalonesin whichsymmetryis
of paramountinterest.
13
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25
Inthemandalaof EsotericBuddhism,
directlybelowthecentralimageof theBud-
dhaDainichiarethefiveGuardianKingsof
Light(Myo-o).Understandably, theseprotec-
tiveavatars,or manifestationsof theBuddha,
provedto be moreaccessibleandappealing
thanthe abstrusephilosophicalprinciple
embodiedin Dainichi.Amongtheselesser
deities,two cameto be the focusof liturgies
thatconcentratedon moreimmediatecon-
cernsthanthe attainmentof Buddhahood
throughmeditationon themandala(see
number 3 z).
Fud6My6-6,theImmovableOne,is
amongthe mostbeloveddeitiesinJapan.In
his ferociousmien,withbulgingeyesand
fangsprotruding froma tightlyclenched
mouth,Fud6is reveredas a powerfulguard-
ian,an aspectmadeexplicitby thelassoand
swordhe brandishes. Withone eyecast
heavenward andtheothertowardtherock
on whichhe staunchlystands,Fudois ever
watchfulagainsttheenemiesof theBuddhist
Law.His boyishfaceandbodyexpressthe
benevolentaspectof his righteousferocity.
Fudo'soriginas Acalanatha,one of the forms
of theHindugod Shiva,is symbolizedby his
hair,whichis tiedto one side.Knotsindicate
thenumberof kalpasthroughwhichhe has
voweddevotedserviceto Buddhism;his
determination to upholdthe BuddhistLawis
expressed in the lotusblossomatophis head.
Fud6'sworshipwascenteredon the
purificationriteof burninggoma,or ritual
This
offerings. ceremonywasoftenper-
formedin specialhallsbeforeimagessuchas
thisone,whichcamefromthe Kuhon-ji,a
templenorthwestof Kyoto.Inpopularprac-
tice,Fud6wasworshipedas thepatronof
warriors,andhisimageoftendecorates
samuraiarmorandswords.
26 Aizen Myo-o, the embodiment of both sacred
and carnal passion, is symbolically colored
red. (Fudo is blue.) This painted image
retainsthe strong lines of the iconographic
ink drawingsthat specifiedhis canonical
image (see number 3 z). Brilliantmineral pig-
ment and gold on the gorgeous robes and
jewelrycreate an appropriateeffect of sen-
suous beauty.Fromthe Heian period on,
Aizen's cult was devoted to prayersfor peace
and success in love. His compassionate and
generous nature is beautifullyexpressed here
by the urn overflowingwith sacred jewels
(Sanskrit:cintamani). With each of his six
arms he wields weapons of Indian origin
against lust and avarice.Two of these weap-
ons, the bell with trident and the double
trident, or thunderbolt (Sk: vajra),are impor-
tant to the performanceof the mandala. The
bell with its transitorysound symbolizes
life's evanescenceand representsthe
materialworld; the vajrarepresentsthe
spiritual world.
27
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28
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31
Thesyncreticnatureof Japanesereligiouslife
is evidentin theiconsandpracticesasso-
ciatedwiththedeityZao Gongen,the abid-
ingspiritof MountKimpu,in theYoshino
Mountainssouthof Nara.Za6 wasthe
protectivedeityof Shugendo,a Shinto-
Buddhistcultdevotedto asceticpracticesand
mountainworship.Imagesof himarebased
on thevajra-bearing guardiansof the
Buddhistcosmos.
Duringthe eleventhcentury,whenBud-
dhistthinkingcenteredon mappo,beliefin
salvationin variousPureLandparadises
mergedwith Shintoconceptsof the sanctity
of theland.Zao Gongencameto be revered
as a manifestation of boththehistorical
Buddha,Shaka,andthefutureBuddha,
Miroku.MountKimpuwasbelievedto be
the siteof a Buddhistparadise.Shugendo
beliefequatedthissacredmountainwiththe
spiritualrealmof theDiamondMandala,
andZao withits centralprinciple,Dainichi.
A finelycastbronzeimageof Zao Gongen
madeat thistimeexpressesthe fervorof this
cultas wellas therefinedaestheticsenseof
the Fujiwara who wereits most
aristocrats
powerfuladherents.Poisedon one leg,he
brandishesa now-missing vajra;his might
andferocityarerenderedin a sensitively
modeledformembellishedwithdelicately
chaseddesignson thewindsweptgarment.
Thisiconwasprobablyplacedin a grotto
similarto the one in whichit wasdiscovered
in modemtimes,stillin worship,in a village
on theJapanSeanorthof Kyoto.
33
A bronzemirrorengravedwith an imageof
Zao Gongenrevealsthe closerelationship of
ShintoandBuddhistimages,as wellas their
differences.Here,the fluidlineof the icono-
graphicdrawingsof Kongo-sattva, thevajra-
bearingBuddhistguardianon whoseimage
Zao'sis based,is engravedin the bronzeby
tinydashes.Calledshintai,or "god-body,"
engraved Japanesemirrorsexpressedthe
ancientShintoconceptof the mirroras a
sacredsymbolandabodeof thekami.Since
Shintodeitieshaveno specificformbutare
believedto be embodiedin objects,naturalor
man-made,shintaiarenot displayedas icons
butkeptwithinprecinctsmadesacredby
theirpresence.Thisone was foundburied
withhundredsof otherimagesandsutrason
MountKimputo awaitthe comingof the
theirgestures(mudra),andrecitingthe sacred FutureBuddha.Conceptually, suchShinto
Sanskritsyllables(mantra)associatedwith imagesdifferfromBuddhisticons,whichare,
them,the devoteecouldexperienceBuddha- strictlyspeaking,not sacredin themselvesbut
hood.Thedrawingsin whichsuchpotent aidsto visualizingthe manifoldaspectsof
imageswerecarefullytransmittednot only enlightenment. Althoughprecedentsin Chi-
wereessentialto Buddhistpractice,butalso neseBuddhistmirrorswithengravedimages
profoundlyaffectedthe developmentof Jap- wereknowninJapan,theydifferedfrom
aneseartby preservingan iconographiccor- shintaiin theiruse.Duringmeditation,the
pusandfosteringa strongtraditionof fluid Buddhistdeitywasreflectedin theirluminous
line drawing. orb,a practiceechoedin mandalasand
Onesuchscheme,the mandalaof the Dia- iconographic drawingsin whichthe figures
mondWorld(J:Kongo-kai), or the spiritual areenclosedin circles.
was
realm, imparted to Saicho( 767-8z2), TheradicaldistinctionbetweenShintoand
founderof theTendaisect,by his Chinese Buddhistimagesbecameblurredin practice
masterin A.D. 805. It is preservedin a rare andaffectedthedevelopmentof Japanese
scroll done in o083, which belonged to the Buddhism.As Shintokamitook the formsof
Shoren-in,originallya sub-templeof the Buddhistdeities,certainBuddhistimages
sect'sheadquarters at MountHieinorthof wereconsideredto havea sacrednatureand
Kyoto. One of the finest
worksof Heian weresometimesworshipedas iconstoo
32
drawing, this mandala displaysthethirty- sacredto be viewed.
A mandalais a sacreddiagramof thecosmos sevenprincipalBuddhasof the Kongo-kaias
representingthe myriadphenomenaof the wellas figuresrepresenting the elementsand
materialandspiritualworlds.At the centerof guardians, one of which (shown in the detail
theEsotericmandalais the supremeBuddha, at theleft)is the ferocious,thunderbolt-
Dainichi.Byconcentrating on thevarious brandishing deitywhoseformwas adapted
deitiesdepictedin the mandala,enacting foriconsof Zao Gongen.
34 Fujiwara-no-Kamatari (614-699) is one of
severalhistorical figuresdeified in Shinto. An
important court minister,he was awardedthe
surnameFujiwara,or "WisteriaField"He
was the firstof this illustriousclan that domi-
natedJapanesecourt life from the tenth
through the twelfth century.His deified
image portrayshim in the garb of a court
minister,attendedby his two sons, one a
Buddhistpriest, the other his successor.Their
divinity is symbolized by the golden mirrors
that hang above the rolled bamboo curtain.
The stylized figuretype with a delicate mask-
like face derivesfrom the Heian painting style
known as yamato-e, as do the sophisticated
juxtaposition of flat planes of brilliantmin-
eral color and the disregardfor spatial vol-
ume in the figures,curtains, and rainbow-
borderedtatami mats.
35
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38 The LotusSutra,promulgated of thetwenty-eight in the sutra.Itscomposi- illustrations-oncekneelingbeforethe sage
ing the firstcentury A.D.,is believedto be the tionskillfullycombinesiconicimagesof the who taughthimandagainbearingfirewood
finalteachingof Sakyamuni at VulturePeak Buddhawithnarrative vignettes.Here,the in fulfillmentof hisvow.
in Rajgir.It waspartof Buddhistworship daughter of the DragonKingof the Seaoffers Thisexceptionallyfinesutrais closein
inJapanas earlyas the sixthcenturyand theradiantjewelto Buddhapreachingon styleto themorethanfivethousanddedi-
becamethebasicTendaitextduringthe VulturePeak(charmingly depictedin the cated at Chuson-jitemple in 1175 by
Heianperiod.The mostpopularof the shapeof a bird'shead).Theepisodecontains Hidehira,thenheadof the northern
sutrasinJapan,it emphasizedtheultimate theessenceof theLotusSutra:thegirl's Honshubranchof the Fujiwara family.
MahayanabeliefthatBuddha'scompassion offeringis acceptedandsheis immediately
wasopento all,regardless of genderor changedintoa man,withmanyfeaturesof a
stationin life.InthelateHeianperiodlav- Bodhisattva, seatedon a jeweledlotus.Thus,
ishlyproducedcopiesof the LotusSutra thecompassionof theBuddhaofferedsalva-
accountedformostof thethousandsof such tionto women,whosebodieswereregarded
devotionalofferingscommissionedby the as uncleanandpreclusive of attaining
aristocracy to gainmerittowardtheprom- Buddhahood. Thisaspectof theLotusSutra
isedrewardof rebirthin Buddhistheaven. madeit particularly belovedamongthe influ-
Manyhaveillustratedfrontispieces inspired entialwomenof theFujiwara era.Balancing
bythedramatictextualdescriptions of Bud- thisis an illustration
of an episodefromthe
dha'smercy.FollowingChineseprecedent, Buddha'sformerlife:as a king,Buddhaso
theywereoftenpaintedin goldandsilveron desiredtrueknowledgethathe promisedall
paperor silkdyeddeepindigoor purple. hiswealthandpowerandlifelongservitude
Thisfrontispiececombinesdepictions to whoevercouldrevealit. Here,he is seen
fromthreeepisodesfromChaptersI to 5 twice,a deviceusedforsecularnarrative
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41 Duringthe firsthalfof the nineteenthcen- of themosttreasuredemakiof the aristo- completedbecauseof Ikkei'sarrest,presum-
tury,a circleof yamato-epaintersin Kyoto cratictradition-Miraclesof the Kasuga ablyfordefamation,andhis subsequent
turnedtheirartto opposethe decaying Shrine,completedin 1309 by the court deathin I859. Thesameyeara treatyforcing
Tokugawashogunate.Perhapsthe most painterTakashinaTakakane-and to a later Japanto openherportsto theWesttook
importantof theworksof thisyamato-e traditionof goblintaleswouldhaveinten- the eventualcollapseof
effect,precipitating
revivalis thepicturescrollTaleof a Strange sifiedthehorrificsatireforthe painter,Ukita theshogunateandrestorationof imperial
Marriage,an incompleteworkof fiveepi- Ikkei,andhis circle.Ikkei,who earlierhad ruleaftersevenhundredyearsof military
sodes.It climaxesin the fourthscene,wherea copiedtheoriginalKasugascroll,took scenes government.
fox coupleexchangesvowsin theelaborate fromthatworkas the settingforthisvision
Shintoritualof the Heiancourt.Despitethe of sacrilegeinspiredby deeplyfeltopposition
richbeautyof thebrilliantmineralpigments, to theproposedmarriageof the shogun
traditionalforpaintingsof courtnobility,the lemochiintothe imperialfamily.Supposedly
unnaturalweddinghasan eerie,prurient intendedto inspirethe courtfactionto pre-
aura.Unmistakable visualreferencesto one ventthemarriage,thisscroll'stextwasnever
ART FOR ZEN MONKS AND
SAMURAI AESTHETES
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42-44 Kannon, one of the most important
Bodhisattvas in MahayanaBuddhism,was
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venerated in Zen moreas a modelforspir-
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approachis reflectedin the iconographic
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_^ _ Kannon,envisionedin a relaxedposeneara
It r woodlandwaterfall.Theinclusionat lower
it.
rightof Sudhana,the archetypalpilgrim
cc youthwho soughtthe Bodhisattva in his
islandparadise,Potalaka,reflectstheassim-
ilationof PureLandbeliefinJapaneseZen.
Skillfulhandlingof the ink-in supple
linesforthe figureandgradatedwashfor
thelandscape-revealsthe rootsof Japanese
inkpaintingin Chinesemodelsbroughtto
Japanby Zen monks.
A nearlyidenticalcompositioninscribed
in 1352by TettoGiko,secondabbotof
Daitoku-ji,is treasuredat Shinju-an,a sub-
15, templeof thatimportantZen centerin
Kyoto.TheShinju-anpainting,whichdoes
not includeSudhanaanddemonstrates less
accomplished brushwork,may have been
basedon thisone, or thetwo maysharea
commonChinesemodel.
Thepairof hangingscrollsof geesewould
havebeenhungtogetheror as partof a trip-
tychflankinga centralBuddhistimage.This
practice,fosteredin Zen temples,reflected
/ , I,-
theideaof the underlyingunityof the natural
t , 0 andspiritualworlds,andinfluencedthedis-
playof secularpaintingsas wellas thecom-
positionof laterworks.
The artist,TesshuTokusai(d. 1366),was
one of themostcultivated Japanesemonksof
early Zen. In 1342 he returned to Kamakura
fromChina,wherethe artsof paintingand
I
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?. . poetrywerepartof monasticlife.As a spir-
.7
., i~4 itualdiscipline,he devotedhimselfto paint-
T 14pw- " ing orchidsin the styleof the Yuanmaster
I Hsueh-ch'uang P'u-ming.
L4
A classicSungtheme,geesein reedsis not
01 onlya superblyrenderedvisionof the natural
worldbut alsoa metaphorical referenceto
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Zenlifein depictingthe geeseflying,crying,
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identifiedwiththe fundamental modesof
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andreclining.
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tassels? Ott,
... dashedoff in remembranceof the Minister
of Ch'u.
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Thefollowingfourpoemspickup the
theme,addingZen sentiments.Unlike
descriptions of thisepisodeby Chineseliter-
ati,concernedwithSu'sheroismanduncor-
ruptablespirit,thesepoemsreflectthe Zen
ideaof theessentialonenessof all things,
goodandbad:whetherin officeor in lonely
exile,Suwascalmandself-possessed.
Thefivemonksall heldmajorpostsin the
KyotoZenestablishment andweremembers
of a literarycoteriecenteredaroundK6zei
i
Ryuha,who devotedhis lifeto a studyof the
poetryof SuTung-p'o.ThisscrollreflectsSu's
. , /
ownartisticpracticein whichpainting,
poetry,andcalligraphy weretreatedas one
personallyexpressive act.
to theunworldlylifeof the mind
47 Aspiration
underliesthislandscapeinscribedwith a
poemin Chineseby ZuisenT6gen
(1430-1489), an eminent Zen scholar. " )N 4L
Inthisworld,who canescape?
7b~~~~~o~~~~Bra"l~~~~IT
As old as theearthareits cares.
Likea flockof egrets,watercascades
thousandsof feet.
Likefishscales,wavesrippletimelesslyon
the river
Treetopsandeavesreddenin an 4-IT 0.1~ -
autumnsunset.
Distantcliffstouchthe clouds.
Sharpening hishook,the fishermanhopes
to sharethe gull'sfeast.
How I yearnforFu-chunandYen-ling.
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48 49 overleaf
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On thiscapaciouscontainerforsake,freely
drawnchrysanthemums alternatewith
formaldesignsof thepaulowniaflower,
Hideyoshi'spersonalemblem,in thebold
decorativestyledevelopedby artisansof the
Koamischoolto suithis flamboyant taste.
K6dai-jilacquerhasnoneof the arcaneliter-
aryallusionsof earlierlacquerdesigns,andit
wasproducedin quantitiesthatprecludedthe
meticulouscraftsmanship of the subsequent
Edoperiodto meetHideyoshi'sinsatiable
appetiteforluxury.Thedecorationof this
warereflectsthe inventivegeniusof
Momoyamacraftsmen.Textilesandceramics
of theperiodmakeuseof similardesigns.
51 Autumngrassesfigureprominently in
Momoyamadesign, as in thisservingdish
madeat a Minokilnforusein a teacere-
mony.Thefreelydrawndesignof goosefoot
(anherb)fillingtheshallowinteriorof this
gentlycontoured,rectangular dishwas
incisedthrougha slipof ironoxideandcov-
eredwiththickfeldsparglaze.Whenthe
piecewasfired,variationsin colorappeared
throughtheunevenglaze,producingtherich
graybodywithironredat the rim,an effect
muchprizedby connoisseurs. Thisware,
knownas a GrayShino,wasmadein the
Minoareaat kilnsestablishedby craftsmen
who fledthewar-tomSetoareain the six-
teenthcentury.Protectedby generalswho,
undertheinfluenceof Sen-no-Rikyfi, eagerly
soughtpiecesof thissophisticated rusticity,
Shinoceramicsflourishedat Minokilnsdur-
ingtheMomoyamaera.
BEHIND THE CLOSED DOORS OF
TOKUGAWA RULE
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53 Nowhereis thesynthesisof diversetraditions struggleto controltheox, symbolizesthe revivalof Heianaestheticsandwassharedby
in theearlyEdorenaissancemoreoriginally unrulypassionsto be overcomeduringthe importantfiguressuchas K6etsuandSotatsu.
expressedthanin thisunusualscroll,Ten quest. Althoughthisthemewasextremelyimpor-
OxherdingPicturesby Karasumaro Mit- Commonin Zenteaching,whichuntilthe tantinJapaneseZen,illustratedversionsare
suhiro (I579-I638), a major figurein the cir- earlyseventeenth centuryhadbeenembraced rare.Mitsuhirobasedhis poemsuponthose
cleof thepoliticallyenfeebledbutartistically mainlyby themilitary,thisthemeas treated composedin the fifteenthcenturyby the
influentialEmperorGo-Mizuno-6(1596- by Mitsuhiroreflectsthe syncreticinfluence Tofuki-ji monk Shotetsu (138I-I459), but
i680). In drawingsandpoemsunifiedby his of theteaceremony. in the peace-
Flourishing hissuccinctandwittydrawingsspringfrom
fluidbrush,Mitsuhirorenderedthe classic fulearlyTokugawa era,teabroughttogether hisownhighlyidiosyncratic of
interpretation
Zenparable,whichlikensthe deepening thecreativityof Kyototownsmenandthe thetheme.
stagesof spiritualenlightenment through traditionsof its ancientcourt.Mitsuhiro's
meditationto thevicissitudesof a herdboy personalvisionof the Zen themeis rendered
pursuingan elusiveox. Here,the confronta- on sumptuouspaperdecoratedwithgold
tionof thewaryox andthetentativeoxherd andsilvercloudsandstenciledchrysan-
depictstheearlystageof the spiritualquest themumandpaulowniapatterns.Casting
when,afterblindsearching,the goalis per- a Zen subjectin a courtlymodeis charac-
ceived.Thenextstage,renderedas a tense teristicof Mitsuhiro'staste,whichfostereda
54 An exquisite reflectionof the florescenceof ure and the refinedornamentation of the lac- with a traditionalgeometric floral pattern
traditionalcrafts in the early yearsof the quercase, which is decoratedin lotus designs associatedwithhealthychildbearing,
over
Tokugawaperiod (I615-1867), this lacquer in a style reminiscentof Heian lacquer.Elab- which richly colored pink and white lotuses
shrineencasing a meticulously carved Bato orate gilt-bronzefittings incorporatethe arepaintedin heavymineralpigments.The
Kannon,the horse-headedAvalokiteshvara, Tokugawahollyhock crest and accentuate the enshrinedimage,one of the six manifesta-
is thought to have been the personal devo- simple elegance of the naturalisticsprinkled- tionsof Kannonaccordingto Tantric
tional image of Tofukumon-in, daughterof gold lotus motif on the smooth black lacquer, thought,wasprominentin EsotericBud-
the second Tokugawashogun. In 16zo she now mellowed to a rich deep brown. The dhismin the Heianperiodandreflectsthe
marriedEmperorGo-Mizuno-o, an event interiorof the shrine is completely covered Buddhistaffiliationof the imperialfamily.It
that markedthe full ascendancyof the combinesthe ferociouslyprotectiveaspectsof
shogunate.Probablymade at this time, the theHindudeitiesassimilatedintoBuddhism
shrineand its icon reveala high level of with the omnipotent compassion of the
craftsmanshipin the sensitivelymodeled fig- Bodhisattva
Kannon.
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48
55, 5e At thebeginningof theseventeenth century, hasprecedentin KoreanandChineseceram-
pottersof Koreandescentin the Aritaareaof ics,buttheboldsimplicityof thepinesand
northernKyushudiscovereddepositsof thefreelydrawnheartpatternof theborder
kaolin,fromwhichtheyproducedhardwhite decorationreflecttheJapaneseappreciation
porcelainssimilarto Koreanwares.At of rusticbeautycultivatedin thepracticeof
mid-century, whenChinesekilnsweredis- tea,forwhichthispiecewasmadein the
ruptedby thefallof theMingdynasty,Dutch mid-seventeenth century.Thecharmof the
tradersin Nagasakiturnedto Japanto sup- younggirlon thehangingflowervaseis
plyEuropeanandAsiandemand,spurring no lesssophisticated.
Thedrawingcaptures
thedevelopment of waresknownas Imari, thespiritof youthfulbeauty,andthepiece
fromthenorthernKyushuportfromwhichit hasthegaietyandverveassociatedwith
wasshippedelsewherein Japan.Imariis an theurbanecultureof the Genrokuera
imprecisetermthatcoversa widerangeof (I688-1704) in Osaka and Kyoto.
ceramicsmadein Arita,including"old
Imari,'elaboratelydecoratedwareswithred
andgoldenamelon Chinese-inspired designs
in underglazebluethatcontinueto enjoya
greatvoguein theWest.Thetwo pieces
shownhere,knownas "earlyImari," are
examples of the earliest in
porcelain Japanese
taste.Thesturdyshapeof the waterjaris
adaptedfromChinesevesselsandthedesign
57 Theyoungmanstrollingwith an alluring twistto a classicalthemein an
an irreverent TheirloveforYukihira,duringhis three-year
courtesanplucksa whiskerin the stylish urbaneparodyof a storyimmortalized by the exilethere,theirheartbreak at his departure,
hedonismaffectedby bonvivantsof poetandstatesmanAriwara-no-Yukihira andhispartinggift of courtrobeandhat
Edo.Inthispainting
eighteenth-century (8I8-893). Twoof Yukihira's poemstellof werewellknownthroughseveralpopular
Okumura Masanobu (I686-I764), one of hisloveforthe sistersMatsukaseand kabukiplays.
themostversatileartiststo portraythe the- Murasame,who, likehim,werebroughtby Here,drapedon the fabledpineof Suma,
aterandbrothelsin woodblockprints,gives misfortuneto the lonelyshoresof Suma. is thestylishcoatandcapof an Edobour-
geois-not Yukihira'scourthat,whichis
seenin thecreston his sleeves.EroticHeian
andEdomotifsdecoratethe couple'srobes:
thesamisenon herssymbolizesthe accom-
plishedgeisha,whilethe latticeandbamboo
blindson his evokethe secrecyof Heian
romances.A paletteof primarycolorsand
goldheightensthe contrastbetweentheir
hedonisticworldandthatof theink-painted
shoresof Suma.
58
Therefinedtasteof Japan'seighteenth-
centuryliteratisurvivesin thiselegant
Chinesesatinuchikake(outerrobe)deco-
ratedwithink-paintedbambooanddelicate
cloudsof goldleaf.Accordingto an accom-
panyingscrollof poetryby the statesmanand
calligrapherRai Sanyo (1780-8z22), it was
designedandpaintedby the Confucian
scholar Gion Nankai (1676-1751) for the
mistressof his friendKarakaneKoryu,a
wealthymerchant.Reflectingboththeinven-
tivetransformation of Chineseartamong
Japanesenanga artistsandthe seriousinter-
est in decorativeartscharacteristic
of
eighteenth-century this
Japan, gorgeous
robeis one of the mostunusualvestigesof
Tokugawaculture.
In I697 Nankaisucceededhis fatheras
headof the clanschoolin the provinceof Kii,
distinguishing himselfas a poetandteacher
of Confucianism. Threeyearslaterhe was
exiledfor"debauchery andvillany"and
spenttenyearsin disgrace.By I71I he was
restoredto favorandservedas diplomatto a
Koreandelegation,visitedEdo, wherehe
studiedChinesepaintings,andresumedhis
positionas clanscholar,pursuingpainting
andcalligraphy. He hadas modelsthe few
Chineseprintedpaintingmanualsthatcame
throughtherestrictedtradeat Nagasaki.
Bamboo,thesymbolof the scholarandan
essentialthemein calligraphic paintingby
Chineseliterati,wasa favoritesubjectin
Nankai'spaintings,whichcloselyfollow
Mingmodels.He laidthe foundationsforthe
moreindividualistic artof second-generation
nangapainters, who wouldreworkevenfur-
therthe importedmodelsin a Japanese
idiom.
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61
I
II
wildflowers, whilebarelydiscernibleseed theWestduringhis lifetime.
tuftsarewaftedawaytowardtheupperleft On theinsidescatteredgoldpetalsfloaton
corneron a sensuoussurfaceof brownish a blacklacquerstreamborderedby banks
black,subtlymottledlacquer. sprinkledwithgold.Abovetheinkstoneis a
ShibataZeshin (I807-I891) was a painter pewterwaterdropperin eggplantshape,and
andlacquerartistwho inventivelyincorpo- besidethe box area paperknifeandbrushes
ratedvariousmaterialsintohislacquerwork withlacqueredhandlesandcaps.
CREDITS
All objectswith 1975.268as the firsttwo numbers WhitneyPhoenix,RogersFund,andGiftsof by exchange, 1985 (1985.7)
of the accessionnumberareto be creditedas fol- HartwellJ. Staples,MajorGeneralR. B. Wood- 48. Pairof six-foldscreens:Landscapeof Four
lows:The HarryG. C. PackardandPurchase, ruff,andGermainLeaoVelloso,in memoryof her Seasons.KanoSchool.Muromachiperiod.
Fletcher,Rogers,HarrisBrisbaneDickandLouis husband,AmbassadorPedroLeaoVelloso,by Ink, light color on paper. Each 59'/ x 140/8 in.
V. BellFunds,JosephPulitzerBequestandThe exchange, 1985 (1985.12) (1975.268.42,43)
AnnenbergFund,Inc.Gift, 1975 31. Zao Gongen.Heianperiod,IIth century. 49. Slidingdoorpanels:AgedPlum.Attributed
Bronze. H. I43/4in. (1975.268.155) to Kano Sansetsu (1599-1651). Edo period,
i. StorageJar.MiddleJ6monperiod,3000-2500 32.Handscroll:Iconographicalscrollof deities. mid-I7th century.Approx. W. all panels I9i/s in.
B.C.EntoUpperB type,T6hokuregion.Unglazed Heianperiod,dated o083. Originallyin T6-ji, (1975.268.48A-D)
earthenware.H. 27'/. in. (1975.268.182) Kyoto. Ink on paper. II4 x 2133/4in. 50. Wine container.Momoyama period, c. 1596-
2. Spoutedvessel.LateJ6monperiod,c. 2000- (1975.268.3) decoration.
600o.Lacquerwith gold-sprinkled
1000 B.C.Tohoku region. Unglazed earthenware. 33. Zao Gongenplaque.Heianperiod,iith-Izth H. Io in. Purchase,Giftof Mrs.RussellSage,by
H. 2'/4 in. (1975.268.185) century.Excavatedat Mt. Kimpu,Yoshinoregion. exchange,1980 (1980.6)
3, 4. Femalefigures.LatestJ6monperiod,c. 0ooo- Bronze. Diam. 8'/ in. (1975.268.156) 51. Dish.Minoware,Shinotype.Momoyama
250 B.C. T6hoku region, possibly Aomori Prefec- 34. Hangingscroll:Fujiwara-no-Kamatari. period, Keicho era (1596-I6I4). Possibly made at
ture. Unglazed earthenware.H. 9'/4, 6'/8 in. Nambokuch6period,after1350. Ink,gold,and Ohira kiln. Stoneware.W. ioV/ in. (1975.268.436)
(1975.268.192,193) mineralpigmentson silk. 34 x 15 in. Purchase, 52. Poempagemountedas hangingscroll.Paint-
5. Axe. LatestJ6mon period, c. 1000-250 B.C. Bequestof EdwardC. MooreandBruceWebster, ing by TawarayaS6tatsu(activeearlyi7th cen-
SaitamaPrefecture. Basalt.H. 10 in. by exchange,andGiftsof Mrs.GeorgeA. by Hon'AmiKoetsu(1558-
tury);calligraphy
(I975.268.264) CrockerandDavidMurray,by exchange,1985 I637). Momoyamaperiod,datedi606. Inkon
6. Spearhead.
LateJ6monperiod,c. 2000-1000 (1985.16) paperdecoratedwithgold andsilver.77/ x 7 in.
B.C.Naka Village,Hiraizumi-ch6,
IwatePrefec- 35. Mirror,Haguro-ky6. Heian period, 12th cen- (1975.268.59)
ture. Stone. L. 3'/8 in. (1975.268.200) tury.Fromthe pondat HaguroShrine,Yamagata 53. Handscroll:TenOxherdingPictures.Detailby
7-II. Needles,hooks,andharpoon.LatestJ6mon Prefecture.Bronze. Diam. 4I/ in. (I975.268.I6I) KarasumaruMitsuhiro (1579-I638). Edo period,
period, c. 2500-1ooo B.C. Obora Shell Mound, 36. Handscroll:Kannon-kyo. Detailsinscribedby c. I634. Inkon dyedpaperdecoratedwith gold
OfunatoBay,IwatePrefecture.
Bone. Sugawara-no-Mitsushige anddated1257.Inkand and silver designs. 13/4 x 107 in. Purchase,Friends
(1975.268.327,345,341,343,337) colorson paper.9'1/ x 384 in. Purchase,Louisa of Asian Art Gifts, 1986 (1986.142)
12. Storagejar.Yayoiperiod.Earthenware. Eldridge McBurey Gift, 1953 (53.7.3) 54. Portableshrine.Edoperiod,c. 1620. Fruit-
H. 10 in. (1975.268.378) 37. Handscroll:KitanoTenjinEngi.Detail. woodimagein lacqueredcasewith gold-sprinkled
13. Dotaku. Yayoiperiod, Ist-2nd century A.D. Kamakura period,i3th century.Inkandcoloron designs.H. 73/4in. PurchaseFriendsof FarEastern
Bronze. H. 43'/ in. Rogers Fund, 1918 (i8.68) paper.13/4x 3393/4in. FletcherFund,1925 Art Gifts, 1985 (1985.96)
14. Haniwaheadof malefigure.LateKofun (25.224b) 55. Freshwaterjar.Imariware.Edoperiod,
period,5th-6th centuryA.D. IbaragiPrefecture. 38. LotusSutra.Heianperiod,12thcentury.Gold c. I640. Porcelain.H. 9/8 in. (1975.268.465)
Earthenware.H. 127/s in. (1975.268.413) on indigo-dyedpaper.I3/4 x 339/4 in. Seymour 56. Hangingflowervase.Imariware,possibly
15.Haniwabustof warrior.Kofunperiod,5th- Fund, 1965 (65.216.1) Hyakkenkiln.Edoperiod,mid-I7thcentury.
6th centuryA.D. Kant6region.Earthenware. 39. Hangingscroll:Fragment
of illustratednar- Porcelain.H. 8'/4 in. (1975.268.473)
H. I3'/8 in. (1975.268.414) rativehandscroll.Kamakura
period,earlyi4th 57. Hangingscroll:Yukihiraandthe SaltMaid-
i6. Haniwaboar.Kofunperiod,5thcenturyA.D. century.Ink and colors on paper. 23'/4 x 16/,6 in. ens.By OkumuraMasanobu(I686-1764).
Earthenware.L. 47/8in. (1975.268.418) Purchase,Giftsof Mrs.RussellSage,Mrs.Peter Edoperiod,c. 1716-35. Inkandcoloron silk.
17. Mirror,TLVtype.Kofunperiod,4th-5th cen- Gerhard,Mr.andMrs.DonaldPercy,Charles 33'/8x 27/%
in. (1975.268.126)
tury A.D. Bronze. Diam. 73/4in. (1975.268.383) StewartSmith,Mrs.V.EveritMacy,Mrs.Thomas 58. Outerrobe.Paintedby GionNankai(I676-
I8. Mirrorwith jinglebells.Kofunperiod,early VanBuren,Mrs.CharlesStewartSmith,Hartwell I75I). Edo period, i8th century.Ink and gold leaf
6th centuryA.D. Aoyagi,Kamikawa Village, J. Staples,Mrs.GeorgeA. CrockerandMr.and on silk. L. 643/4in. (I975.268.88)
KodamaCounty,SaitamaPrefecture. Bronze. Mrs.SamuelColman,by exchange;Bequestsof 59. Two-panelscreen:LandscapeafterLi Po's
Diam. 5 in. (1975.268.384) EdwardC. Moore,JamesAlexanderScrymserand pom. By Ike-no-Taiga (1723-1776).Inscribed
19. Necklace. Kofun period, c. 7th century A.D. StephenWhitneyPhoenixby exchange;Rogers y e artistandsigned"Sangaku." Originally
Agateandchalcedony.L. iiI/ in. RogersFund, Fundandfundsfromvariousdonors, two slidingdoorpanels.Inkon paper.Each
1912 (12.37.84) 1980 (1980.221) 65V/ x 35'/4in. Purchase,The CharlesEngelhard
20. Bracelet. Kofun period, 4th century A.D. 40. Screens:Battlesof H6genandHeiji.Detail. Foundation Gift,1987 (I987.8ia,b)
Steatite.H. 8V/in. (1975.268.388) Momoyamaperiod.Mineralpigmentson gold 60. Hangingscroll:BeanVine.By It6Jakuchu
21. DainichiNyorai.Heianperiod.Wood,covered leaf. Each 67'/2 x 147 in. Rogers Fund, 1957 (1716-1800). Inscribedby Tangai (1693-1763).
with lacquerandgold leaf.H. 86 in. (withbase). (57.156.4,5) Edoperiod.Inkon paper.483/4x 19 in. Purchase,
Rogers Fund, 1926 (26.II8) 4I. Handscroll:Taleof a StrangeMarriage.Detail. LitaAnnenbergHazenCharitable TrustGift,1985
GuardianKings.Heianperiod,12th cen-
22, 23. By Ukita Ikkei (1795-I859). Edo period, c. 1858. (1985.97)
tury.Wood,coveredwith lacquerandgold leaf. Ink, mineral pigments on paper. ii'3 x 306 in. 6i. Inr6withBeans.By MochizukiHanzan.Edo
H. 33, 337/8in. (1975.268.164,165) Rogers Fund, 1957 (57.I56.7) period,i8th century.Goldlacquerinlaidwith
24. Hangingscroll:Deathof Buddha.Kamakura 42, 44. Hanging scrolls: Reeds and Geese. andwood. H.
greenfaience,lead,mother-of-pearl,
period,i4th century.Originallyin Daigo-ji,Kyoto ByTesshiTokusai(d. 1366).Nambokucho 3 in. Rogers Fund, 1936 (36.100.188)
Ink,gold, and mineralpigmentson
Prefecture. period.Inkon silk.Each43I/4x I73/ in. Left: 62. Writingbox with miceeatingfan.By Ogawa
silk. 79 x 74/4 in. Rogers Fund, 1912 (12.134.10) (1975.268.37). Right: Purchase,Mrs. Jackson Haritsu (1663-1747). Tokugawaperiod, i7th-
25. Fudo My6-6. Heian period, 12th century. Burke Gift, 1977 (I977.172) wood with inlaid
i8th century.Lacquered
Originallyin Kuhon-ji,KyotoPrefecture.
Poly- Kannon.
43. Hangingscroll:White-robed ceramic. o10/ x /8 in. Bequest of Mrs. H. O.
chromed wood. H. 633/4in. (1975.268.163) Nambokuchoperiod,firsthalfof i4th century. Havemeyer, 1929 (29.100.703)
26. Hangingscroll:AizenMy6-6.Nambokuch6 Ink on silk. 445/s x z0/ in. Purchase,Bequest of 63. Writingbox with gourdandspringflowers.By
period,mid-14thcentury.Ink,gold,andmineral DorothyGrahamBennett,HerbertJ. CoyneGift, ShibataZeshin (1807- 1891). Lacqueredwood
pigmentson silk. 88 x 393/sin. Purchase,Mary SeymourFundandFletcherFund,by exchange, designs.8%x 75/sin. Rogers
withgold-sprinkled
GriggsBurkeGift, 1966 (66.66.90) 1985 (1985.120.2) Fund, 1936 (36.o00o.42a-j)
27. Ceremonialbell andtray.Kamakura period, 45. Hangingscroll:OrchidsandRock.By Gyokuen
13thcentury.Bronze.H. (bell)75/ in. Bompo(1348-after1420). Muromachiperiod.
(1975.268.170,171) Ink on paper. 39'/ x 13'/8 in. (I975.268.38)
period,secondhalf
28. JizoBosatsu.Kamakura 46. Hangingscroll:Su Tung-p'oin StrawHat and
I3th century.Wood,coveredwith lacquerandcut WoodenShoes.Muromachiperiod,secondhalf PHOTOGRAPHCREDITS
gold foil. TotalH. 453/4in. (I975.268.i66a-d) of 15th century.Ink on paper. 423/4 x I3'/ in.
29. Hangingscroll:Kannonon Mt. Potalaka. (1975.268.39) SheldanCollins:covers,pp. 6 (bottom),7-11,12
Kamakura period,i3th century.Ink,gold, 47. Hangingscroll:Landscape.Attributedto (bottom), 14-15, i8, 20, 21, 6-32, 34-35, 42-43,
and mineral pigments on silk. 423/4 x i6/4 in. KenkoShokei(activeby I478-d. 1506).Inscribed 44, 46-49, 5I, 53 (bottom),54, 55 Lynton
(I975.z68.2o) by Togen Zuisen (1430-1489). Muromachi p. 6. Schechter
Gardiner: Lee:p.19.Metropolitan
30. Kakebotoke. Heian period, i2th century. period,15th century.Inkon paper.19 3/i6 x I3'36 MuseumPhotograph Studio:titlepage,pp. 5, 6 (top),
Bronze.Diam.14 in. Purchase,Bequestof Stephen in. Purchase,
Bequestof StephenWhitneyPhoenix, 12 (top), 17, 22-4, 36-38,40-41, 50, 52, 53 (top).
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