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ONE HUNDRED MASTERPIECES
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JAPANESE PICTORIAL ART
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ONE HUNDRED MASTERPIECES
JAPAN ESE PICTORIAL ART
SELECTED
MEMBERS OF THE FACULTY OF
THE FORYO FINE ART SCHOOL
VOLUME I
PUBLISHED
THE SHIMBI SHOIN
13, SHINSAKANA‘CHO, KYOBASHI-KU TOKYO
MCMIX
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PREFACE.
It does not only go without saying that an appreciation of the zesthetic is indispensable in the making of a perfect man, one having all-round common-sense together with intellectual and moral culture, but the man who even has taste at all, must always seek for the means to satisfy the demands of the higher part of his nature, in the admiration of artistic productions and through the influence which the esthetic exerts. Therefore, instruction in drawing is generally given to youths, male and female, as one of the lessons in the primary schools and on up to the secondary grade of liberal educational institutions ; while famous articles of art are sought for earnestly by people in general and highly esteemed. Yet, if we look at the present state of such matters in our country, the instruction in drawing does not go any further than setting before the pupils some model-books and letting them copy the examples therein ; or, perhaps, helping them to sketch ordinary landscapes and other trivial things from natural objects. There is nothing provided to stimulate the student's esthetic feelings unconsciously, by bringing them into contact with famous productions of pictorial art or of sculpture in their recess hours, so as to develop in them a lofty and refined taste; nor is there any material suitable to be shown for the pur- pose of making them distinguish between beauty and that which is not beautiful, by presenting to their sight and explaining to them, the charm and excellence of the workmanship of a certain particular thing : and there is nothing of the kind which the teacher may consult to advance his own study. Not only is this so, but we cannot find any satisfactory models that may be shown to strangers who love the Fine Arts of Japan, thus enabling them to investigate their evolution from ancient times to modern days, while catching a glimpse at the beauty of our famous works: all this constitutes a great defect in this line of Art. Again, those articles which might be used for the desired purpose, cannot of course be brought together in the originals, and therefore we have no recourse but to be satisfied always with compilations of their reproductions.
I have long regretted that our country is lacking in this educational material, and it is several years since I conceived the desire to compile a series of our famous masterpieces, chiefly that the gap I have mentioned might be filled: but those justly celebrated masterpieces, of world-wide fame, are generally the private possessions of the nobility or wealthy men, and they are jealously kept in their
treasuries so that we cannot easily get an opportunity to inspect them: consequently, such a compilation
as that which I have in mind is not only extremely difficult in itself, but the reproduction of the articles entails troublesome effort in the matter of persuasion, and involves an enormous expenditure of money, therefore I have not been able thus far, personally to carry out my purpose, whereas the Shimbi Shoin, famous for the publication of perfect art-books, has already, during the past many years, issued several great collections of reproductions of famous masterpieces: beginning with Shimbi Taikwan, it has gone on to Masterpieces by Motonobu; Masterpieces Selected from the Korin School; Masterpieces by Artists of the Southern School of Painting, and others. Further, this establishment wishes to publish collections of other famous pictures, and is taking photographs of many such that are jealously preserved by various great houses, beginning with the collections of the Japanese Imperial Household, those of the Museum, and others. Now, inasmuch as this Company has very rich material on hand, I came to the conclusion that it is well to communicate with it and avail myself of its material; therefore I consulted with Mr. Yutsaku Imaizumi, Director of the Art Bureau of the Tokyo Imperial Household Museum, Mr. Teyiré Mizoguchi, Technologist in the same Museum, Mr. Shird Katano, in the same office, and Mr. Seigai Omura, professor in my School. We have prosecuted our investigations and have, as well, selected from many pictures One Hundred Masterpieces which are sufficient to represent the technique and special characteristics of the various Schools, the different Masters, and the several Periods. In addition, I asked Prof. Omura to write a brief account of the evolution of the art of painting in our country, and to append to the various plates an explanation of the picture reproduced therein. The work is entitled “One Hundred Pictures Selected from Masterpieces of Japanese Fine Arts.” The number of famous pictures, ancient and modern, in our country is not, of course, less than many thousands, and hence it is self-evident that the One Hundred Masterpieces reproduced here do not, by any means, cover the whole field of Japanese painting. Besides, there must be not a few pictures that are too jealously guarded in famous temples to be known even by the public. My only desire is to have this collection contribute somewhat towards stimulating a taste for the Fine Arts of Japan, by showing the general features of the evolution of Japanese painting. At some other time, I hope to give similar and equally deserved attention to the famous works of Sculpture. Naohiko Masaki, Director of the Tokyo Fine Art School.
July, 39th year of Meiji (1906).
_ Plate
ONE HUNDRED PICTURES SELECTED FROM THE MASTERPIECES OF JAPANESE ART
Subject
Artist
School
Mitsuda Paintings on the Portable Shrine, Tamamushi Zushi :
Portrait of Prince Regent Shotoku Wall-Painting of Kondo
Sri-devi
Rytimyo Bosatsu
Aka Fudé My6-6
Kwannon and Seishi
Amitabha and Bodhisattva coming to meet the Spirits of the Blessed
Sakyamuni preaching after His Resurrection
Amitabha and Bodhisattva coming to meet the Spirits of the Blessed
Fugen Bosatsu
Landscape
Sakyamuni’s Entrance into Nirvana Caricatures
Shigisan Engi
Kujaku Myo-o
Fan-Paper, on which are Pictures and over them Passages from a Sitra are written
Frontispiece to a Sutra-roll
Picture-roll illustrating Genji Monogatari Picture-roll relating to Tomono Dainagon Portrait of Minamotono Yoritomo Portrait of the Poet, Yamabé-no Akahito Kitano Tenjin Engi
Picture-roll illustrating the Diary of Murasaki Shikibu
Heiji Monogatari SaigyO Monogatari Ippen Shonin Engi Honen Shonin Eden Seiryi Gongen Gatten
Kasuga Gongen Kenki
Unknown
Kobo Daishi Said to be by Chi- sho Daishi
Unknown Yeshin Sozu Unknown Tamenari
Unknown ”)
’)
Toba Sdjé
Said to be by Toba Sojo
Unknown
”
Said to be by Fuji- wara Takayoshi Said to be by Tosa Mitsunaga Fujiwara Taka- nobu Fujiwara zane Said to be by Fuji- wara Nobuzané
Nobu-
y?
Said to be by Sumi- yoshi Keion Said to be by Tosa
Tsunetaka
En-i
Said to be by Tosa Kunitaka
Unknown
Takuma Shoga Takashina Taka-
kané
Tosa
Sumiyoshi
Tosa
Tosa
Takuma
Tosa
LAS! OF FPLASES
Period, A. D.
Oharida (593-628)
Asuka (629-707) Nara (708-781) Lived 764-835
Lived 814-891
Early Fujiwara (889-984)
Lived 942-1017
Middle Fujiwara (985-1068)
Middle 11th Cen- tury
Middle Fujiwara (985-1068)
Executed in 1086 Lived 1053-1140
”
Late Fujiwara (1069-1155)
”
Heiké(1156-1185)
Middle 12th Cen- tury
Lived 1141-1204 Lived 1177-1265
”
dy
Kamakura (1186-1333)
14th Century
Source
Horytji, Yamato.
The Imperial Household. Horydji, Yamato. Yakushiji, Yamato. Kyowogokoku-ji, Kyoto. Myo-0-in, Koyasan, Ki-i. Hokkeji, Yamato.
Junji Hachiman-k6, Ki-i. Chohoji, Yamashiro. Byodoin, Yamashiro.
The Imperial Museum, Tokyo. Kyowogokoku-ji
Kongobuji, Ki-i.
Kozanji, Yamashiro. Chogo-Sonshiji, Yamato.
Mr. Hara Tomitard, Yokohama. The Imperial Museum, Tokyo.
Itsukushima Jinsha, Aki. Mr. Masuda Takashi, Tokyo. Count Sakai Tadamichi, Tokyo.
Jingoji, Yamashiro.
Marquis Sataké Yoshinari, To- kyo.
Kitano Jinsha, Kyoto. Viscount Akimoto Okitomo, To- kyo,
Count Matsudaira Naosuké, To- kyo.
Marquis Tokugawa Yoshinori, Nagoya.
Mr. Hara Tomitaro,
Chion-in, Kyoto,
Count Tanaka Mitsuaki, Tokyo. Kyowogokoku-ji.
The Imperial Household.
Plate
Subject
The Panoramic Record of the Battles of the
Later Three Years Yazu Nembutsu Engi Portrait of Shdichi Kokushi Kanzan
Kitano Tenjin Engi
A Man catching a Catfish with a Gourd.
Landscape
Spring Landscape
Rinzai
Mio-no Matsubara
Waterfall
Landscape
Landscape
Landscape
Landscape
Shai} Moshuku admiring Lotus-Flowers Landscape
Hotei
Wintry Landscape
Playing Go
A. Monkey on a Dead-Tree Peonies
Landscape
Flowers and Birds
A Hawk
Landscape
Authoress Murasaki Shikibu
A Heron on a Moored Boat Heron on a Tall Tree Monkeys catching at the Moon Sporting
Chrysanthemums and Quail Emperor Nintoku
Rabbit in Foliage
Illustration to Genji Monogatari Autumnal Foliage
Flowers and Autumnal Leaves Poet Kakinomotono Hitomaro Scene in a Green Room of a Theatre Flower Party
A Beauty
Ogurayama
Beauties and Iris-Flowers
LIST OF PLATES
Artist
Korehisa
Tosa Yukihide Mincho
Kao
Tosa Mitsunobu Josetsu
Shtibun
Oguri Sotan Soga Jasoku Noami
Gei-ami
Soami Kei-Shoki Sdeahi Shigetsu
Kano Masanobu Kano Motonobu Kano Yukinobu Sesson
Kano Yeitoku
Hasegawa To-
haku Kaihoku Yusho
Unkoku Togan Soga Chokuan Kaus Sanraku Kano Koi
Kano Tannyt Kano Naonobu Kano Tsunenobu Kuzumi Morikage
Hanabusa Itcho
Tosa Mitsuoki and Mitsunaga
Okada Tametaka Hon-ami Koyetsu Tawaraya Sotatsu Ogata Racin Sakai Hoitsu
Iwasa Shoi
Hishikawa Moronobu Miyagawa Cho- shun
Nishikawa Suke- nobu
Okumura Masa- nobu
Suzuki Harunobu
School Period, A. D. Source grey 72) | Marquis Tkeda Nakahiro, Tokyo. Tosa ” Seiryoji, Yamashiro. died 1345 Tofukuji, Kyoto. Lived 1352-1431 | Baron Go Junzo, Tokyo. Tosa Lived 1434-1525 | Kitano Jinsha. sey fe Taizoin, Kyoto. " Marquis WHachisuga Shigeaki, Tokyo. 15th Century Count Daté Munemoto, Tokyo. died 1483 Yotoku-in, Kyoto. 15th Century Baron Kuki Riuichi, Tokyo. 15th Century Baron Go Junzo, Tokyo. 15th Century Daisen-in, Kyoto. ” Mr. Hara Tomitaro. Lived 1420-1506 | Prince Mori, Tokyo. 16th Century ppb Kichiyemon, O- Kano Lived 1454-1550 | Count Daté Munemoto, Tokyo. ” Lived 1476-1559 | Reiun-in, Kyoto. ” Lived 1513-1575 | Count Daté Munemoto. ” 16th Century The Imperial Household, Tokyo. ” Lived 1543-1590 | Juko-in, Kyoto. Hasegawa | Lived 1539-1610 | Rytisen-an, Kyoto. Kaihoku Lived 1533-1615 | Myoshin-ji, Kyoto.. Unkoku 16th Century Mr. Kimura Choshichi, Tokyo. bb ies 602) _ | Hoki-in, Kid. Kano Lived ‘1550-1638 oo aes Sadanori, To- " died 1640 — Akimoto Okitomo, To- ” Lived 1602-1674 | Mr. Hara Tomitaro. is Lived 1607-1650 2% My Detached Palace, Kyo- ” Lived 1636-1713 | Mr. Kuriyama Zenshir6, Tokyo. m= 17th Century ye Yokoyama Takatoshi, ” Lived 1652-1724 | Baron Nomura Motosuké, Tokyo. Tosa sae see The Imperial Museum, Tokyo. ff died 123 Mr. Kikuya Gojiro, Nagato. Korin Lived 1556-1637 | Baron Kuki Riuichi, Tokyo. “ 17th Century Br. Beppu Kinshichi, Tokyo. ” Lived 1658-1716 | Mr. Kishi Mitsukagé, Tokyo. Lived 1761-1828 | The Imperial Museum, Tokyo. Lived 1578-1650 | Toshogt, Musashi. Ukiyoyé died 1694 Mr. Masuda Takashi.
Lived 1682-1752 Lived 1671-1751 Lived 1690-1768
Lived 1718-1770
The Imperial Museum, Tokyo. Mr. Fukuoka Seijird, Kobé. The Imperial Museum, Tokyo.
Mr. Hattori Ichizo, Kobé.
TOO
Subject
LIST OF
Artist
Beauties reading a Book
Two Beauties in Summer
Beauties and a Boy catching Fireflies
A Beauty and a Girl
A Beauty with Flowers
A. Rope-Bridge
Landscape
Autumnal Landscape Landscape
Landscape and High Building Landscape
Mount Fuji in Winter Birds
Winter Landscape
Sacred Bamboos and Cocks Flowers and Birds
Wintry Landscape
Carp under a Pine-tree
A Chinese Beauty
Peacock
Fishermen and Willow-trees Flowers
A Cock in the Snow
Landscape
Mother Monkey and Her Young
Peacocks
Katsukawa Shun- sho
Utagawa ‘Toyo- haru
”
Hosoda Yeishi
Katsushika Hoku- sai
Ando _ Hiroshigé Ikeno Taiga Yosa Buson Noro Kaiseki
Tani Buncho
Tanomura Chiku- den Watanabé Kwa- san Nakabayashi Chikuto
Okada Hanko Tsubaki Chinzan
Yamamoto _— Bai- itsu
Nukina Kaioku Maruyama Okyo Genki
Nagasawa Ro- setsu
Goshun
Matsumura. Kei- bun
Ito Jakucht Soga Shohaku Mori Sosen
Ganku
PLATES
School
Ukiyoye
Maruyama
”
Period, A. D.
Lived 1728-1794 Lived 1737-1814 Lived 1753-1805 died 1829
Lived 1760-1849 Lived 1797-1858 Lived 1723-1776 Lived 1716-1783 Lived 1747-1828 Lived 1764-1841 Lived 1777-1835 Lived 1793-1841 Lived .1770-1858 Lived 1782-1846 Lived 1801-1854 Lived 1783-1857 Lived 1778-1863 Lived 1733-1795 Lived 1750-1797 Lived 1755-1799 Lived 1752-1811 Lived 1779-1843 Lived 1716-1800 Lived 1730-1783 Lived 1747-1821
Lived 1749-1838
Source
The Imperial Museum, Tokyo. Mr. Fukuoka Seijiro.
Mr. Hattori Ichizo, Kobé.
Mr. Fukumoto Kahei, Omi. Mr. Dan Takuma, Tokyo.
Mr. Takaminé Hideo, Tokyo. Mr. Fujita Denzaburo, Osaka. Mr. Shimomura Shotaro, Kyoto.
Mr. Ikushima Kazo.
Count Tokugawa Satotaka, To- kyo.
Mr. Ikushima Kazo.
Mr. Takata Shinzo, Tokyo. Mr. Ikushima Kazo, Osaka. Mr. Hayashi Shinsuké, Kyoto. Mr. Nakao Juré, Mikawa.
Baron Yokoyama ‘Takatoshi, Kaga.
Mr. Kano Jihei, Settsu.
Mr. Ozu Yoyemon, Isé.
Mr. Uyematsu Yoyemon, Suruga. Mr. Sakagami Shin-ichiro, Osaka. Mr. Watanabé: Inosuké, Kyoto.
Mr. Nakamura Torakichi, Omi. Ryosokuin, Kyoto.
Mr. Nakaoka Kichibei, Kyoto.
Mr. Kimura Chdshichi.
Mr. Nishimura Sozayemon, Kyo- to.
wy
CHAPTER I. THE OHARIDA PERIOD.
WITH EMPRESS SUIKO’S REIGN (593-628), AS ITS MIDDLE POINT.
In every country, during the time of its non-civilisation, even the Fine Arts may be looked upon as being merely in a state of germination. In our country, too, the human forms and other kinds of decoration in the shape of flowers or the like, which were painted on the stone-walls of tombs, consti- tuted all the pictorial art that we had in ancient days. The crudeness and lack of skill of this art are no better than the efforts of children at the present time when they pretend to draw pictures. It is only after the introduction of Buddhism that we can for the first time properly speak of our pictorial efforts as Art. This is, perhaps, because the Fine Arts of China gradually developed during the time of the Six Dynasties, beginning with Han and Wei (say from the second to the fourth centuries of the Christian era) and were influenced by the character and technique of those countries, west of Central Asia, India, etc. These arts came into China together with Buddhism, and they were then introduced into Korea which country was then divided into the three kingdoms, known as San Kan, and from Korea the pictorial arts were brought into our own land, together with literature and industries. Besides. this, certain phases of the Fine Arts crept in, little by little, from the central part of China; and these newly introduced arts, helped by the introduction and prosperity of Buddhism, suddenly took a. long stride in their development.
Before the introduction of Buddhism, it so happened that during the reign of Emperor Ytryaku (457-79), a certain artist, Inshiraga by name, came to our country from Kudara, one of the three ancient kingdoms of Korea, in response to a call sent to him from our Government. After the introduction of Buddhism, during the reign of Emperor Sushun (588-92), Hakka, another artist of Kudara, was likewise sent to Japan, somewhat in the nature of tribute. In Empress Suiko’s time, when Prince Regent Shé- toku lent the weight of his influence to the great promulgation of Buddhism, certain artists were given
professional appointments that were to become hereditary, and these men, as well as their descendants,
2 ONE HUNDRED PICTURES SELECTED FROM THE MASTERPIECES OF JAPANESE ART.
were excused from paying housetax; which fact, apparently, tended to exert much influence upon the development of painting, and, in consequence, there were then produced the first great masterpieces that have been handed down to our own time, such as the A@fsuda painting (so-called because it was painted with the pigment MM?/suda-sd, ‘“ Litharge’”’) done on the portable shrine, Tamamushi Zushi (belonging to Hérytyji, Yamato Province: it is a treasure from Empress Suiko’s time, and takes its name from the fact that wing-sheaths of beetles are used to decorate the shrine). On the surface of the pedestal, at the right-hand ‘side, there a picture of Bodhisattva~holding lotus flowers; on the left-hand surface the picture of throwing the body to feed a hungry tiger; on the front surface a picture illustrating the act of presenting offering to the relics of Buddha; and on the back, a picture of Mount Sumeru. On each of the double-doors forming the three sides of the body of the shrine, there are pictures of Bodhisattva, Ananda and other disciples of Buddha worshipping the relics of Prince Mahasattva. (For full details of the symbolism, the reader is referred to Jataka-mala, Chinese translation). The use of litharge is perhaps a technical phase of art introduced from China: the colours were only three or four, such as white, black, red, yellow, etc. The manner of drawing the pictures was very crude and there was a certain monotony in the treatment of curved lines, while the attempt to represent things gives
them an appearance which is both stiff and woodeny.
CHAPTER. IL. THE ASUKA PERIOD.
FROM EMPEROR JOMEI TO EMPEROR MOMMU (629-707).
After the days of Emperor Jomei’s reign, when Kentéshi (that is, Ambassadors to the Chinese Court) were for the first time sent to China, on until the time of Emperor Kétoku (645-54), institutions and literary affairs were all imitations of T‘ang styles, until the so-called reconstruction of Taika era was carried out. Thus with painting, also, models were taken from T‘ang originals, and the Korean mode, which had dominated. in the preceding period, gradually underwent a change. Thenceforth, apparently, the T‘ang style gradually increased in influence and the prosperity of painting matters was without precedent in the times that had gone before. Among the artists whose names are recorded in history, there are Koma no Tachibé no Komaro, Funado no Atayé, and others. Pictures made from embroidery work, these were called /Vwuz-no-yé, were popular, as were Buddhistic images in woven work, called 7suzuré-ort. Pigments, also, were produced in our country (in the days of Emperor Mommu's reign), various provinces being, for the first time, called upon to supply materials for making colours as a part of their tax levy. Not only this, but the architecture of palaces followed the manner of T'ang. Literary matters, having developed on the whole, there arose a greater demand for decora- ting buildings and their appurtenances, which was, perhaps, the reason why the office of Yedakumi no Tsukasa (‘‘ Bureau of Fine Arts”) was established at Court about this time. The pictures executed in these days, which are still extant, are the litharge paintings on Lady Tachibana’s portable shrine (owned by Hoérytyi); Portrait of Prince Regent Shdtoku (a treasure owned by the Imperial Household ; in this picture the Prince, his younger brother, Yeguri-no-6, on the right-hand side, and the Prince's. son, Yamashiro-no-dyé, on the left-hand side, are shown); the wall-paintings of Kond6 (Principal Hall) attached to Ho6rydji, etc. The embroidered work of the picture of Sakyamuni Buddha preaching, owned by Kanjuji, Yamashiro Province, remakably resembles the wall-paintings of Horytji in its
conception, as well as in its technique. Compared with painting of the preceding period, the work in
NARA PERIOD. 3
these pictures shows remarkble progress in the character of their art, approaching to that of T ‘ang, especially in the chiaroscuro; while in the portrayal of human features, attitudes, etc., a marked trace
of Indian influence is noticeable.
CHAPTER III. NARA PERIOD.
FROM EMPRESS GEMMYO TO EMPEROR KONIN (708-781).
After the establishment of the imperial residence at Nara by Empress Gemmyo in the 3rd year of Wado (710) till the reign of Emperor K6énin, with the reign of Emperor Shému (724-48) and that of Empresses Koken (749-58) and Shotoku (765-9) marking the middle part therof, for the space of about seventy years, the great spread of Buddhism caused literary matters to prosper for more than they had done in the preceding period, and the art of painting, likewise making great progress, entered upon a new phase. What is most remarkable in this period, is the fact that the business of the Art Bureau was in full operation about the time of Tempyd (729-48) till Tempy6-hoji (757-64). The copying of stitra and other religious manuscripts, the building of temples, and the carving of Buddhistic images were then constantly being done under the supervision of the Imperial Household, and the office at which sitra and other documents were copied, the bureau for erecting the temple, Tddaiji, and that for building Toji; the office for building Ishiyama-in, that for making Buddhistic images, that for painting pictures on portable shrines, that for decorating flower-vases with pictures, etc., were newly established. From the production of Buddhistic pictures and the decoration of temples and Buddhistic images, down to the making and decorating of portable shrines, Buddhistic paraphernalia, and even the pictures on stitra-rolls, etc., all such work was generally assigned to the members of the Art Bureau. What is especially remarkable was the work of decorating the ceremonial paraphernalia to be used in the consecration service of the great image of Buddha, and in that observed on the first anniversary of the death of Emperor Shému, as well as that for the building of the temple to contain the Great Image. At that time, work of this sort was carefully differentiated among the various classes of artists, namely, the priming with white lead powder was assigned to those who specially prepared the wood-ground ; the drawing of the outline sketch was entrusted to others; the finishing lines and the bordering were done by another class; then the colourists applied the different colours; after which the inspecting artists scrutinised the result of the whole work; and there were other specialists. Probably because the artists were kept so busy, the treatment accorded them was improved, while later, the fact of awarding family names to artists now and then appears in national historical records. Among the artists of Tempy6 and Tempy6-hoji eras, there were some whose rank was higher than was authorised by the Taihd Regulations.
The Shésdin is a treasury owned by the Imperial Household which has been carefully guarded by imperial command from generation to generation. In it such things are jealously preserved as those left by Emperor Shému and which were donated ‘to the great image of Vairocana Buddha in Todaiji : the treasury stands, at the present time, to the northwest of the great hall of the Buddha, Nara. From ancient documents that still exist in Shdsdin, we learn the names of some seven score of artists who lived about the period we are now considering, among them there are not a few whose residence, age, official rank, special branch of art, salary, etc., may be ascertained. The officials of the Art Bureau,
such as Kami, Suké, and Sakwan, were not merely administrative officers, but they were good artists as
4 ONE HUNDRED PICTULES SELECTED FROM THE MASTERPIECES OF JAPANESE ART.
well. Besides Osanaga-nifu no Mahito Okuni, Kawachi Yeshi Tsugimaro (Director of the Art Bureau), Takeshimaro, Kibumi no Muraji Otomaro, Kami no Suguri Ushikai (Director of the Art Bureau), Kami no Suguri Ushiama (Director of the Art Bureau), and others, ther are among the artists, some whose names are not so well known: such as, Hada no Muraji Inamura (artist or member of the Art Bureau), Suhada no Maro, Hada no Katana, Osanaga Toyoho, Akazomé no Shamimaro, Katsu no Oitari, et als. Among the treasures in Shosdin, there are not a few articles decorated with painted pictures (all of which belong to the art of the Tempyé-shéhé Days), and the skill evinced in their execution is very great. This is probably because they were all done by artist-members of the Bureau at the time.
Although the greater part of the work done in the Art Bureau consisted, as mentioned before, of the decoration of buildings and paraphernalia, yet the preparation of Buddhistic pictures is alluded to quite often in both national histories and ancient documents ; among them, the theme most frequently mentioned is the depicting of various phases of Paradise. Pigments began to be manufactured at home in the time of Emperor Mommu’s reign; but it seems that after Empress Gemmyé, who ordered every province and county to report the names of pigments produceable therein, the variety as well as the quantity of these increased. Thus, from the ancient documents, preserved in Shésdin, and also from the decorative pictures wrought on paraphernalia, etc., we are given to understand that, among the pigments then in use, there were already Silver Vermilion, Red Oxide of Lead, Sapan Purple, Bright Purple, Reddish-burnt Iron, Gamboge, Very deep Blue, Bright Indigo Blue; Blue with a tint of Crimson, Pale Blue, Sky Blue, Gold Blue, Pale Green, Verdigris, Gold Leaf, Silver Leaf, Golden Black, Silver Black, White Lead, and Size or Glue, as well as others.
Among the pictures that have come down to us from this period, there are the illustrations to Kwako-Genzai-Ingwa-Ky6 ‘“Siitra on The Cause and Effect of the Past and Present’: throughout the whole roll, the upper part is filled with pictures, the lower part being given to the text; the Tokyo Fine Art School, Jobon Rentaiji of Kyoto, and Hé-on-in at Daigo, each owns one copy, the date of the work is the 7th year of Tempyé, 735); the folding screen decorated with the full-length figures of ladies, wrought in birds’ feathers, kept in Shdésdin (this consists of six panels, on each of which is painted a Beauty standing under a tree, colours were applied to the face and hands only, the rest of the figure being done with birds’ feathers, although all have been rubbed off, exposing to view the outlines underneath, the date of execution is somewhere between the 4th and the 8th years of Tempy6-shohé, 752-56); the picture of a Bodhisattva painted on hemp cloth (the date is probably about the days of Tempyé or Tempyé- shohd) ; the landscape painting done in monochrome on hemp cloth (two pieces, the date is the same as that of the preceding one) ; figures of Buddha and Bodhisattva engraved on the petals of the lotus flowers forming the pedestal of the Great Buddha Image of Tédaiji (probably executed between the 1st year of Iempy6é-shohé, when the casting of the great image was finished, and the 4th year of the same era, when the consecration service was held); and the image of Sri-devi (preserved in the temple, Yakushiji, Yamato: probably it was executed about the time of Empress Koken or Emperor K6nin ; etc.). If we compare them with the articles belonging to the preceding period, the great progress in
the art may be noticed, as having closely approached the T‘ang style.
HEIAN-OCHO PERIOD. 5
CHAPTER IV. HEIAN-OCHO PERIOD.
AFTER EMPEROR KWAMMU TILL EMPEROR KOKO (782-888), INCLUSIVE.
Together with the removal of the imperial residence by Emperor Kwammu, the centre of civili- sation naturally was transferred from Nara to Heian (Kyoto), and as the Chinese ways became more popular in religion, literature, calligraphy, customs, etc. so did pictorial art also, affected by the same influence, became more matured in the Chinese style; but it was quite different from that which is conspicuous in the preceding period, especially because the images of numerous deities of different sorts (commonly, 414 deities; forming the Mandala of the Taizé-kai, ‘Sphere of Vajra,” belonging to the Shingon sect, originally derived from Brahmanism, and including Buddha, Bodhisattva, Vidhraja, and various other deities), which were peculiar to the newly-introduced esoteric Buddhism (taught by the Shingon sect and a part of the Tendai sect, after having been introduced by K6b6 Daishi and Chish6 Daishi) and which could not be expressed in the terminology of that form of Buddhism that had been introduced previously. ‘These esoteric sects required the accessories which appealed to the sense of sight and therefore models—both of pictures and images—were newly introduced in great numbers ; therefore Buddhistic painting changed its character, for, although the painting of esoteric Bud- dhism was also in the T‘ang style, still it differed essentially from that of the exoteric school, introduc- ed previously, which was in the style of the early T'ang. This new method was after the manner of the middle or later part of the T‘ang dynasty, and consequently the method of executing either Man- dala (pictures containing the service appropriate to one main deity or to all the deities) or separate pictures of one individual deity, was different from that of the other school; not only in the conception of the subject as well as in the characteristic features of the image emanating from the esoteric doctrine, but in the technique also there was a great difference. After this, during the long period, marked by the supremacy of the Fwiwara family, and known as “ Fujiwara Period,” till Heiké Period, Buddhistic painting displayed two distinct phases, esoteric and exoteric. Not only this, but the priests who sought to promulgate the esoteric Buddhism had to get the secrets of the doctrine from their teachers by word of mouth, and copy the GA that were jealously guarded. These Gz&7 gave minute instructions as to the pose and physiognomy of the painted representations of the various deities; as well as rules of sculpture, etc. for carved images, and the work consists of several hundred volumes. As to get a clear understanding of the Gz#¢ demanded not a little assistance from graphic representation and carvings (for example, in order to have a just comprehension of the Daznicht sutra, the Mandala of the Sphere of Vajra is indispensable; and to understand the Kongdchd sttra, the Mandala of the Sphere of Pure Reason is equally essential), it naturally followed that there were many priests who were clever artists.
The Art Bureau, which had been conspicuously active in the preceding period, was closed as an independent establishment, and its functions were committed to the Department of Industries, the number of artists employed therein being decreased in the time of Emperor Heijé, (806-9); probably because the building of the new Court had been completed, and the task of constructing temple build- ings and the carving of images, etc., as a part of the Government's undertaking, were no longer done so frequently as they had been in the preceding epoch, the work of decorating various articles to be used at Court was the only artistic function devoloping upon the Bureau. After this, the place where the painters of the Department of Industries followed their avocation, was called YVedokoro, or ‘ Art
’
Bureau ;”’ and, probably because the painters of the Yedokoro were all artisans rather than artists, Yoshi-
yeno Sukané, who was sent abroad to China in the 3rd year of Showa, (836), and a few others like
6 ONE HUNDRED PICTURES SELECTED FROM THE MASTERPIECES OF JAPANESE ART. ; :
him, are the only painters of the Bureau whose names are recorded in histories. On the other hand, there appeared a great many of the gentry who painted pictures skilfully. It seems that for such painting as was intended to be admired only, outside of the decorative arts applied to buildings and paraphernalia, the work of these unprofessional artists came to be much affected. The most skilful of these dilettante was Kudara no Kawanari (who died in the 3rd year of Ninju, 853, at the age of seventy-two). Although the fact that this painting merely to gratify a personal, artistic taste, had already been somewhat in vogue during the preceding period may be confirmed from the painting on screens, etc., kept in Shdsdin, yet it seems certain that the great development of this phase of Art Oc- cured after Kawanari’s days. The further fact that landscapes, geuve pictures, and the like, were paint- ed on screens, may also be gathered from the parenthetical writing affixed to the poems in Kokzushiu, or ‘‘ Collection of Ancient and Modern Poems,” and to those of Shzzshit, or ‘‘ Collection of Poems Left Behind.” Among the priests who were good artists, there were K6b6 Daishi (who died in the 2nd . year of Showa, 835, at the age of sixty-two), Chish6 Daishi (who died in the 3rd year of Kwamby6, 891, when seventy-eight years old), and others. The portrait of Rytimyd Bosatsu (Lung-meng Bodhisattva) and that of Ryachi Bosatsu (Lung-chin Bodhisattva) kept in Ky6wégokokuji, Kyoto, were from the brush of Kobd Daishi, and are still in existence. There are not a few pictures of Buddhistic deities which the Daishi painted in imitation of the models in China and brought home by him, which still exist as copies. These works are called Gyohztsu-yé, or “The Honorable Style of K6b6 Daishi.” Among what are generally known to have been from the brush of Chish6 Daishi, there are the Yellow Arya Acara (also said to be from the brush of Kak6, an artisan, who was ordered to paint it, owned by Onjdji, Omi Province); the Red Arya Acara (belonging to My6-6-in, Kéyasan, Kii Province), etc. The pictures of various Buddhistic deities which he painted in imitation of models in China, are sometimes found to be remaining, also in copies.
The execution of Buddhistic pictures in this period is quite frequently mentioned in national histories and ancient documents. What is especially remarkable is the fact that on account of the ceremony of confessing Buddha’s name, “ Butsu-myd Sangé-vé,’ held now and then after the 5th year of Showa (838), thirteen thousand images of Buddha were prepared and distributed throughout various provinces about the era of Jokwan (859-76), which corresponds to the making, in the preceding period, of Sakyamuni’s image and pictures of Paradise, to be similarly divided. This being the case, even besides the works of the two Daishi, just mentioned, almost all the pictures preserved to us from this period are Buddhistic ones (the Mandala of the Two Spheres, done in gold and silver dust on black aya, preserved in Jingoji, near Kyoto; the figures of the Twelve Devi Kings, kept in Saidayi, Ya- mato Province; the Mandala of Indra, painted on the wooden wall-panels of the Kond6é of the temple, Muré-dera, Yamato Province), etc., and the portraits of priests (that of Gonzd Sdzu, kept in Fumon-in, Koyasan, the date of which must be between the 21st year of Enryaku, 802, and the 2nd year of ShSwa, 835), are the only pictures, produced in. this period, that are other than Buddhistic
ones.
CHAPTER V. FUJIWARA PERIOD.
FROM EMPEROR UDA TO EMPEROR KONOYE (889-11 55), INCLUSIVE.
As mentioned before, about the time when our literary matters had sufficiently matured under
the influence of China, that country was in a state of great confusion, and consequently the sending
FUJIWARA PERIOD. 7
of ambassadors to the Chinese Court was given up in the 7th year of Kwambyé (895), during Emperor Uda's reign. Thereafter, international intercourse between China and our country was suspended for a long time. Consequently, our country, building upon the civilisation already attained, accomplished her own development, thus evolving a certain kind of new nationality which had no precedent what- ever. In literature, the Japanese style was very popular, and in religious matters, too, prayer and “ Nembutsu,’ or the ordinary service of worship, made up almost all there was to be done in such rites. As the customs of the general populace grew luxurious and effeminate, so the Yamato-yé developed about this time, improved very much in the graceful beauty of its character.
The most remarkable incident in the field of pictorial art at the beginning of this period, was the appearance of Kosé Kanaoka (about the eras of Ninna and Kwambyé, 885-97) who has been regarded ever since his time as the patron saint of painting in our country. After he came upon the stage, for several generations the Kosé family was virtually the house of highest lineage in the realm of graphic art. Kanaoka had sons, Kintada (about Tenryaku, 947-56, days) and Kimmochi. The latter was the first to be appointed Director of the Art Bureau, the character of painting was entirely changed in his time, perhaps this was because the style of the Yamato-yé School was at last established. Kim- mochi had a grandson, Hirotaka, who also was appointed Director of the Art Bureau about the days of Choho (999-1003). This man was especially noted for his skill in painting; and after him there appeared Koreshigé (about the days of Chégen, 1028-36), Nobushigé (about the time of Daiji and Chosh6, 1126-34), and in the succeeding period Muneshigé (about the eras Kytan and Nin-an, 1145-68), et als. They were, in turn, appointed Director of the Art Bureau, but the fame of their house did not again revive. Among the artists outside of the Kosé family, there were—as contemporaries of Kimmochi—Tameuji, Asukabé Tsunenori, and there were some others. In the days of Eishé (1046-52), there was Tamenari, Director of the Art Bureau, his productions, the picture of the Eight Phases of Sakyamuni and that of the Nine Ways of Amitabha coming to meet the Spirits of the Blessed, painted on the doors and wall-panels of H6-6-d6, are still in existence (executed between the 6th or 7th year
of Eishé, 1051-2, and the ist year of Shohd, 1074). About the days of Otoku and Kéwa (1084-1103), there was Fujiwara Motomitsu, the Tosa School regards him as its founder, a copy of the picture, Wrestling, which is said to have been from his brush, is extant. Subsequently to Motomitsu, there came Fujiwara Takayoshi (who was in charge of the Art Bureau about the time of Nimbyo and Kydju, 1151-5), he was a son of Motomitsu. After Takayoshi, for several generations, his family was called Kasuga and consequently his students used the title Kasuga School or Ko-Tosa School. About the time of Choshs Takuma Tameté, achieved fame through his great success in executing the wall-pictures in. Dai-Denbéd6 at Negoro (Kii Province). This person is no other than the founder of the Takuma School; it is not clear whether the Tameuji, mentioned before, belonged to the Takuma family or not. The ‘Takuma School was quite a new one of Buddhistic painting and probably owed its existence to that new phase of exoteric Buddhism, somewhat metamorphosed, that had prevailed before, and which was itself a product of the Sung style, itself modified to conform to local ideas.
Among the priests who painted pictures skilfully, there were, first, Yeri Sdzu (who died in the ist year of Shohei, 931, at the age of eighty-four); and following him came Yeshin Sézu (who died in the Ist year of Kwannin, 1017, at the age of seventy-six). The latter exclusively painted pictures to illustrate the doctrine of attaining Paradise by repetition of the formula Mamu-Amida-Butsu, and therefore his efforts were concentrated upon the act of Amitabha and Boddhisattva coming to wel- come the Spirits of the Blessed. Among the works remaining to us and of most reliable authenticity, there is the picture of Bodhisattva coming to meet the Spirits of the Blessed (owned by Junji Ha-
chimank6, said to have been painted by the Sdzu when he was twenty-four years of age, in the 2nd
8 ONE HUNDRED PICTURES SELECTED FROM THE MASTERPIECES OF JAPANESE ART.
year of K6hd, 965); this is preserved on Mount Kdya: besides the last mentioned, there is the picture of the three forms of Amitabha appearing from behind the Mountain (the inscpription in the upper part of the canvas says, “5th year of Shéryaku,” 994); kept in Konkwai Kémyéji, Kyoto, etc. are also said to have been from the brush of the Sdzu (there are not a few ancient pictures of this sort, they are kept in Jofukuji, Zenrinji, and other places, in Kyoto). Although the former still evinces the. style belonging to the exoteric Buddhism ; the latter displays the new type of Buddhistic painting, created at this period ; that is, Buddhistic painting in the Japanese style. After this time the religious painting of the Jodo sect came to be wrought generally after this convention, which was probably originated by Yeshin Sézu. In Buddhistic painting of this character, bits of gold-leaf are usually ap- plied, and the general use of gold-leaf in this way was newly developed in this period. Those who appeared after Yeshin and achieved the greatest fame, are Toba Sdj6d (who died in the 6th year of H6-en, 1140, at the age of eighty-eight) and Chinkai (died in the 2nd year of Nimbyéd, 1152). There exist pictures done by Toba Sdj6 in imitation of the Buddhistic painting by Chish6 Daishi, et als. ; but probably because Kokon Chomonshit mentions the production of caricatures by Sdjé, his fame as a capital and effective hand at drawing playful pictures, very popular at that time, has always been great with succeeding generations. The caricatures, consisting of three rolls, are preserved in Koézanji, Toganoo, Yamashiro Province, and are known to have been from Toba’s brush, the same is said of Shigisan Engi (“ Pictorial Record of Mysterious Events which occured on Mount Shigi,” belonging to Chdgosonshiji, Yamato Province, consisting of three rolls. Chinkai made a specialty of painting Bud- dhistic pictures, we have the copies which he made of the picture of Indra.
As the demand for Buddhistic paintings was very great, on account of the frequent building of temples and the prevalence of offering prayer to the various deities, towards the end of this period, there appeared a distinct class of artists who made a specialty of producing Buddhistic pictures: they were called Yedusshz, or “ Buddhistic Artists.” It was Kyédzen (made Hokky6o in the 4th year of Ji- ryaku, 1068, died in the 2nd year of Shh, 1075) who was the first to be accorded one of the priestly titles (namely, Héin, Hégen, Hokkys), after him those artists who were the most famous were the two, Ogen (about the time of Fikyd, 1113-7) and Chijun (about the time of K6ji, 1142-3). Copies of the copies, which Ogen once made by the order of Toba 50j5, of Buddhistic pictures painted by Chish6 Daishi, are still extant. |
The great demand for Buddhistic Art in this period, has already been alluded to, painting of pictures on the doors, columns, walls, and other fixtures of Buddhist temples, was also popular (besides the painting on the walls and doors of H6-6-d6, there are still remaining the wall-pictures of Hokayi, at Hino, Yamashiro Province). Especially towards the close of the period, the allusions, in the diaries of noblemen, to Buddhistic pictures, are beyond reckoning; thus more than attesting the popu- larity of Art of this kind. Furthermore, as the technique of these Buddhistic pictures was very excel- lent in its style; because of reverence for them from a religious standpoint and, not only this but, because their preservation has been remarkably complete, it is not too much to say that about all the articles handed down from this period are those of Buddhist subjects or portraits of Buddhist Saints. It, in addition to those which have been already discussed, we enumerate some famous ones, by artists whose biography has been lost, that belong to the class of exoteric Buddhism, both pictures and portraits ; there are the portrait of Jion Daishi (Tz‘u-en Ta-shih) owned by Yakushiji, Yamato Province ; those of the two Bodhisattva, Avalokitesvara and Sthamaprapta (making, with the picture of Amitabha Tathagata and Cherubin, a set of three akemono), owned by Hokkeji, Yamato Province ; picture of Buddha preaching after his Resurrection, owned by Choéhdji, Yamashiro Province; etc. Among the
pictures illustrative of esoteric Buddhism, and these exist in much greater number, there are that of
HEIKE PERIOD. 9
Samantabhadra’ Bodhisattva, installed in the Imperial Household Museum; that of Maytravidyaraja, owned by Mr. Hara Tomitaré, Yokohama, etc. There are a goodly number of others still extant.
The painting of pictures whose subjects had nothing to do with religion, also made great development and was very popular in this period. Beginning with the Imperial Court and extending to the gentry, the painting of pictures on folding-screens and sliding wall-panels was greatly in fashion. On the occasion of espousing an Imperial Consort and when Ministers of State gave great entertain- ments, congratulatory ceremonies, etc., many scores of such folding-screens were newly made and, after pictures had been painted on them, skilful calligraphists were called upon to add appropriate poems for their further embellishment; hence reference to such things in history is naturally of frequent occurence. Again, in Ssh (a collection of poems compiled by Emperor Kwazan, 985-6, himself fond of painting and a good artist), etc., there are many poems having for their theme the pictures painted on screens, thus we are enabled to grasp the character of these paintings and to understand that they belonged to the Yamato-yé School. Ua-yé (these pictures illustrating the spirit of the poems) and Ashidé-yé (literally, ‘‘ Reed Pictures,” so-called because the ideographs of poems are indicated by the strokes of the brush in the details of the scene) were also originated in this period; as were also collections of single-sheet pictures and plates intended for insertion as illustrations of romances, story- books, itineraries, and rolls; the game of Yé-awasé (‘‘ Matching Pictures’), and other similar sports were also invented. Rolls, having pictures inserted therein, are the so-called Yemakzmono (‘‘ Illustrated Rolls’) and the preparation of this kind of rolls became more and more popular thereafter, until it fairly rose to the zenith of its glory in the Kamakura Days. The art of illuminating Buddhist stitra in the form of rolls on .SA%zkishz (‘Coloured Paper,” especially used for poems), etc., with beautiful illustrations was also originated about this time. Although the painting of pictures on fans had been done in the preceding period, yet in this time of which we are now treating, these painted fans were sometimes exported to China through Korea and were greatly admired there, under the name of Che-teh Shan (‘‘ Folding-fans”’). The /7/z-dég7 (fan made of wood) handed down from either the close of this period or the succeeding one, is still preserved at Itsukushima (Miyajima) Shrine: articles of this character still in existence, are not so numerous as Buddhistic pictures. Among the pictures painted on screens there is the Senzue Byébu (“ Folding Screen on which Landscapes are depicted’”’), owned by Toji. Of the copied stitra passages there are the ground pictures intended as illustrations for Hloké-kyo, Saddharma- pundarika sitra, which are painted on fan-papers (102 of these are kept in the temple, Shitenndji, Osaka, and g belong to the Imperial Household Museum), etc. Thus we are sufficiently enabled to grasp the ancient style of the Yamato-yé School.
CHAPTER VI. HEIKE PERIOD.
FROM EMPEROR GO-SHIRAKAWA TO EMPEROR ANTOKU (1156-1185), INCLUSIVE.
The general trend of human affairs in Heiké Period was almost the same as in the Fujiwara era, and everything was mainly determined by the influence of that time; only the painting of pictures on folding-screens and sliding wall-panels was less popular than it had been in the preceding era. But the work of preparing illustrated rolls had now become more popular (the picture of The Rites Celebrated
during the Year, which Emperor Go-Shirakawa caused to be painted ; that of the Battles fought in Oshya; A
10 ONE HUNDRED PICTURES SELECTED FROM THE MASTERPIECES OF JAPANESE ART.
Wrestling Tournament during the era of Hégen, 1156-8; six rolls of pictures relating to Emperor Hstian-tsung, etc., are mentioned in history). With such things as the copied sitra, it was specially frequent to strive at beauty, as is evinced in the decoration of the Saddharma-pundarika sitra. The articles which the Taira family donated to Itsukushima Shrine (the thirty-two rolls comprising the Saddharma-pundarika sttra, the Wurydgi sttra, the Kwan-Fugen stra, etc., done between the 2nd year of Chékwan and the 2nd year of Nin-an, 1164-67): and the Saddharma-pundarika sitra (nineteen rolls, including the Awan-/ugen sitra) still exist (the frontispiece is lost: executed between the sth year of Hoyen, 1139, and about the ist year of Eiji, 1141), owned by Kwannon-dé, attached to Kundji, Suruga province. Such as these are the chief ones of the articles still existing. Among the illustrated rolls that are yet extant, there are Gem? Monogatari (“Stories about the Minamoto Family ;” although this is said to be from the brush of Takayoshi, an artist of the preceding period, yet it is probable that it was executed at this time: two rolls are owned by Marquis Tokugawa, Owari province, and one roll by Mr. Masuda Takashi), and the articles which are said to be from Mitsunaga’s brush (to be mentioned hereinafter). One marked characteristic of the art-style at this time was the drawing of the long, narrow eyes with a single, slender stroke of the brush, and depicting the nose with one hook- stroke, thus imparting to the human features the appearance of a person asleep; the A/7-dg7 fan of Itsukushima Shrine, the grand picture of Saddharma-pundarika sfitra, painted on fan-papers, men- tioned before, the sitra which the Taira family donated to Itsukushima Shrine, and the illustrations to Genjt Monogatari, all are done in this style which, it is to be noted, had its commencement towards the close of the preceding period and became very popular in this. The pictures in the illustrated roll said to have been done by Mitsunaga, evince a certain type of art in the free wielding of the brush and the vigour of the technique. Probably Fine Art criticism had its origin about this time, if we may judge from the statement in Chomonsha@ that there was a certain Veiaiibo who was a good hand at finding fault with pictures and commenting upon them ;—fairly, we may suppose; this was in the days of Emperor Go-Shirakawa.
Among the eminent artists of this period, there were, in the Kosé School, Muneshigé, Masamuné (about the time of Jish6, 1177-80), Hideshigé, Kaneshigé, Arimuné (Director of the Art Bureau, about the time of Genryaku, 1184); and, in the Kasuga School, Takachika (whose name had formerly been Takanari, and who lived about the time of Jishd), Mitsunaga (about the time of Shéan, 1171-4); and, in the Takuma School, Tamehisa (about the time of Juyei and Bunji, 1182-9). Of these artists, Mitsunaga is the only one whose authentic works now exist. The Events of a Year, a kind of illustrated calendar (possibly the one mentioned before as having been painted at the command of Emperor Go-Shirakawa), formerly composed sixty rolls; but the whole were lost in a fire about the time of Anyei (1772-80) and those which now exist are only copies of sixteen of the rolls; (these are owned by Mr. Tanaka); the Panoramic History of Tomono Dainagon (the most famous of all the ancient picture-rolls, three fasculi, owned by Count Sakai Tadamichi); the picture-roll relating to Diseases (two rolls owned by Mr. Sekido, Nagoya); the picture-roll of Hungry Demons (one roll owned by Ségenji, Bizen province); that depicting Hell (two rolls owned by Mr. Masuda, and one each by Baron Takahashi Korekiyo and Anji-in, Okayama); the picture-roll of Minister Kibi entering China (one roll owned by Count Sakai Tadamichi), the panoramic mythical history of Kogawa-dera (one roll owned by the same temple, Ki-i province); the panoramic history of Hikohohodemi no Mikoto (its present place of existence is not known), etc. are all said to have come from Mitsunaga’s brush.
Buddhistic painting was now next to the preceding period only in popularity ; consequently, the production of works of this character is frequently mentioned in ancient diaries ; and besides, articles of
this branch of art and dating from this period now exist in no small number; but none of them display
HEIKE PERIOD. Il
striking characteristics compared with those produced towards the close of the preceding period, the profession of Buddhistic artist was, likewise not so popular as it had been in that time. Among the most famous of these Buddhistic painters were Hogen Raigen (between about the time of Eiji and Juyei,
1141-1183) although there were some others.
CHAPTER VIL KAMAKURA_ PERIOD.
FROM EMPEROR GO-TOBA TO EMPEROR GO-DAIGO (1186-1333), INCULSIVE.
In the Kamakura Period when the samurai of Kwantd, the eastern part of Japan, held the governing power of the country, contrary to the state of affairs during Fujiwara and Heiké Periods, the general tendency of human aspirations was towards the abolishing of flowers and the adoption of fruits (that is, replacing artificial beauties, or vanities, with substantial things, or giving up frivolities for serious pursuits in every walk of life), and consequently in painting, also, what was more me- taphysical was called for; such as picture-rolls depicting subjects which appealed to the serious side of life, for instance, The Mystical History of Temples and Shrines; Mysterious Stories about the Power of Deities; the Biographies of High-priests; Battle Stories; and also such works as the por- traits of human beings drawn from life, and pictures of cattle sketched from nature; this kind of art developed most, and in a measure comparable with the painting which sprung from the promulgation of the Jodo tenets, the copying of the Tayema Mandala, and the portrayal of Amitabha and Boddisattva coming to meet the Spirits of the Blessed. Together with the development of the Zen sect, there came the vogue of painting Arhats and such things as were evolved by the spread of Shint6-Buddhistic thought ; namely Home Deities (literally, the Deities of the Main Trunk Land), installed at the shrines of Hiyé, Kumano, etc., (the indigenous deity being regarded as an avatar of a cognate Buddhist deity). The Mandala of Kasuga (comprising the two spheres, one was the Miya Mandala; the other the Shika Mandala; some of these illustrations may occasionally be met with even at the present time); such pictures as depict sartorial fashions then prevailing in Japan; all such things were frequently painted. As examples, we may cite, Ten Rakshasi attendant upon Samantabhadra (owned by the Tokyo Fine Art School, and also by Daifukuji, Tétémi province), Seiryt Gon-gen, etc.
While it seems that picture-rolls were for the first time produced at the beginning of this period, there exists the Kitano Tenjin Engi, owned by the Kitano Shrine, Kyoto; it is said to give graphically the fundamental history of the shrine, and is believed to have been painted in the days of Shokyi, 1219-21, probably in the 1st year of that era; eight rolls in all); the Murasaki Shikibu Nikki (one roll, owned by Viscount Akimoto; another by Marquis Hachisuka; and another by Count Hisamatsu); the Kegon Engi (six rolls of the work are in existence; owned by Kdézanji, Yamashiro province : the above three works are said to have come from the brush of Fujiwara Nobuzané); the ez? Monogatari (one roll owned by Baron Iwasaki, another by Count Matsudaira Naosuké; and another by the Museum of Fine Arts, Boston, U. S. A.); the Zayema Mandala Engi (two rolls, owned by Kémyédji, Kamakura ; the above two works are said to be from the brush of Sumiyoshi Keion), etc. After this, there are the biographical pictures relating to Priest Néyé (one roll exists; owned by Korydji, Yama- shiro province) which was probably painted by Muneuchi Kaneyasu (about the time of Kenyei and Ken-
ryaku, 1206-12); the Kwako-Genzat-[ngwa-Ky6 (the sttra on The Cause of the Past and Present,
12 ONE HUNDRED PICTURES SELECTED FROM THE MASTERPIECES OF JAPANESE ART,
done in the 6th year of Kenché, 1254; one roll owned by Mr. Masuda, two by Mr. Uchida), painted by Hokkyo Keinin and his son Shéshumaru); the Kegon Gojii-gosho (one roll, owned by Tédaiji, Nara); and the Sazgyé Monogatari (one roll, owned by Marquis Tokugawa, Owari province ; another by Marquis Hachisuga, this work has been assumed to be from the brush of Fujiwara Tsunetaka, but the date seems to be earlier than his time); and the copy of the Kzfano Tenjin Engi (two rolls now existing, owned by the Kitano Shrine; while this has been alleged to be by Tosa Yukimitsu, yet the date of the work and that of the artist do not synchronise: this was produced in the ist year of K6an, 1278). Bye and bye, the high spirits of the people after the repulsion of the Mongol attempt at invasion, caused an epoch to occur in the development of picture-rolls, too. Thereafter, the artists who painted these rolls came, one after another, upon the field of Art, Anegakdji Nagataka (about the time of Bunyei and Einin, 1264-98) and his son, Naga-aki, who produced the Pictorial Biography of Takezaki Gord (also called the Méko Shirai Ekotoba or the Panoramic History of the Attempted Invasion of the Mongols, consisting of two rolls; there is an inscription, ‘1st year of Einin,’ at the end of the roll: this is a treasure which is owned by the Imperial Household); Fujiwara Takasuké, produced the picture of the New, Famous Scenes in Isé, corresponding to poems (one roll exists; belonging to Shinyen-kwai of Isé); Hogen Joga (died at the age of eighty-two in the Ist year of Embun, 1356) produced the Shinran Shonin Eden (five rolls in all; this was done in the 3rd year of Einin, 1295); Rengyé, painted the Zdsez-den or the Pictorial Biography of Priest Gwanjin marching eastward to subdue the (spiritual) enemy, a religious subject (five rolls in all, owned by Tdshdédaiji, Yamato province, done in the 6th year of Einin); Hégen En-i, painted the /ppen Shouin Engi (twelve rolls in all; eleven of them are owned by Kwangikwoji, the seventh roll is owned by Mr. Hara, this series was executed in the ist year of Shéan, 1299); Takashina Takakané (about the time of either Enkei or Gentoku, 1308-30) produced the Kasuga Gongen Kenki (twenty rolls in all; a treasure owned by the Imperial Household ; produced in the 2nd year of Enkei, 1309); and the first three rolls of the /shiyama-dera Engi (seven rolls in all, owned by Ishiyama temple, Omi province), etc. Fujiwara Tsunetaka executed the AYyakkz Yako or the sketch of the Sight of One Hundred Demons wandering at Night (an Imperial treasure ; the legend on it reads, “5th year of Showa, 1316”). Among the pictures painted by Tosa Kunitaka and Tosa Yoshimitsu (the latter of whom was younger brother of Tsunetaka) there exist the Ménen Shonin Eden, depicting his career (forty-eight rolls, one set is owned respectively by Chion-in, Kyoto, and ‘Tayema-dera, Yamato province; the former set is said to be by Kunitaka, Yoshimitsu, and others in collaboration ; the latter by Yoshimitsu alone: the work was produced about the time of Shéan or Shénin ; these also are said to be by Yoshimitsu. The /pfen Shénin Eng? (ten rolls in all, owned by Shoj6kw6ji; the work is said to be by Yoshimitsu and was done about the time of either Kagen or Tokuji, 1303-7) belonging to the temple, Shdjokw6ji, Sagami province. Among the articles painted by Tosa Yukinaga (son of Kunitaka: Yukinaga lived about the time of Gen-d, 1319-20) there exists the Aygara Zemin Eng? (comprising three rolls, owned by Marquis Mayeda, done in the ist year of Gen-d). Among the picture-rolls executed by the artists of the Kosé School, there was the /pfen Shonin Engi at Mount Kumano (painted in the 3rd year of Kagen 1305; it does not now exist), it was done by Ariyuki and Arishigé in collaboration; and the $726 Eygz one roll, owned by the Imperial Household Museum) which is sometimes said to have been painted by Ariyasu, sometimes by Ari-iyé (we have no genealogical information about either of them). Besides these, there are not a few picture-rolls, produced in this period, which are now in existence. For example; the Zsuchigumo Sdshi, the Sumtyoshi Monogatari, the Tengu Sdshi, the Yata Fiz6 Engi, the Record of the Imperial Trip to witness the
Horse-races, the Chzgo Kwannon Engi, etc. Each of them has characteristics of its own and all are
é
KAMAKURA PERIOD. 13
worthy of investigation: especially such as display the vigorous brush wielded by Kunitaka, Yoshimitsu, et als. The great skill in the composition of landscapes, trees and rocks, in the /ppen Shonin Engz, etc., by En-i and Yoshimitsu, are among the most remarkable features. The Kasuga Gongen Kenkt, by Takakané, may, indeed, be said to be at the zenith of development of this art of painting picture- rolls, and we note the refined skill and graceful beauty, almost matchless in this form of work. Among the pictures, other than picture-rolls, belonging to the Yamato-yé School, there are in existence the folding-screen decorated with landscapes, known by the name of Sexzu¢ Bydbu, owned by Zingoji, and
the picture of the Waterfall of Nachi, owned by Mr. Akaboshi Tetsuma, etc.
In Heian-Och6d Days (the time when the Imperial Residence was in Kyoto) also, Kawanari drew the portraits of attendants, and Hirotaka painted that of Shoka Shodnin; such incidents were not of in- frequent occurrence even at that early date and consequently there are not wanting pictures which have come down to us from that period; but it was really in the period now under consideration that the art of sketching from life attained great development and it was also then that artists of great skill in this line appeared. Criticising and admiring pictures of this character were also much in vogue: such personages as Emperors Go-Shirakawa and Go-Horikawa had special tastes for this branch of art and devoted much of their leisure time to the gratification of their artistic fancy. It was Fujiwara Takano- bu (who died at the age of sixty-four in the Ist year of Genkya, 1204) and Nobuzané (who was a son of Takanobu and died at the age of eighty-nine in the 2nd year of Bunyei, 1265) that were the first to achieve artistic fame in sketching from life. Among the pictures done by Takanobu, there exist the portraits of Taira-no Shigemori, Minamoto-no Yoritomo, and Fujiwara Mitsuyoshi (belonging to Jin- goji, Yamashiro province). Among those by Nobuzané, there are the portraits of the Thirty-six Master Poets (the work consists of two rolls and is owned by Marquis Sataké: what is popularly called the Portraits of the Poet Saints of gedatamz, exists in separate sheets). Fujiwara Tameiyé (who died at the age of seventy-eight in the Ist year of Kenji 1275) also produced portraits of matching poets (U/a- awasé) of different dates (these are kept in the Museum), and The Mounted Courtiers (one roll, belonging to Count Tokugawa Michitaka), which are still in existence. Priest Géshin (a descendant of Nobuzané who lived about the time of Kembu, 1334-5) executed the portraits of Ministers (two rolls, owned by Prince Kujé) still extant. The portrait of the retired Emperor Go-shirakawa, owned by Myé6-h6-in, is one of the chief examples of this time, which was done by an artist of whom we know nothing. |
In the same way that the art of painting portraits from life now developed, for the first time, did that of drawing pictures of horses and cattle from nature come into prominence: this was doubtless due to the fact that warriors loved fleet steeds, while noblemen preferred bullocks having a quick action to draw their carriages. Such being the case, the picture of a horse. by Fujiwara Yoshitsuné (who died at the age of thirty-eight, in the 1st year of Kenyei, 1206), and that of a bullock by Motomichi, of the same family (who died at the age of seventy-four in the 1st year of Tempuku, 1233) were very famous, side by side, at this time. Hdégen Ninzen (about the time of Kengen, 1302) and Hogen Kés6 displayed their great skill in sketching the pictures of horses and cattle, from life, in the presence of the Emperor Go-Nij6. Among the masterpieces produced by Fujiwara Sanetada (he died at the age of forty-four in the 3rd year of Jowa, 1347), there is a copy of the pictures of bullocks.
That the production of Buddhistic pictures also was in full swing at this time, may be gathered from the descriptions given in ancient diaries, and also from the fact that there still exist many pictures which display the art-style of exoteric Buddhism as well as that of the esoteric School, which had previously been different in their conception and treatment, but which now came to be approximate :
the allied style, developed under the influence of that of Sung of China, resulting in the evolution of
14 ONE HUNDRED PICTURES SELECTED FROM THE MASTERPIECES OF JAPANESE ART.
the Takuma School, which cult was now exclusively affected. Among the artists belonging to this School there were, at the beginning of the period, Tametoki (about the time of Bunji, 1185-9) and Tameyuki (about the time of Kwanki, 1229-31), and subsequently, Hégen Shoga about the time of Kennin and Genkyt, 1201-5). Among the pictures painted by Shéga, there are the pictures of the Twelve Heaven- ly Kings (Deva Raja) belonging to Tdji. Both in Jingoji and in Raikéji, Omi province, there are pictures of the Twelve Deva Kings, which are said to have been done by Shéga, but the technique of these is quite different from those at Toji. The characteristics of this Takuma School are remarkable for the application of a broad and full, or a narrow brush-stroke. Following Shdéga, there appeared Hégen Eiga (about the time of Shéan and Kengen, 1299-302). The portrait of Hitomaru (owned by Mr. Akaboshi Tetsuma): and that of Daimin Kokushi kept in Nanzenji, Kyoto), which is also said to have been executed by Eiga, are still extant. After Eiga, there appeared, in the Takuma School, Rydson (who died at the age ofsixty-three, in the 2nd year of Karyaku, 1327), Shikibu Taya (who died in the 2nd year of Gentoku, 1330), Tét6mi Héin Chéshé (who died in the 4th year of Gentoku, 1332), Hogen Jok6 (who lived at the time when the Imperial House was divided into the Northern and Southern dynasties, Namboku-Cho), et als., but no one besides Shéga and Eiga achieved great fame.
The Kosé School artists of this period were generally engaged in painting for Ichijé-in and Daijé- in, Nara. Among these painters, the production of a copy of the Tayema Mandala, by Genkei and his son, Genson, in the days of Kempé, 1213-8, was the only incident that was more or less famous.
The Yedokoro, or Art Bureau, of Kasuga (in charge of painting affairs of Kéfukuji, and the Ka- suga Shrine at Nara) was at first superintended by the Sumiyoshi School, probably by Keinin, et als., and subsequently it seems to have passed into the management of the Takuma School. Besides the hereditary artists who have been mentioned, there were very many Buddhist priests who achieved more or less fame as artists: among them were Hogen Sonchi (about the time of Kenyei and J6-6, 1206-23), Hoin Rydga (about the time of Kenryaku and Kempé, 1211-8), and others. Consequently, there are not a
few canvases still in existence, by artists of whom we know nothing.
CHAPTER VII. ASHIKAGA PERIOD.
FROM EMPEROR GO-DAIGO TO EMPEROR OGIMACHI (1334-1572), INCLUSIVE.
EASA ION T,
In Ashikaga Period also, many picture-rolls were produced, but the character of them gradually deteriorated till they were no longer worthy of comparison with the articles of the preceding period. First of all, there was Hida no Kami Korehisa, who painted the Hachiman Taré Ekotoba (also called “The Panoramic Record of the Battles of the Three Later Years,” this was painted in the 3rd year of Jowa, 1347, the work originally consisted of six rolls, but the latter three are all that now remain, they are owned by Marquis Ikeda), this work is the greatest masterpiece of all the picture-rolls produced in this period. The picture-roll, Havaz Ton-ton (one roll, owned by the Tokugawa family, Owari province) is said also to be by Korehisa. About the time of Shdhei (1346-69) Fujiwara Takamori, Taka-aki, and Takamasa painted the pictorial fantasy, Bok? Ekotoba (ten rolls, executed in the 7th year of Shdhei, and preserved in Nishi-Hongwanji, Kyoto), etc. Following this, there were produced, the K0é06 Datshi Gyj6 E:kotoba (twelve rolls, preserved in TOji, it was painted in the tst year of Kéryaku, 1379) done
ASHIKAGA PERIOD. 15
by Kosé Yukitada and others in collaboration, and the Maomoto Mosht-bumi Lkotoba (one roll, owned by Count Sakai Tadaoki), which is said to have been done by Tosa Mitsuaki; and another illustrated History of the Career of K6bd6 Daishi (six rolls, owned by Jizé-in, Mount Kéya) by Tosa Yukimitsu (about the time of JOji, 1362-67), and the picture of Dancing to Music, by Tosa Mitsushigé (son of Yukimitsu, the work was done about the time of Meitoku, 1390-3), etc. The Vusu Nembutsu Engi (two rolls, done in the 1st year of Meitoku, by Takamitsu) belonging to Seirydji, Kyoto, is the most famous, next to the Hachiman Tard LI:kotoba, and was executed by Kasuga Yukihidé, Tosa Mitsukuni, Awata- guchi Takamitsu, Rokkaku Jakusai, and Yeishun, in collaboration. Of these artists, Takamitsu is the most renowned; and among works said to be by him, there exist the fifth roll of the /shzyama-dera L:nmgt (owned by that temple), and the /Apen Shonin Feng, popularly called “ /chiyadoj6 Vekotoba,” (two rolls exist and belong to Baron Takahashi Korekiyo). The great popularity of picture-rolls about the time of Eiky6 (1429-40) and the frequency with which great works were preduced at that time, are fully described in Kwanbun Nikki, etc. In the Tosa School, after Mitsushigé and Yukihidé, there appeared Mitsukané, Mitsuhiro, Mitsusuyé, Yukimori, Hirokané, et als.; of whom Mitsuhiro and Hirokané were in charge of the Art Bureau. Mitsunobu (heir to Hirokané, and who died in the 5th year of Daiyei, 1525) was very famous, among his works there are the Y#za@ Nembutsu Engi (two rolls, executed in the 4th year of Kwansei, 1463, when he was thirty), belonging to Eikwand6, Kyoto,. the Bunki copy of the Tenjin Eng? (three rolls, belonging to Kitano Shrine, Kyoto, painted in the 3rd year of Bunki, 1503, when the artist was seventy-three years old); and the Azyomzzu-dera F:ngz (three rolls, dene in the 14th year of Eishé, 1517, at the age of eighty-four, installed in the Imperial Household Museum); etc. Among the canvases of Mitsushigé, heir to Mitsunobu, there is the Zayema-dera Eng? (three rolls, beloging to Tayema-dera, Yamato province; these were painted in the 4th year of Kyéroku, 1531); his son Mitsu- moto fell at the age of forty, in the battle of Eiroku, 12th year of that era, 1569. Among the artists outside the Tosa School, there were Fujiwara Hisakuni, Kaida Sukeyasu, and others, and of the former's pictures there are the two rolls, that is, Nos. 1 and 7 of the Bok: Lkotoba, before mentioned, and the Shinnyodé Engi (three rolls, done in the 4th year of Daiyei, 1524); while of the latter’s, there is the Saigyé Monogatari (five rolls), still existing. Besides these, there are, by artists whose identity cannot be established, the Nocturnal March of One Hundred Demons (belonging to Shinjuan, Kyoto, one roll); the Nayotaké Monogatari (also called The Story of Naruto Chtj6, owned by Kotohira Shrine, Sanuki province, one roll); the Battle between Buddha and Devils (one roll, owned by Jinenji, Kyoto); the Fukutomé Soshi (two rolls, belonging to Shumpo-in, Kyoto); The Pictorial History of the Great Buddha's Hall is attached to Tédaiji, Nara (two rolls are now extant and belong to Tédaiji; they were painted in the 5th year of Tembun, 1536), etc. From what may be called the transformation of picture-rolls, there are, The Panoramic History of Seigwanji (belonging to that temple, Kyoto, comprising three pieces, together with the one added afterwards by Kaihoku Yasetsu, probably a production of about the Bunki era, 1501-3); The Pictorial Biography of Prince Regent Shdétoku, belonging to Tachibana-dera, Yamato province (eight pieces, said to be by Mitsunobu, the other four pieces are owned by the Imperial House- hold); etc. These pictures are done on cloth, in form somewhat the same as the various columns of a picture-roll one above another. Besides these pictures which have been mentioned specifically, there are many important ones from the Bummei and Tembun eras, 1469-1554, which are preserved in various temples and other places. The production of smaller rolls, such as illustrated fairy tales, may be assigned to the time when the popularity of picture-rolls was declining, these fairy-tales began to obtain favour about the time of Eiky6d (1429-40); the Dayo Lng? (one roll, owned by Count Sakai Tadaoki, said to be by Hirochika); the Mesum Sdsht; the Kitsuné Sdshz; the Tsuru Sdshi(one roll each, and
said to be by Mitsunobu), are simply some fables told pictorially.
16 ONE HUNDRED PICTURES SELECTED FROM THE MASTERPIECES OF JAPANESE ART.
The Buddhistic painting which we have hitherto mentioned, divided into various periods, was purely symbolical and was used as the object of worship or as a stimulus to meditation ; and this special type of Art may be said to have come to its end just about this period. The productions thereafter were little more than copies of existing models; the pictures were excellent merely as samples of work- manship and hardly any of them can properly be classed among the Fine Arts. Although painting of images began once more to be popular about this time, yet it was scarcely any thing more than a reaction from the decay of Buddhistic art, after all; and the painting of human figures according to Taoistic or Buddhistic canons and in the Sung style, which newly became popular about now, was intended only for the gratification of artistic fancies, the pictures being hung on the wall, and they cannot be called Buddhistic painting in the strict sense of the words. Yet, even during this period, the Buddhistic art which had been popular, was not entirely without influence, in the Shdgun’s Court, Takauji personally painted many portraits of Jiz6 Bosatsu (Bodhisattva Kshti-garbha); and in the time of Yoshimitsu (1368-94) various forms of Buddhist services were held by the Shégun’s order, at which the special deity worshipped may have been graphically represented in a new picture. To Kasuga Shrine there were attached the Art Bureaus managed by the Awataguchi and Shiba families, etc. In Ichijdin and Daijdin, con- nected with Kofukuji, there were Buddhistic artists belonging to the remote branch of the Kosé School (men- tioned in the ‘Genealogical Tables of the Kosé School’’). At Toji and Gion Shrine there were either Art Bureaus or professional artists. Thus at the temples and shrines of both Nara and Kyoto, the production of Buddhistic pictures in the archaic style was still not rare; yet there did not appear many famous artists ; this was probably because the Zen sect, which then preponderated in influence almost to the exclusion of all other subdivisions, chiefly patronised the painting of Taoistic and Buddhistic human figures in the Sung and Yuan styles; not only so, but most of these pictures were in monochrome, rather than in the efflorescence of Buddhistic Art. This being the case, the productions which were of greatest number were such as those of “Sakyatnuni coming from the Mountains,” “ Sakyamuni, K‘ung-tzu and Lao-tzu drinking Vinegar,” “ Kwannon” in various forms, etc, and also those of Daruma (Bodhi- Dharma), Hotei, and other Patriarchs of the Zen sect, various hermits, etc. But pictures that may be reasonably regarded as purely Buddhistic were only the portraits of Jairoku Zenjin (the Sixteen — Good Deities) which were popular because of frequent reference to the HYaunuya sttra by the Zen sect, the figure of Benzaiten was popular because of her supposed influence upon the study of music; that of Kitano Tenjin, because of his religious connection with the art of composing poems; that of Acara, which were generally done with a wooden style such as is used in writing Sanskrit letters, probably the art was derived from a playful wielding of the style by priests devoted to esoteric Buddhism. Among the great artists of the period, were Hoin Rydsen (the pictures of the Sixteen Arhats, belonging to Kennin- ji, were painted by him: the date of production seems to have been about the early part of the 14th century, 1332-92; the style is after that of Li Lung-mien); Ryésht Miyétaku (who painted the figure of Acara exclusively ; there are not a few of his productions still extant, he died at the age of eighty-one in the and year of Kakei, 1388); and Minché (called Ché-Densu because he occupied the position of Densu at Tofukuji), his masterpieces are Portrait of Shdichi Kokushi; Portraits of the Five Hundred Arhats, in groups of ten each, making fifty Aakemouo ; Buddha’s Entrance into Nirvana; the Portraits of the Buddhist Patriarchs, etc., belonging to Tofukuji; the style is after that of the Sung and Yuan dynasties, somewhat influenced by that of Ming, Ché-Densu died at the age of eighty in the 3rd year of Eikyé, 1431: and there were others.
With regard to portrait-painting, the influence of this branch of art as it had been popular in the preceding epoch still remaining, there are not a few pictures of this character which have been handed
down to us from this period; one of them is the royal portrait of Emperor Go-Daigo (owned by Daitokuji,
ASHIKAGA PERIOD, 17
Kyoto, another portrait of the Emperor painted on the occasion of his receiving the Buddhist tonsure, is owned by Shdjékw6ji, Sagami province); but it was the painting of the portraits of priests that was much more popular than art of this character. This branch of art seems to have had its origin in the introduction of the pictures of Zen priests from China, and it was very popular with our Zen priests ; the style is not like that of likeness painting, as usually understood, but it mostly belongs to the style of Minchdo and others. The eulogistic legends added to the pictures appear, as a rule, in the literary collections of Zen priests, and the pictures themselves are generally kept in temples, at Kamakura and Kyoto. The portrait of Shdichi Kokushi, mentioned before, is a good example. The painting of horses and cattle, drawn from life, in this period, is hardly worth considering. Pictures of horses, secured by their bridles, as painted on folding-screens; those of hawks, etc., doubtless owed their existence to the influence of portrait-
painting.
CHAPTER IX, ASHIKAGA PERIOD.
ns = 8h ee EO
Ashikaga Period form the connecting link between-the ancient and the modern history of our country. The conflagration caused by the war of Onin (1467-8) totally destroyed the works produced after Enryaku (782-805), and the troubles with native marauders, the frequent combats between the multitudinous feudal lords, together with the declining influence of the Muromachi Government, conduced to the reduction of the authority of the Imperial Household almost to an extremity; and it is not too
much to say that the esthetic taste of ancient. civilisation had been practically swept away. Such | being the condition, the school of modern painting, together with literature and theatrical performances, was originated in the Ashikaga Period. Modern Chinese classics may be said to have come from the priestly literature of the Zen sect, and dramatic composition from “ Ufa,” a certain kind of ceremonial song; and theatrical performances were evolved from the developed form ‘‘/V6”’ (the old, classical histrionic performance) impersonations. The remote origin of this modern school may be found in the monochrome work of Zen priests, who had come to our country from China in the time of the Sung and the Yuan dynas- ties, and had been naturalised, as well as in that of native Zen priests who had been abroad to prosecute their studies, after the Kamakura Period, in imitation of the brushwork popular in China. In this period, owing to the frequent plying back and forth of the ships conveying the messengers sent by the Ashikaga Government to China and to other, trading, relations, Chinese pictures were imported in very great numbers, and besides, the fondness of Yoshimitsu, Yoshimasa, and other Shéguns of the Ashikaga Period for art, promoted the use of pictures of this character as presents; and an admiring appreciation of them prevailed widely, as did the popularity of the Zen sect and the Tea Ceremony. All of these conditions contributed to bring about a sudden development of painting in the Sung and Yuan style, until it finally supplanted the Yamato-yé School that had prevailed thereto.
Of the Chinese pictures that were brought to Japan at this time, there’are not a few which still remain, the fact that they were frequently used as gifts and were highly appreciated, is clear from what we read in old diaries, collections of poems, etc. The panegyric legends added to the pictures, were also unlike those written on the Vamato-yé School canvases, where the form of shikishd (a certain panel- shaped paper especially used for poems and such literary efforts) was employed; but these now written
were doubtless done upon the canvas itself, above the picture, after the manner of Chinese zstheticism.
18 ONE HUNDRED PICTURES SELECTED FROM THE MASTERPIECES OF JAPANESE ART.
Not only this, but even the writing of poems by different authors on the same canvas became popular. The use of artists’ seals and signatures, as well as those of the composers of the laudatory legends, became necessary, and it also began to be popular, in this period, to mount pictures as kakemono, that did not pertain to Buddhistic art and hang them on the wall to admire them. The fashion of hanging kakemono where they could be seen and appreciated, developed hand in hand with the building in the form of detached studies and tea-rooms. ‘This vogue of hanging pictures was one of the chief decorations of rooms; after alcoves (fokonoma) came to be constructed, kakemono were hung therein exclusively: there- fore the manner of hanging pictures for the appreciative beholders and the ceremonies connected there- with, began, for the first time, to be described in Shosenden-sho (“ Selected Biographies of Literary Hermits’), compiled at that period. All of these facts may be said to have been sufficient evidence to
confirm the statement that the modern school had its origin in these days.
If we investigate the traces of the development of painting in the Sung and Yuan style, out of which the modern painting sprung, we find that, first of all, there was Ka-d (who died in the Ist year of Jowa, 1345); Bonps (also called Gyokuan: he flourished about the time of Oyei, 1394-1427, and was famous for painting orchids in monochrome); Isshi (who is said to have studied under Minchéd; he was celebrated for his portraits of Taoist and Buddhist priests in monochrome), and others. Subsequently, — there was Josetsu (about the time of Oyei and Bun-an, 1394-1448); among his pupils there was Shtibun (about the time of Eikyé and Kydétoku, 1429-54). They learnt the style of Southern Sung exclusively and painted monochrome pictures. From among Shtibun’s pupils there appeared many famous artists: for example, Soga Jasoku (founder of the Soga School, died in the 15th year of Bummei, 1483); Sdtan (who lived about the time of Kwanshé and O-nin, 1460-68); Shinnd (often called N6é-ami; about the time of Eiky6 and Bummei, 1429-86); Sessha (who died at the age of eighty-seven in the 3rd year of Eishé, 1506); Masanobu Kané (who died at the age of ninety-seven, in the 19th year of Tembun, 1550), et als.: thus bringing about the very acmé of the pictorial art in the so-called Higashiyama Days. Jasoku evolved a new school of painting, besides landscapes, Taoist and Buddhist personages. Sdtan inherited Shibun’s art in the painting of landscapes ; he also painted flowering grasses, vegetables, and fruits skilfully. There were Shingei, son of Shinn, (often called Gei-ami; lived between the 3rd year of Eikyd, 1431 and the era of Bummei, 1486) and Shins6, son of Shingei, (often called Sd-ami; he lived about the time of Bummei and Daiyei, 1469-1527). The landscape painting by Ndé-ami and S6-ami is very different from that of other Schools, in the delicacy and grace of the brush-stroke, and belongs to the style of the Southern Sung School, so called by later generations. Among Gei-ami’s pupils, was Shokei (called-Kei-shoki; about the time of Bummei and Mei-6, 1469-1500). About the time of Shdkei, there were not a few priest-artists at Kamakura who belonged to the Zen sect: Shink6 was one of the most famous of them. Sessht once visited China and studied under Li Tsai and Chang Yo-shéng, he assimilated the very essence of Sung and Yuan Art, and thus virtually monopolised the painting realms, ancient and modern. Among Sesshi’s pupils, Shagetsu was the most famous. Sesson also (about the time of Tembun and Eiroku, 1532-69) was greatly attached to Sesshi and occasionally produced canvases extraordinary for the vigour of the spirit which they showed. Masanobu was the founder of the Kan6 School: he displays great skill both in landscapes and human figures, and was really a professional artist in every sense of the term: his son. Motonobu (died at the age of eighty-four in the 2nd year of Eiroku, 1559) studied Vamato-yé besides the pictures of his own School, and widely extended the scope of his fellows’ influence. Yukinobu, younger brother of Motonobu (he died at the age of sixty-three in the 3rd year of Tenshd, 1575) also displayed
special forte in his art.
TOYOTOMI PERIOD. 19
CHAPTER X. TOYOTOMI PERIOD.
BETWEEN TENSHO AND KEICHO (1573-1602).
Although this period does not cover more than thirty years, Hideyoshi’s heroic character, unbridled and ostentatious, gave marked stimulus to the fashion of building detached studies having splendid acces- sories, such as gilt walls and the like; consequently these places became very gorgeous and striking to the eye, almost to an extreme; these are characteristic features of the art of this period. In the Kané School, there was Eitoku, grandson of Motonobu (he died at the age of forty-eight in the 18th year of Tensh6, 1590), who was employed in decorating with pictures the mansions so freely built by Hideyoshi. His canvases are remarkable for their great size and the work is especially noticeable for wonderful ap- plication of colours ; even in his monochrome pictures, the vigour displayed in wielding the brush, and the boldness of the conception, are conspicuous. Among his puplis were Kaihoku Yashd (who died at the age of ecighty-three in the 1st year of Genna, 1615; he was the founder of the Kaihoku School), and Kano Sanraku (died at the age of seventy-seven, in the 12th year of Kwanyei, 1635). Although Yashd was more skilful than Eitoku in conception, his gorgeous use of colours resembles the manner of the latter : afterwards, he imitated the style of Liang-kai, a Sung artist and painted, besides pictures in his own special manner, human figures in outline. Sanraku’s monochrome work resembles that of Eitoku; he was also a good hand at portraying human figures in the native fashion, and this is the origin of the later Ukiyoyé School.
The remote disciples of Sesshi were divided into two Schools, Unkoku and Hasegawa. Togan was the founder of the Unkoku, and Téhaku, of the Hasegawa (Tohaku died at the age of seventy-two in the 15th year of Keiché, 1610). Tégan seems to have elaborated Sesshi’s style somewhat; while Tohaku appears to have reinvigorated Mokkei’s (Muchi) style. The successors in the two Schools gradully waned in number and in character.
In the painting of hawks, a phase of art that had been popular in the preceding period, after Doki Raisei (died in the 4th year of Oyei, 1397), there appeared Doki Tobun in this period (he died at the age of eighty-one in the roth year of Tenshéd, 1582). Among the successors in the Soga School, there was Chokuan (in the Keichéd era, 1596-1614). By the time of his appearance, the style of the School had almost assimilated that of the Kané, in addition to its own specialty of depicting hawks in monochrome :
after him there was Ni-Chokuan.
CHAPTER XI. TOKUGAWA PERIOD.
FROM GENNA TO KEIO (1603-1867), INCLUSIVE.
During the Tokugawa Period, as the influence of civilisation spread among the general public, the art of painting also was gradually developed and, various schools springing up, the prosperity of the Fine Arts was, indeed, at its zenith. If, now, we begin with the Kan6 and briefly enumerate the Schools, according to their different originators, there was that of Kand Kéi (who died in the 13th year of Kwanyei, 1636); he was one of Kané Mitsunobu’s pupils, himself a son of Eitoku (Mitsunobu died at the age of forty-four in the 13th year of Keiché, 1608). There was Shdkwad6 (who died at the age of fifty-six in the 16th year of Kwanyei, 1639); he studied under Sanraku and was a good hand at painting simple yet
20 ONE HUNDRED PICTURES SELECTED FROM THE MASTERPIECES OF JAPANESE ART.
tasteful pictures. Also Kaihoku Yisetsu (about the time of Kwanyei); he was a son of Yashd. Also Sansetsu, son of Sanraku (died at sixty-three in the 4th year of Keian, 1651). Each subdivision of this Kano School had its own strong point in the style of its art. The subdivisions which have been mentioned are those that were famous at the beginning of this period. Subsequently, there appeared, from among the students of K6i, Morinobu (Tannyt), son of Takanobu (he died at the age of seventy-three in the 2nd year of Empd, 1674); then Naonobu (younger brother of Tannya; died at forty-four in the 3rd year of Keian, 1650); and Tsunenobu, son of Naonobu, (died at seventy-eight in the 3rd year of Shdtoku, 1713). In the time of Tannya, the method of the Kané School underwent yet another transformation; after this, the inclination of people, both high and low, to attach great importance to lineage and heredity, caused the later artists to yield slavish allegiance to hereditary technique and to fall into the bad habit of blind imitation, without striving for individual development; they were content to seek leisure and comfort and were satisfied with their inherited incomes; consequently, there appeared no more great artists who were at all promising. However, the Nakabashi sub-school of Kané, established by Sadanobu (son of Mitsu- nobu, died at the age of twenty-seven in the 9th year of Genna, 1623) and Yasunobu (adopted son of Sadanobu and younger brother of Naonobu, died at seventy-three in the 2nd year of Teikyd, 1685); the Kajibashi sub-school, by Tannyaj; the Kobikiché sub-school, by Naonobu and Tsunenobu; and the Hama- ché sub-school, by Minenobu, younger son of Tsunenobu (Minenobu died at forty-seven in the 5th year of Héyei, 1708), were appointed official painters to the Bakufu (Yedo Government), generation after gen- eration; while the personal artists of various Daimy6 were likewise selected from among the pupils of these Schools, thus the influence of Kan6é canons almost swept over all the world. Those who may be called great artists among the pupils of the Kand School are only these two; Kuzumi Morikagé (who studied under Tannya; the date of his death was probably towards the end of the Genroku era, circa 1703), and Hanabusa Itché (who studied under Yasunobu and died at seventy-three in the 9th year of Kyohd, 1724). Morikagé was rather superior to Tannyti in technique, and it is not too much to say that he was without a rival among the artists belonging to the Kané School. Most of Itché’s works are caricatures and human figures in the Japanese style; consequently he is sometimes assigned to the Ukiyoyé School. Besides. these artists, among those who are said to have come from the Soga School, there is Soga Shéhaku (died at the age of fifty-four in the 3rd year of Temmei, 1783): most of his productions evince a trace of his disposition.
After Tosa Mitsunobu, the influence of the Tosa School had steadily been on the wane, but during the lifetime of Mitsuoki (died at the age of seventy-five in the 4th year of Genroku, 1691), who was a son of Mitsunori (died at fifty-six in the 15th year of Kwanyei, 1638), it was again raised to the posi- tion of Art Bureau of the Imperial Household. Mitsuoki, however, imparted a new style by adopting somewhat of the Chinese method of painting, as well as that of the Kand School, and did not adhere strictly to his hereditary mode. Hiromichi (Jokei, died at the age of seventy-two in the 8th year of Kwambun, 1668), was a younger brother of Mitsunori, and founded a new school, the Sumiyoshi. His son Hirozumi (Gukei, who died at the age of seventy-five in the 2nd year of Kwanyei, 1625) was sum- moned to Yedo and’ appointed official artist to the Bakufu. Both of these painters did nothing more than hand down the style of their School. Thus it was long before any great artists appeared, but subsequently, at a time approximating to modern days, there came, in succession, Tanaka Totsugen (died in the 6th year of Bunsei, 1823); Ukida Ikkei (died at the age of sixty-five in the 6th year of Ansei, 1859); Okada Tametaka (died at about forty in the 3rd year of Bunkyd, 1863), who tried to revive the influence of the Tosa School by studying and imitating the picture-rolls of ancient times.
The School which might be called that of Decorative Painting, may be said to have originated
in the light-tone ground pictures on paper to be used for writing, done by Hon-ami Kéyetsu (died at
TOKUGAWA PERIOD. 21
the age of eighty-two in the 14th year of Kwanyei, 1637); this was probably in imitation of the ground- work pictures on paper used for rolls, pamphlets, poems, etc., in former times. Tawaraya Sdtatsu, (who flourished about the time of Kwanyei), executed a special sort of painting full of decorative beauty. Ogata K6rin (died at fifty-nine in the Ist year of Ky6hd, 1716), was a creation of this School and to him is mainly due the credit for establishing its style: his technique surpasses all works of its kind both in Japan and in China, whether in ancient or in modern times, in the matter of the consummate skill evinced therein. For pictures which may be made of use in the industrial arts, such as dyeing, china-painting, and the like, there is nothing that surpasses Kérin’s models. After Kérin, though there were his younger brother, Ogata Kenzan, Tawaraya Sori, Watanabé Shik6, Tatebayashi Kagei, and others, yet the one of greatest fame was Sakai Hoitsu (died at the age of sixty-eight in the 11th year of Bunsei, 1828): but having been greatly influenced by the characteristic style of the Maruyama School, that is sketching from Nature, Hditsu’s unique method more or less disappeared.
In the Ukiyoyé School, although there were Sanraku and others who wielded a fanciful brush, as has been mentioned before, the first artist who really established a School especially devoted to genre painting, was Iwasa Shdi (Matabei, died at the age of seventy-three in the 3rd year of Keian, 1650). Hishikawa Moronobu (died in the 7th year of Genroku, 1694), for the first time made clear the funda- mental principles of the Ukiyoyé School and introduced vermilion into the wood-cut prints; which branch of art subsequently became very successful, with the fondness that grew up for theatrical performances and the development of the histrionic art. After Moronobu, there appeared Kwaigetsud6 (about the time of Kyohd, 1716-35: he was cailed also Antaku); Tori-i Kiyonobu (died at the age of sixty-six in the 14th year of Kyohd 1729); Nishikawa Sukenobu (died at eighty-one in the 1st year of Hoéreki, 1751); Miyagawa Choshun (died at seventy-one in the 2nd year of Héreki); Nishimura Shigenaga (died at about the age of sixty in the 5th year of Hoéreki); Okumura Masanobu (died at seventy-nine in the 5th year of Meiwa, 1768); Suzuki Harunobu (died at fifty-three in the 7th year of Meiwa); Tsukioka Settei (died at seventy-two in the 6th year of Temmei, 1786); Isoda Korydsai (flourished about the time of Anyei and Temmei, 1772-88): Katsukawa Shunshdé (died at sixty-seven in the 4th year of Kwansei); Kitagawa Utamaro (died at fifty-three in the 2nd year of Bunkwa, 1805); Utagawa Toyoharu (died at seventy-eight in the 11th year of Bunkwa); Tori-i Kiyonaga (died at sixty-four in the 12th year of Bunkwa); Kitao Shigemasa (died at eighty-one in the 2nd year of Bunsei, 1819); Kubota Shumman (died at sixty-four in the 3rd year of Bunsei); Utagawa Toyokuni (died at fifty-seven in the 8th year of Bunsei); Utagawa Toyohiro (died at fifty-six in the 11th year of Bunsei); Hosoda Yeishi (died in the 12th year of Bunsei), and others. Skilful artists arose, one after another, in each of the different subdivisions of the School, and each had his own characteristics; they were engaged exclusively in painting the customs of actors, women, and people generally. Katsushika Hokusai (died at the age of ninety in the 2nd year of Kayei, 1849), established a new School by imitating Chinese pictures. And6 Hiroshigé (died at sixty-two in the 5th year of Ansei, 1858) made a specialty of painting landscapes: thus imparting a new phase to the style of the Ukiyoyé School. With the production of wood-cut prints, after the use of vermilion had been adopted, there came out the so-called Uvushi-yé, after Okumura Masanobu, who also studied the methods of Western pictorial art and improved the Ukiyoyé School. In the time of Suzuki Harunobu, Nishiki-yé was invented: this added more and more beauty to the Ukiyoyé productions and was a famous feature of Yedo Art for a long time, even until very recent years.
About the time of Genroku and Ky6hé (1688-1735) there appeared, in. succession, Kinoshita Jun-an; Arai Hakuseki; Gion Nankai, et als., and the study of the Chinese Classics did not stop with attendance at lectures on ethics and politics, but proceeded on to the investigation of prose and poetical composition,
which rapidly grew in popularity at this time. After Kydh6, I Fukya (who came several times from the
22 ONE HUNDRED PICTURES SELECTED FROM THE MASTERPIECES OF JAPANESE ART.
5th year of Kydhd); Chin Nanpin (who stayed at Nagasaki about the 16th to the 18th years of Kydohd); Hi Kangen (19th year of Kydhd); H6 Saiyen (gth year of Anyei); Cho Shikoku (during the era of Temmei); K6 Kaho (during Bunkwa) and others, came to Nagasaki, one after the other, and made a specialty of painting landscapes in the Southern School of painting, or flowers and birds in the style of Hst Ch‘ung-ssu of Sung, China. Besides, Chinese pictures having been imported in great numbers also, the art-style of Ming and Ch‘ing came, for the first time, to prevail in our country. Some time prior to this, there was Watanabé Shiseki (died at the age of sixty-nine in the 4th year of Héyei, 1707) and others, in Nagasaki, who studied Zen painting under Itsunen (a priest who came to our country in the 2nd year of Shdhd, 1645, and died in the 8th year of Kwambun, 1668); Yanagisawa Rikyé (died at fifty-eight in the 8th year of Héreki, 1758) was the first to adopt Itsunen’s method and he painted flowers, birds, and human figures in a skilful manner, using a full palette of beautiful colours. Shortly afterwards, there appeared Ikeno Taiga (died at fifty-four in the 5th year of Anyei, 1776), and Yosa Buson (died at sixty-eight in the 3rd year of Temmei). Taiga was afterwards attached to the style of Hsiao Ch‘ih-mu, a Ch‘ing man, and exclusively produced pictures of the Bumyiu type (‘Literary Style’’) in light monochrome: while Buson, having studied Ming painting, executed landscapes overflowing with taste: thus the fame of both resounded all the world over, in their day. After this, the art-style of Ming and Ch‘ing became effulgent with the brilliancy of the rising sun: it was at first popular in the western part of Japan, but afterwards it gradually extended its influence as far as Yedo, and from Bunkwa and Bunsei (1804-29), famous artists appearing everywhere, this style virtually monopolised the attention of artists the whole country over. The famous masters were these: Totoki Baigai (died at seventy-two in the 1st year of Bunkwa); Kushiro Unsen (died at fifty-three in the 8th year of Bunkwa); Kaneko Kinry6 (died in the 14th year of Bunkwa); Noro Kaiseki (died at eighty-two in the 11th year of Bunsei); Tanomura Chikuden (died at sixty in the 6th year of Temp6): Tachihara Kydsho (died at fifty-three in the 11th year of Temps); Tani Bunché (died at seventy- eight in the 12th year of Temp6); Watanabé Kwazan (died at forty-nine in the r2th year of Temp6); Takahisa Aigai (died at forty-eight in the 14th year of Temps); Urakami Shunkin (died at sixty-eight in the 3rd year of Kdkwa, 1846); Okada Hanké (died at sixty-five in the 3rd year of Kékwa); Nakabayashi Chikut6 (died at eighty-four in the 6th year of Kayei, 1853); Tsubaki Chinzan (died at fifty-four in the ist year of Ansei, 1854); Yamamoto Bai-itsu (died at seventy-five in the 4th year of Ansei); Okamoto Shaki (died at seventy-eight in the 2nd year of Bunkyi, 1862); Oda Hyakkoku (died at eighty in the 2nd year of Bunkya); Nukina Kaioku (died at eighty-six in the 3rd year of Bunkyt); Fukuda Hank6 (died at sixty-one in the 1st year of Gwanji, 1864); Kinoshita Itsu-un (died at sixty-seven in the 2nd year of Keid, 1866); Hiné Taizan (died at fifty-seven in the 2nd year of Meiji, 1869); Priest Tetsud (died at eighty-one in the 4th year of Meiji), et als. Above them all, the two masters, Chikuden and Kwazan, may be called the two matchless ones; while Bunché displayed his wonderful command of technique freely throughout the length and breadth of the land, blending in one united stream the powers of the Northern and the Southern Schools. Chinzan was famous for the profundity of his art; while Bai-itsu was almost above comparison in his day for the vigour he displayed in wielding his brush.
The origin of the Maruyama School was also due to the example of the Ming and Ch'‘ing art; its technique in sketching flowers and birds from Nature may, especially, be said to have been evolved from the style of Hsii Ch‘ung-ssu of the Sung, China. With the appearance of Okyo (died at sixty-three in the 7th year of Kwansei, 1795) the freedom and skill displayed in his School, indeed, astonished his generation, and since then its popularity has continued down to the present day. Among the numerous pupils of the School, Genki (died at forty-eight in the 9th year Kwansei, 1797), in painting Beauties skilfully; and Nagasawa Rosetsu (died at forty-five in the 11th year of Kwansei), in wielding his brush
freely, were the greatest; next to them in skill, were Watanabé Nangaku (died at forty-seven in the 1oth
TOKUGAWA PERIOD. 23
year of Bunkwa, 1813); Yamaguchi Soken (died at sixty in the 1st year of Bunsei, 1818); Mori Tessan (died in the 12th year of Tempé, 1841), and others. Priest Gessen (died at eighty-nine in the 6th year of Bunkwa, 1809) produced personal figures. Goshun (died at sixty in the 8th year of Bunkyd) at first studied under Buson and subsequently attached himself to Okyo, thus establishing the Shij6 School. After the appearance of his younger brother, Matsumura Keibun (died at sixty-five in the 14th year of ‘Tempo, 1843), and his pupil Okamoto Toyohiko (died at sixty-eight in the 2nd year of Kokwa, 1845), the difference between the art-style of their School and that of the Maruyama School gradually fecaant indistinct.
Besides the various Schools which have already been mentioned, the painting of flowers and birds, full of decorative features, by Ité Jakuchi (died at eighty-five in the 12th year of Kwansei, 1800); the drawing of Monkeys by Mori Sosen (died at seventy-five in the 4th year of Bunsei, 1821), etc., luxuriantly evince the characteristics peculiar to each master. In addition to them, there were the two Schools, Hara and Kishi, the former was founded by Zaicht (died at eighty-eight in the 8th year of Tempé, 1837), and the latter by Ganku (died at ninety in the 9th year of Tempo). After Zaicht there appeared Zaimei, (died at sixty-seven in the Ist year of Kdékwa, 1844), Zaishd, et als. After Ganku, there were Ganry6 (died at fifty-five in the 5th year of Kayei, 1852), Renzan (died in the 6th year of Ansei, 1859), Gantai (died at eighty-one in the 1st year of Keid, 1865), and others.
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Owned by the Imperial Household.
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Artist unknown. Asuka Period (629-707).
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Owned by Junji Hachiman-k6, Koyasan, Ki-i Province.
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Artist unknown. Middle part of the Fujiwara Period (985-1068).
Owned by the temple, Kyowégokoku-ji, Kyoto.
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COMOTIAOY OVOTOMAVIM FO TIAATAOT 2odoni 8 toot ¢ yd aodomi Jey Jost p allie mo emoloD (pOST-If1 1) udonmleT siswid ya.
onivotd otidesnsY fjognil slqmet sft yd beawO
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PORTRAIT OF THE POET, YAMABE-NO AKAHITO.
Colours on paper. 1 foot 21% inches in width.
By Fujiwara Nobuzané (1177-1265).
Owned by Marquis Sataké Yoshinari, Tokyo.
Yamabé-no Akahito was eminent in composing poems and is selected as one of He lived in the 8th Century.
the Thirty-six Master Poets in old times.
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KITANO TENJIN ENGI (THE MYTHICAL HISTORY OF KITANO SHRINE).
Colours on paper. 1 foot 8% inches in width.
Said to be by Fujiwara Nobuzané (1177-1265).
Owned by Kitano Shrine, Kyoto.
This roll depicts the career of Sugawara Michizané (845-903) who is now wor- shipped as Tenjin, the shrine being at Kitano, Kyoto. The part here reproduced shows that even angels become old and die after some scores of years; how much
more those men who behave in a wrong way will be destroyed by punishments.
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SAIGYO MONOGATARI (PICTURE-ROLL ILLUSTRATING THE STORIES ABOUT THE PRIEST, SAIGYO).
Monochrome on paper. 1 foot ¥% inch. Said to be by Tosa Tsunetaka. Kamakura Period (1186-1333).
Owned by Marquis Tokugawa Yoshinori, Nagoya.
SaigyO was a famous man, who lived 1118 to t190. He was first a warrior and afterwards became a priest shaving his head, and wandering about over the
country.
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IPPEN SHONIN ENGI (PICTORIAL BIOGRAPHY OF PRIEST IPPEN).
Colours on silk. 1 foot 3% inches in width. By Hogen En-i, Kamakura Period (1186-1333).
Owned by Mr. Hara Tomitaré, Yokohama.
Priest Ippen was the founder of the Jishi: subdivision of the Jodo sect.
He died in 1289. The present roll depicts his promulgation of the principle of his sect throughout the country.
YHIAADOI JALIOTONM) IOUvA VIAOHe “ATI | (AAT TealAd FO
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THE PANORAMIC RECORD OF THE BATTLES OF THE LATER THREE: VEA RS)
Colours on paper. 1 foot 6% inches in width. By Korehisa. Ashikaga Period (1334-1572).
Owned by Marquis Ikeda Nakahiro, Tokyo.
The Battles of the Later Three Years took place in the north-eastern part of Japan from 1085 to 1087.
eCHITTAG AHT TO GAOVAA OIMAAOUAT AHT CAAAY AHAHT ANTAL AHT AO
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RINZAI (LIN-CHI). Monochrome on paper. 3 feet by 1 foot 33% inches. By Soga Jasoku (died 1483).
Owned by the temple, Yétoku-in, Kyoto.
Rinzai was the founder of the subdivision of the Zen sect of the Buddhism. He died in 867.
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MIO-NO MATSUBARA (THE PINE-TREES OF MIO).
Monocbrome on paper. 5 feet 11% inches by 11 feet 7 inches.
Said to be by N6-ami (early 15th Century).
Owned by Baron Kuki Riuichi, Tokyo.
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SHU MOSHUKU (CHOU MAO-HSU) ADMIRING - LOTUS-FLOWERS.
Monochrome on paper. 2 feet 9% inches by 1 foot 1% inches. By Kano Masanobu (1454-1550).
Owned by Count Daté Munemoto, Tokyo.
Chou Mao-hsu of the Sung dynasty of China was appointed head of the garrison during 1068 to 1077. He wrote a very famous essay on the lotus in which he explains
why he admired that flower. The present picture shows him admiring his favourite.
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