Japanese Art Before 1392

Jackie Duhl, Thiara Dutra, Meghan Mcgovern

Prehistoric Japan

Earliest traces if human inhabitance: 30,000 years agoFour islands which make up island today once attached to the East Asian landmass, the islands became separate at the end of the last Ice Age, about 15,000 years agoPaleolithic peoples gave way to Neolithic hunter-gatherers who developed the ability to make and use ceramicsSome Japanese pottery dates earlier than 10,000 BCE (some of the oldest known)

Jomon Period (12,000-530 BCE)Named for patterns on pottery produced during this timeMade by pressing cord onto damp clay (jomon means “cord markings”)Jomon people developed hunter-gatherer lifestyle due to both island-setting, protecting them from invasion, and immense food supply5000 BCE: agriculture developed through planting and harvesting of beans and gourds4,500 years afterwards the Jomon remained a hunter-gatherer people using stone tools and weaponspeople lived in small communities with fewer than 10-12 dwellingsPottery reached a high degree of creativity during middle Jomon period (2500-1500 BCE): basic form remained straight-sided, yet rim too kon spectacular, whimsical shapesMade use of malleable quality of clay“Flame Ware” Vessel, Dogu

Dogu, Kurokoma, Yamanashi Prefecture. Jomon period, c. 2500-1500 BCE. Earthenware, height 10". Tokyo National Museum. 

• Small clay figure (10")• Distorted humanoid animal figurines• Made during the late Jomon period•  Dogu tend to have large faces,small arms/hands and

compact bodies• Some appear to have round goggles over their eyes or

heart-shaped faces• This Dogu is the Kurokama: its face is                                

 extremely similar to that of a cat• The slit eyes and mouth come off as                                    

 haunting• marks on face, neck, and shoulders suggest tattooing

(engraved with a bamboo stick)• Purpose: unknown; theory exists that one could transfer an

unhappy emotion or illness to a dogu and then smash it, destroying the evil

Yayoi Period (300 BCE – 300 CE) ·      The shift from hunting and gathering to agriculture brought immense social changes·      Larger permanent settlements established, division of labor into agricultural and non-agricultural tasks, hierarchal social organization, more centralized government·      Emergence of class structure during Yayoi period as metal technology emerged·      Bronze weaponry and ceremonial objects (bells)·      Iron metallurgy later emerged replacing stone tools in everyday life·      Houses were thatched with sunken floors; food stored in raised granaries·      Drawings of these found on bronze artifacts, bearing a resemblance to the architectural design of shrines in later periodsSensitive use of wood and thatch in Yayoi shrines would suggest an early origin of the Japanese appreciation of natural materials 

Kofun Period (300 – 552 CE) “Old tombs” period: named for the large royal tombs built during this timeEmergence of more complex social order allowed for veneration of leaders: beginnings of an imperial systemEmperor equated with deities such as the sun goddess (this system is still in effect in Japan)Chamber tombs constructed following Korean examples upon death of emperorReligious treasures placed in graves such as potter (to please the spirits of the dead and serve them in their next life)In many ways like Egyptian pyramids and burial chambersMany tombs constructed in shape of large keyholes; surrounded by moats dug for protection of spiritsFifth-century potters gained knowledge of finishing techniques in pottery; improved kilns, allowing the beginnings of a high-fired ceramic wareStoneware technology and earthenware

Haniwa, Kyoto. Kofun period, 6th century CE. Earthenware, height 27". Collection of the Tokyo National Museum

• Earthenware left unglazed, showing no                     preoccupation with technical skill

• Simple and bold• Shows the idiosyncrasies of life (off-center eyes,                  

           irregular cylindrical bodies, unequal arms etc.)• Never perfectly symmetrical•  The earliest Haniwa were simple jars with ceremonial          

        offerings• 5th century: cylinders were being made into                    

shapes of ceremonial objects, houses, and boats• Living creatures were added shortly after (dogs, deer, cows,

monkeys)• Purpose: may have served as a type of link between the

world of the dead and that of the living• This particular Haniwa is a seated female shaman

(connection between natural and supernatural) wearing a robe, belt, and necklace, carrying a mirror at her waist

Shinto

Considered as the indigenous religion of JapanThe various ways that different communities of Japanese have interacted with deities, known as kamiThought to inhabit awesome things in the ordinary world such as magnificent trees, rocks, waterfalls, and living creaturesRitual purification of the ordinary worldShinto was a term coined after the arrival of Buddhism in the sixth century CE…became more systemized with shrines, a hierarchy of deities and strictly regulated ceremonies 

Main Hall, Inner Shrine, Ise, Mie Prefecture. Last rebuilt 1993.

Dedicated to sun goddess Amaterasu-o-mi-kami, the legendary progenitor of Japan’s imperial familyRitually rebuilt for over 2,000 years on two adjoining sites at twenty-year intervalsMost recently in 1992Builders are carpenters who train for the task from childhoodAccurately preserves features of Yayoi-era granaries which was its original prototypeParagon of Shinto architecture: wooden piles raiding the building off the groundThatched roof held in place by horizontal logsUse of unpainted cypress woodOverall feeling of natural simplicity rather than overwhelming size or adornationOnly one member of the imperial family and a few Shinto priests allowed within the fourfold enclosure surrounding the shrineStores the three sacred Shinto symbols: a sword, a mirror, a jewel 

• New philosophy, city planning, arts, medicine, clothing, agriculture, architecture from Korea and China

• Buddhism, centralized governmental structure, and system of writing were the three most important introductions

• Buddhism reached Japan in Mahayana form with many buddhas and bodhisattvas; adopted as state religion by imperial family

• Represented different Shinto gods, yet instead of focusing on imposing natural areas, focused on temples

• Chinese-influenced architecture and elaborate iconography would contrast acutely with Japanese simplicity and naturalism

• New cosmology and teachings of meditation and enlightenment would be accompanied by new methods of painting and sculpture like that of artist Tori Busshi

Asuka Pariod (552-645CE)

Tori BusshiSculptor active in the late 6th and early 7th centuryFather and grandfather were saddle-makers, exposing Tori to metal casting, laquer, and wood-carvingFirst known work is a bronze Shaka image of Asuka-dera from 606 CE; the work made a favorable impression on Empress Suiko, granting Tori lands and rank equivalent to those of someone of the later fifth gradeThe Yakushi Nyorai (Buddha of Healing) from Wakakusa-dera is attributed to ToriCompleted 607 under the commission of Emperor Yomei and Prince Shōtoku for the newly established WakakusaderaThe Shaka Triad of Horyuji is considered Tori’s greatest work: piece was intended to either help speed the recovery of Prince Shōtoku in his illness or ease the rebirth of the souls of two dead noblewomen into paradiseWorks exemplify Japanese Buddhist art during the Asuka period, deriving the style from the 4th-6th century Chinese Wei kingdomConveys peace and gentleness while using rigid stock poses and geometrical figuresBuddhas sculpted upright with crossed legs and robes dropping downwards in well-defined foldsBuddha’s right hand raised with palm towards viewer (power to aid others), and left hand palm up on left leg (ability to lead viewer along path to end all suffering)Each Buddha’s head is stylized and elongated, topped with curls known as shogo, indicating the Buddha’s perfectionFaces even more stylized with flat planes holding slitlike eyes, eyebrows, and nostrils

Horyu-ji Compound, Asuka Period, 7th century CE.

Located on Japan’s central plains not far from NaraFounded in 607 CE by Prince Shotoku (574-622 CE) who became the most influential early proponent of BuddhismRebuilt after a fire in 670-oldest wooden temple in the worldJust proportions, human scale, perfect monument to early Buddhist faith in JapanMain compound contains rectangular courtyard surrounded by covered corridorsTwo buildings within compound: kondo (golden hall) and five-story pagodaAsymmetrical layout, yet large kondo balanced by tall, thin pagodaKondo filled with Buddhist images and used for worship and ceremoniesPagoda serves as a reliquary and is not enteredExcess monastery buildings outside main compound (outer gate, lecture hall, repository for sacred texts, belfry (bell tower), dormitories for monks)Holds a shrine decorated with paintings in lacquer known as Tamamushi Shrine (tamamushi beetle’s iridescent wings were originally placed on the shrine to make it glitter)Disagreement about origins of shrine (Japan or Korea), but the more important point is that Buddhism was so international that at the time that matters of nationality were irrelevant 

Shaka Triad in the Kondo, Tori Busshi, Horyu-ji. suka period, c. 623 CE. Gilt bronze, height of seated figure 34.5".

• Shaka=Shakyamuni, historical Buddha• Reflects the strong influence of Chinese art of the Northern Wei

dynasty • Frontal pose, outsized face/hands,and the linear treatment of

drapery suggest Tori's awareness of earlier continental models• Fine bronze casting illuminatesTori's advanced technical skill• Reveals rapid growth of Buddhist art as an important feature of

Japanese culture• Buddha's robes flow down the front of the figure, adding a

heaviness to the statue•  Flaming halo surrounds his head in which are seated the Seven

Buddhas of the Past•  Flames upon a lotus blossom appear above the Buddha's head,

symbolizing wisdom• Figure as the 32 physical attributes of a Buddha: bulge on top of

head (ushnisha), a spot of hair between the eyebrows (urna), elongated earlobes

Hungry Tigress Jataka, Asuka period c. 650 CE, Lacquer on wood, Height of shrine 7' 7 1/2", Horyu-ji Treasure House, Anonymous artist

• Illustrate the Jataka Taleso Stories about the former lives of the Buddha.

• Buddha nobly sacrifices his life to feed a starving tigress and her cubs

• The tigress was too weak, so Buddha had to through himself off a cliff to break his skin open

• A full narrative within one frame• Buddha hangs shirt on a tree before diving down to

his rocky doom to be devoured by the starving animals

• Uses the Buddhist styleo Slender figure, abstract treatment of the cliff,

trees, and bambooo Also used in China and Korea

 

Hungry Tigress

Bayeux Tapestry

Nara Period (645-794 CE)• First permanent capital established in Nara with population of 200,000 • Imperial system solidified into a government that could hold up against

dominant aristocratic families of the previous political arena• Construction of majestic Buddhist temples suchas Horyu-ji• Buddhism and Shinto coexisted harmoniously, Buddhism seeking

enlightenment and Shinto purification• Shinto becomes more formalized while Buddhism spreads and becomes the

most significant aspect of Japanese culture• Existed through sacred texts called sutras believed to be so magical that a

single letter could be cut and worn as a sacred amulet• Nobility worshipped by copying the words of the Buddha, familiarizing the

upper class with the Chinese writing system• First collection of Japanese poetry compiled called the Manyoshu (many are

secular love songs)• Golden Age of Buddhist painting (many on walls of Horyu-ji) embracing Tang

Dynasty in China and Unified Silla period in Korea

Amida Buddha, Nara period, Horyu-ji, c. 710 CE, wall painting using ink and colors, 10'3" x 8'6"

• Thought to be Amida, the Buddha of the Western Paradise

• Placed in the walls of Horyu-ji.• Made of iron-wire lines (thin,even brushstrokes)• Amida's body is round, his face is serene, and his

hands form the dharmachakra (the gesture of teaching, setting the chakra (wheel) of the dharma (law/doctrine) in motion) mudra.

• Hands are at chest level=mudra.• More emphasis on realistic details and body weight• Parallel folds of the drapery show the influence of the

Grandhara style (present in India 500 years earlier)• Face is completely East Asian

Amida Buddha

Morgan Madonna

Heian Period (794-1185 CE)• Last division of classic Japanese history• Capital relocated to Heian (now known as Kyoto)• New era of self-reliance due to elongated period of peace• Imperial gov't severs ties to China in 9th century; relies on

aristocratic families• Rise of vernacular literature such as Lady Mursaki's The Tale of

Genji• Real power was in the hands of the Fujiwara clan• When the rise of the Samurai class (which would eventaully take

power and start the feudal period)• Military class rose in status• Buddhism really began to flourish through two major sects

o Esoteric Buddhismo Pure Land Buddhism

• You had to be cosmetically beautiful to be considered a "good" person

• Ultimately weakened the Japanese economy and led to poverty for most of its inhabitants

Womb World Mandala, Heian period, late 9th century CE, Hanging scroll, colors on silk, 6' x 5' 1.5"

• Made for the Exoteric Buddhists• Uses:

o Learning all the different gods and their relationshipso Teachings of a monk.

He may meditate and do the gestures each god is doing,starting from the center,so he can absorb some of the power of each deitie.

o Gain enlightment through the powers of the different forms of Buddha.

• Mandala=cosmic diagram of the universe showing the gods in a planned order

• Originally from To-ji• Represents an ultimate reality beyond the visible world to believers• Wrathful deities surrounded by flames= intense spiritual force• Religion is for the educated aristocracy, not the masses• Parallel of the web of deities found in the social divisions of the Heian

court• Use of the circles and squares is an expression of the principles of

ancient geomancy and the Buddhist cosmology

Dainichi

Buddhas of the four directions

Angry deities

Byodo-in, Uji, Kyoto Prefecture. Heian period, c. 1053 CE

Located in Uji mountains not far from KyotoOne of the most beautiful temples of Pure Land BuddhismOriginally a secular palace created to suggest the palace of Amida (Buddha of Everlasting Light) in the Western ParadiseBuilt for a member of the Fujiwara family who served as the leading counselor to the emperorConverted into a temple after the counselor’s death in 1052Often called Pheonix Hall for the pair of phoenix images on its roof and the shape of the buildingSlender columns give a sense of airiness as if temple could rise through the sky to Amida’s Western ParadiseHall rests in front of an artificial pond created in the shape of the Sanskrit letter A (sacred symbol for Amida)

Amida Buddha, Pheonix Hall, Byodo-in.  Heian period, c. 1053 CE. Gold leaf and lacquer on wood, height 9’8” (2.95 m).

Carved by master sculptor JochoCentral image of Amida within Byodo-in palaceExemplifies serenity and compassion of the Buddha who welcomes the soul of all believers to his paradiseSeems to shimmer when reflected in the water of the pond before itCarved from several blocks of wood in Jocho’s joined-wood method of constructionAllowed sculptors to create larger but lighter portrayals of Buddhas and bodhisattvas for the temples constructed for the Pure Land faithReflects Japanese love of wood (major medium for sculpture during Heian period)Surrounded by smaller wooden figures of bodhisattvas and angels playing musical instrumentsSuggests the paradise awaiting the believer after death

Jocho BusshiSculptor of the Heian periodTrained at the Kofuku-ji, a temple in NaraFujiwara no Michinaga, the greatest of the Fujiwara royals of the Heian period, commissioned him to decorate the Hojoji templeHis work earned him the title Hokkyo (Master of the Dharma Bridge) in 1022 CEWorked on sculpture for the Kōfukuji, earning him an even higher title, Hōgen (Master of the Dharma Eye)Michinaga's son, Fujiwara no Yorimichi, commissioned Jocho to create an Amida statue for the Pheonix Hall of the Byodo-inPiece completed in 1052 BCE: the earliest of Jōchō's works to have survived to the present dayJapanese guild-like inheritance: Jōchō's techniques were passed on to his son, Kakujo, his grandsons Injo and Raijo, his great-grandson Kojo, and ultimately Kokei Popularized the yosegi technique of sculpting a single figure out of many pieces of woodallowed several assistants to work on the sculpture at once, greatly speeding the process, refining the final product, and leading to specific proportionsNew canon of proportions: based measurements on a unit equal to the distance between the sculpted figure's chin and hairline, distance between each knee=distance between hair and bottoms of legsThese leveled knees form the base of a triangular design: feeling of stability and peaceIntricately detailed halos, featuring fire and cloudsStyle imitated for the next 150 years

Tale of Genji, Heian period, 12th century CE. Handscroll, ink and color on paper, 8.5 X 18.5"

• One of the earliest, still existing, nonreligious paintings from Japan

• "Women's Hand" style: delicate lines,strong (sometimes muted) colors, asymmetrical compositions, usually with a bird's eye view

• Emotionless faces; focus instead on colors, poses, total composition (big picture rather than intricate detail)o A blossoming cherry tree represents happinesso Unkept weeds show loneliness

• Each scroll was produced by a team of artists.o Calligrapher: usually a member of the nobilityo Master painter: outlined two or three illustrations per

chapter, indicated color scheme, applied finishing touches after colorists

o Colorists: applied colors, built up patterns and textures.• Undercurrents of irony and sorrow in a seemingly joyous

scene: Genji is the illegitimate son of an emperor and holding the illegitimate child of his adulterous wife

Kose Kanaoka  巨勢 金岡• Ninth century Japanese artist • Set precedent for the styles of the Tang Dynasty

of China• Originally of the Yamato-e school, founder of the

Kose-ryu school in Kyoto• Very few of his works survived• Founded the Kose school of art (oldest school of

painting in Japan)• Sparked individual style in landscape painting• Portraits of Confucian scholars and Buddhist

subjects

Fujiwara Nobuzane (1176–1265 CE)Leading portrait artistBorn in Kyoto; son of great portrait artist Fujiwara TakanobuSpecialized in nise-e portraits: “likeness picture”Depicted incidents of real life: strictly religious until 12th century CENot very individual and personal mode of drawing and painting; detached and refinedThe 36 Major Poets considered the greatest of his surviving worksOriginally painted on a single scroll and later divided into separate portraitsThin, angular outlines filled in with heavy color to accentuate the dense robes Thin facial features

• Portrait of Yoritomo• One of Fujiwara

Takeovers three surviving pieces

Fujiwara Takeover  (1142-1205 CE)

• Leading Japanese Portraiture artist• Born in Kyoto• Half brother of Fujiwara Sadaie (one of Japan's greatest

poets)• Specialty was nise-e• Popular in the courts and intellectual circles of Japan's

Kamakura period• Court officials, poets and intellectuals, and other prominent

figures portrayed so as to capture the essence and personality of the individual with few brushstrokes

• Only painted on scrolls that were over a meter in height• No small paintings

Kamakura Period (1185-1333 CE)• Samurais ruled

o Minamoto Yoritomo was the shogun (General-in-chief) Kept military and political power to himself Set a tradition of shogun ruling until 1868

• Minamoto and Taira were the two warrior clans that fought to get power

• Gone was the era of poetic refinement• Early Kamakura period-Pure Land Buddhism was the

most influential religion.o Used chants to reach Buddha.o  Believed that if one sincerely chanted the sacred

chant, one would go to the Western Paradise.

• Raigo paintings:o Paintings of Amida Buddha and bodhisattvas coming down to

earth to bring the soul of a dying believer to the Western Paradise.

o  It has golden cords attached to it. A dying person can hold on to those cords and hope that Amida would usher him to paradise.

• Portraiture was more realistic• Late Kamakura-Zen Buddhism: last major form of Buddhism to

arrive to Japano Resembles original teachings of Buddhismo Enlightment was achieved through meditation, without mandalas

or chantso Samurais liked it moreo Their temples were built in mountainso  Their Monks did their own chores; rank didn't mattero Art style: rough and simple ink painting

• Around the 14th century,Zen's spirit of self-reliance dominated many aspects of Japanese culture.

Raigo Painting

Zen Buddhism

Night Attack on the Sanjo Palace, Kamakura Period, late 13th century CE. Handscroll, ink and colors on paper, 16.25 X 275.5", Museum of Fine Arts, Boston

• 1160 CE- 500 Minamoto rebels who did not approve of retired emperor Go-Shirakawa attack Sanjo Palace

• Emperor abducted, extremely bloody raid, palace burnt to the ground

• 1185 CE- Minamoto heirs to the rebels would finally defeat the Taira clan

• Seems like an eyewitness account • Refined brushstrokes like The Tale of Genji scrolls • Brisk linework of Frolicking Animals• Flames overtake the scene as horses and warriors

charge head-on into the conflagration• Energy and violence from power• Samurai world dominates secular arts

Kaikei  快慶 • Japanese Busshi ( Buddha sculptor from) • Member of the "kei" school• Anna Miyou stye, known for being intelligent, pictorial, and

delightful• The majortity of his works were over three shakus high• One shaku = one foot•  Many of his works are still around today• Sculpted for the temples of Kōfuku and Tōdai in Nara• Well known sculpture of Hachiman, Japanese goddess of

war• Developed unique style named Annami: realism combined

with delicate grace in sculpting• Earned Hokkyo and Hogen rank: high titles bestowed on

artists at the time 

Unkei 運慶 (1164-1223 CE).

• Sculptor and brother of Kaikei.• Leader of the Kei School.•  Sculptors showed realism, heroic spirit, power, passion,

muscular bodies, rounded faces, and vibrant strength.• Commissioned by the new military overlords in Shizuoka

and Kanagawa Prefectures to carve Buddhist statuary for various temple projects.

• Exposed to warrior class early in live, immensely influencing his later work.

• Most of his work still exists today.• Worked in Nara, Kyoto, and Kamakura.• Became the most influential artist of his time, gaining

the highest rank of Ho-in.• Most widely known Buddhist sculptor in Japan today.

Kuya Preaching, Kosho, Kamakura period, before 1207. Painted wood with inlaid eyes, height 46.5". Rokuhara Mitsu-ji, Kyoto.

• Kuya (903-72 CE) was a monk who helped in the spread of the practice of chanting

• Traveling clothes, small gong, staff with mounted deer horns symbolizing his slaying of a deer and conversion to Buddhism identifies Kuya

• Passionate and radiant expression gives sculpture a welcoming demeanor

• Six small Buddhas coming from Kuya's mouth, representing the six syllables  of Na-Mu-A-mi-da-buts(u) (Pure Land chant)

• Pure Land Buddhism expressed in naturalism of figure; emphasis on realism defining the Kamakura era

• Use of crystal eyes in sculpture• Kosho conquered difficulty of representing Kuya and his

chant (symbolized by 6 monks) in 3-D

Kōkei 康慶 ( active 1177-1200 CE)

• Sculptor• Son of Jōchō 

o  Kōkei's canon of proportions are the same as his father's Spread legs,triangular figure and square-shaped face

• Organizer of the Kei school• Led the teams that reconstructed the Tōdai-ji and Kōfuku-ji

temples in Nara (1188–1189)• Uses crystal inlays• More realistic looking• More attention paid to details such as inlaid hair and details

on face and drapery

Tankei 湛慶 (1173-1256 CE)

• Sculptor of the Kei School• Eldest son of Unkei• Honored with the top three ranks available to Buddhist

sculptors(Ho-in  法印 , Hogen  法眼 , and Hokkyo  法橋 ). • Helped restore the Tōdaiji Temple, Kōfukuji Temple, and

remake the Rengeōin Temple.o Sculpted the central figure of the seated Senju Kannon

and nine smaller versions of the deity• Statues distinguished by his gentle and sophisticated

realism• Suppressed plump faces and busy details• Often assisted by nephews Kosei and Koen

Nambokucho (Period of Rival Northern and Southern)(1336-1392 CE)

• 1333: Emperor Go-Daigo and supporters take down Kamakura regimen.

• 1336: Ashikaga Takauji (member of a branch family of the Minamoto clan) takes over Kyoto and drives Go-Daigo out of power

• Takauji begins rivalry, establishing new military government in Kyoto (Northern Court).

• Go-Daigo goes South, taking over Yoshino (Southern Court)• Confrontation between Northern and Southern Court for over 60

years.•  "Nan"=South; "Boku"=North; "Cho"=Imperial Court•  Revival of poetry:  Renga becomes popular.•  Writing focused on the wars and main events that occured at the

time.•  Tea, used before only as a medicine, becomes a popular beverage.

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