Art Treasures From Japan (Art eBook)

ART TREASURES FROM

JAPAN A in

Special Loan Exhibition

Commemoration

the

Peace Treaty

of the

in

Signing of

San Francisco

September 1951

M. H.

DE YOUNG MEMORIAL

MUSEUM

The Exhibition

is

held jointly by the

Cultural Properties Protection Commission of

M, H.

de

Japan and

the

Young Memorial Museum of

San Francisco

FOHEWOHI) Tlie opening of this great exhibition of Japanese art

museum

has had for a good

many

—

the fulfilhiient of a desire our

San Franciscans

years: to demonstrate to

American people

larger sense to the

means

— and

in a

the richness and greatness of the ancient arts of

Japan.

Americans know since

tlie

Western world began

tlien attention

for at

relatively little about

Japanese

only a matter of decades

art. It is

Far East, and

to devote a serious interest to the arts of the

was largely centered on Chinese

art.

Thus, the

fact

was overlooked

thai

the Japanese people have produced a magnificent art quite of their own,

many centuries

times derived from or influenced by foreign patterns, but altogether as indigenous and

original as that of most

There

is

European countries

No

and almost jealous love of the Japanese people

other nation in the world has so diligently cared for

and guarded against the exportation

come

truly

It is

of

its

way

for their

its artistic

its

own

heritage

art,

it

was almost necessary

to

to the far-off islands.

for this very reason that the present exhibition

assumes a singular importance.

In view of the special occasion of the Treaty Conference in

deavor to make this exhibition a

fitting

San Francisco, and

number

in the en-

symbol of the resumption of cultural co-operation

between our two countries, the Japanese Government has consented tionally large

and

art

outstanding treasures. Hence, in order to be-

aware of the particular greatness of Japanese

travel all the

each other.

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

significance: the genuine creations.

in relation to

of great national treasures for their first

to release

an excep-

showing outside of Japan.

Nearly half the works have the distinction of being "Registered Important Art Objects,"

normally not allowed to leave the country for any purpose whatever.

While the few former displays cipally devoted to painting

since

it

of ancient art

from Japan held abroad were prin-

and sculpture, the present exhibition

also covers various other fields of the arts.

The

wood-block prints, metalwork, lacquer, ceramics and

is

more encompassing

inclusion of choice examples of textiles can only help to

the understanding of the American public for the creative invention,

and the inimitable

The

skill of

tlie

deepen

refined taste

the Japanese artists.

idea of this important exhibition having been born but a few short weeks ago,

the efforts of the Japanese authorities to organize and assemble

it

and

to bring

it

over on

time must have been enormous, and grateful to them.

Our

consent to our plan

;

we here

special thanks are

America have every reason

in

owing

to the

Japanese Government for

to the Cultural Properties Protection

of the exhibition jointly with the

to he deeply

Commission which

M. H. de Young Memorial Museum, and

is

its

ready

in charge

in particular to

Dr. Seiichiro Takahashi, Chairman of the Commission and to Mr. Takashi Morita, Chief of the Secretariat; to the National

and

its staff

members, upon

packing the exhibits;

to the

museums, and private

whom

to express

my own

whose quick

fell

of

Tokyo,

Director Mr. Nagatake Asano

the formidable task of selecting, collecting, and

—which, among famous Emperor — His Majesty

collectors, include ;

to

many

the

officials

and untiring

temples, shrines, for the generous

and other persons unknown

to further this undertaking. Finally,

special gratitude to Dr. Jiro

initiative

its

numerous lenders

contribution of their treasures

no doubt, worked hard

Museum

Harada

I

me who,

wish to take this opportunity

of the National

efforts the exhibition

to

Museum without

could not have materialized.

Walter Heil, Director

M. H. de Young Memorial Museum

PREFACE It

was a great pleasure

for us to accept a proposal

from Dr. Walter Heil, Director of the

M. H. de Young Memorial Museum, San Francisco, commemoration

art in

an exhibition of Japanese

to hold

of the Peace Treaty Conference.

We had

portunity to show the art of Japan in the United States, in

been hoping for an op-

way of expressing our gratitude

for the goodwill towards us as well as of affording a better understanding of the ideals

and

achievements of our people. It

was only a few weeks ago that we received the request. The opening day of the

Peace Treaty Conference had been fixed, and we had so short a time

During

throughout by the

support of the Japanese people. This

full

had such an extensive exhibition and we believe

it

will give a

make

satis-

however, we did our best, and were encouraged

factory arrangements.

this time,

left to

of representative

is

the

first

time

we have

examples of Japanese

comprehensive survey of our

art history.

learn which portions of the exhibits interest you most, and your frank

We

ever

art abroad,

should like to

comments

will

be

helpful in promoting mutual understanding.

Our the

M. H. de Young Memorial Museum and

make tion

best thanks are due to the City of

San Francisco, to Dr.

to the

Board

Walter Heil. whose zeal alone could

the present exhibition possible in such a short period of preparation.

is

extended

to

of Trustees of

our museums, organizations and persons

Our

apprecia-

who were good enough

to

lend their collections for this event of international significance.

Seiichiro Takahashi,

Chairman

Cultural Properties Protection Commission of Japan

Tokyo, August, 1951

,

.

LENDERS COLLECTORS

'Vhv Imperial Household, 15,40.

The

(ailtural I'roperties Proleetioii Coniniissioii.

Mr. Kunisuke Akashi, Kyoto,

Tokyo, 13,46, 125.

The National Museum, Tokyo,

4, 5, 6, 10, 14, 18, 19,

1.52.

Mr. Shigesue Akita, Tokyo, 98.

21, 23. 25, 31. 33, 34, 37, 39, 50, 51, 52, 55( 1-51 65. 66. 6H. 80, 83, 84, 85, 86, 87, 92, 93. 96, 99,

Mr. Kyubei Ando, Fukushima. 44.

100. 102. 122, 124, 126, 127, 131, 132, 133, 134, 148, 150, 158. 161, 162, 163, 164, 165, 166, 167, 168, 169, 170, 171, 173, 177.

Mr. Nagatake Asano, Kanagawa. 123.

I

The Tokyo University of Arts, 28, 53. The Homnia Museum, Yamagata, 130. The Nagao Museum, Kanagawa, 42, 74,

Mr. Kokichi Aoyama, Tokyo, 103.

Mr. Ino Dan, Tokyo,

9.

Mr. Yorizumi Furukawa, Tokvo,

1

15, 120.

Mr. Kango Furuta, Tokyo, 47. Mr. Keita Goto, Tokyo, 57, 61.

147, 153. 154.

The Nezu Museum, Tokyo, 121, 137, 149. The Daihiko Institute of Textile Art Research,

Ishii,

Tokyo,

1

1

Mrs. Sue Hara, Kanagawa. 35, 54.

Mr. Moritatsu Hosokawa, Tokyo, 16, 30, 106,

Tokyo, 155, 156, 157, 159, 160.

The Dolls and Toys Society, Tokyo, 172, The Seikado Foundation, Tokyo, 43.

Mr. Minoru

175, 178.

109. 111.

Mr. Ryoichi Hosomi. Osaka, 90, 91, 95.

Mr. Junji Hozaka. Kanagawa, 38.

BUDDHIST TEMPLES

Mr. Goro Katakura, Nagano, 48. Mr. Masataka Kato, Kanagawa, 62.

Bujoji, Tottori, 3.

Mr. Torasaburo Kawase, Nara, 105.

Daigoji, Kyoto, 8.

Mr. Tokutaro Kimura, Tokyo, 104.

Horyuji, Nara, 59, 70.

Mr. Masahito Kiyota, Kyoto, 112.

Jinshoji, Shiga, 89.

Mr. Ataru Kobayashi, Tokyo, 29.

Kanchi-in, Kyoto,

Mr. Junzo Kosaka. Tokyo, 49.

2.

Kawai-dera, Osaka, 76. Kodai-in, Kyoto,

7.

Kodaiji, Kyoto, 128, 129.

Kofukuji, Nara,

1.

Mr. Masanari Matsubara. Tokyo, 67, 69.

Mr. Tomijiro Miyazaki, Kanagawa, 113, 114. 116, 117, 118,119. Mr. Munehiro Mizoguchi. Tokyo. 20. 22.

Kongoji, Kyoto, 41.

Kongobuji, Wakayama, 77. Konjiki-do Iwate, 88.

Myoho-in, Kyoto, 78.

Mr. Eiichi Mori. Kanagawa, 110. Mr. Kan-ichiro Morikawa, Aichi, 136. 138. Mr. Kinta Muto, Hyogo, 45.

Myoshinji, Kyoto, 27.

Mr. Nobutoshi Naito, Tokyo, 108.

Reiun-in, Kyoto, 24.

Mr. Yozo Nakajima, Tokyo, 135.

Saidaiji, Nara, 73.

Mr. Gakuryo Nakamura, Kanagawa, 36.

Saikokuji, Hiroshima, 56.

Mr. Tsuneichiro Nakamura, Tokyo, 79.

Saikyoji, Shiga, 60.

Mr. Kunio Nakao, Nagasaki, 142.

Todaiji, Nara, 81.

Mr. Shinzo Noguchi, Tokyo, 174. 176.

Toshodaiji, Nara, 71, 72.

Mr. Taromatsu Okano, Tokyo, 107.

Yakushiji, Nara, 75.

Mr. Masatoshi Okochi, Tokyo, 139, 140.

Yohoji, Kyoto, 94.

Mr. Kishichiro Okura, Tokyo, Mr. Saneharu San jo, Tokyo,

SHINTO SHRINES

12.

17.

Mr. Matasaku Shiobara, Tokyo. 145.

Mr. Tsusai Sugawara, Kanagawa, 64. Atsuta Jingu, Aithi,

.58.

Mr. Hirosuke Uehimoto, Fukuoka, 141.

Hyozu Jinja, Shiga, 151. Kasuga Taisha, Nara, 82.

Mr. Hikotaro llmezawa, Tokyo, 63.

Mitake Jinja, Tokyo, 97.

Mr. Giichi Umezawa, Tokyo, 143, 144, 146.

Nibutsuhime Jinja, Wakayama, 101.

Mr. Zenjuro Watanabe, Tokyo, 32.

JNTHODLICTION In those islands of the Far East called Japan, there are It is

found many rare

interesting to see that the species which landed there

sorts of flowers.

from the West and the South

have borne unexpectedly beautiful flowers.

The Japanese were comparatively came

to

have contact with the Chinese

followed.

Still,

isolated from other peoples in the Stone Age, i)ul to a considerable degree in the

Bronze Age which

peculiarly Japanese pieces of art were produced, such as the

shaped bronzes) and the Haniwa (terra-cotta grave figures)

—works

Dotaku

(bell-

expressive of the

character of the ancient Japanese people.

However,

it

was

after the introduction of

Buddhism from the Continent in A. D. 552

that Japanese art developed rapidly in architecture, sculpture, painting

In the 7th

and 8th Centuries

came intimate and to a

in the

art as the

arts.

Japan's communication with the Continent be-

in particular

frequent. This fact, along with the national adoption of Buddhism, led

golden age of Buddhist art

works of

and applied

Grand Buddha

world (about

fifty-five feet

pieces of applied art as those

Japan.

in

It is in this

of the Todaiji

period that

Temple

in

we

find such large-scale

Nara, the largest bronze statue

high). Dating from this period also are such unique

still

preserved in the Imperial repository, Shoso-in, Nara.

This famous treasure-house contains art objects associated with the Emperor Shomu, the great Imperial patron of

Buddhism

in the

T'ang Dynasty prospered on the Continent

8th Century.

It

was the time when the Chinese

in close contact with western countries. Nat-

urally Japanese art was influenced by the Chinese art of the day, which

influenced in

An

some measure by Greece, Persia and

excessive prosperity

Japanese Buddhist

art

is

One

to

One

in turn

been

India.

be accompanied by abuses. The golden age of

was no exception. Various forms

occurred late in the 8th Century.

from Nara

likely to

had

of these

of reaction against these excesses

was the transfer

of the capital of the routitry

Heian, present Kyoto. Art turned from splendor to spiritual vigor.

aspect of the reaction was a decrease in the intercourse with the Continent from

the 9th through the 12th Centuries. At the try gradually declined

time, the Imperial control over the coun-

and was replaced by the power

aristocratic arts of purely

applied arts

same

—products

Japanese

of close

—

of the Japanese people

of the nobles.

There developed

taste, .lapanese architecture, painting,

harmony between the nature

are distinctive

among

of

sculpture and

Japan and the

the arts of the world.

sensitivity

From class.

the 13th to the 15th Century the nobles lost power to the samurai or warrior

Communication with the Continent was resumed, and Japanese

under the influence of Continental priests of

for

art.

The

art

once more came

leaders of Japanese culture in this period were

Zen Buddhism, a sect which was more

of a philosophy than a religion in

profound spirituality through simple, contemplative

living.

its

search

People of the time

culti-

vated such quiet and sober enjoyments as are found in the cha-no-yu or tea ceremony. In this

atmosphere was born the

art of suiboku, or black-and-white painting,

which conveyed

acute expression with a few brief strokes of the brush.

Late in the 16th Century, the nation-wide social disturbances incurred by warring nobles and traditional clans were settled by dictators of bold and progressive personality.

Art became gorgeous and grand in scale in this period under the

was

in this period that brilliant, ornate screen paintings

was also in

this period that art,

dane interests of man's

life

which had been devoted

—

a

new phase

new

were made

to religion,

heroic leaders.

It

number.

It

in large

came

to serve the

of Japanese art that brought

it

mun-

closer to the

modern view.

From upon

this period

art related to

through the 19th Century the

people exerted an influence

an improvement of their economic condition. Profoundly spiritual

went out of fashion, and instead there arose acter

common

arts

and

crafts of a

more entertaining

char-

which were frank expressions of popular enjoyments. Beautiful woodcut prints,

tumes and pottery If

our earth

is

reflect the interests of the

round,

sible that this foreign art

if

cos-

people at that time.

the border of the East

from Japan may give

art

is

the beginning of the West,

rise to a

is it

not pos-

new species of flower in Western art ?

PERIODS IN THE ART HISTORY OF JAPAN PRE-BUDDHISTIC PERIOD:

(.

.

.

-

551 A.D.

MUROMACHI PERIOD:

Sculpture, 66, 67, 68, 69.

Painting, 18,

Metal Work, 85, 86.

Sculpture, 83, 84.

1

9, 20,

(1334-1572).

21, 22, 23, 24, 25.

Metal Work, 91, 93, 94, 95.

ASUKA PERIOD:

(552-644).

Sword Furniture,

103.

Sculpture, 70, 80.

Lacquer, 125, 126.

NARA PERIOD:

(645-781).

MOMOYAMA

PERIOD:

(1573-1602).

Painting, 11.

Painting, 26, 27, 28, 65.

Calligraphy, 56.

Calligraphy, 65. Sculpture, 71, 81.

Sculpture, 83, 84.

Textiles, 150.

Metal Work, 92, 96.

HEIAN PERIOD: Painting,

(782-1185).

1, 2, 3, 4, 5, 6.

Calligraphy, 57, 58, 59, 60, 61, 62, 63, 64. Sculpture, 72, 73, 74, 75, 76, 82.

Armor, 99.

Sword Furniture,

104, 109.

Lacquer, 127, 128, 129, 133. Ceramics, 136, 137, 138.

Metal Work, 87, 88. Textiles, 152, 153, 154.

Sword Furniture,

100.

Lacquer, 123.

EDO PERIOD:

(1603-1867).

Painting, 29, 30, 31, 32, 33, 34, 35, 36, 37, 38,

KAMAKURA PERIOD:

(1186-1333).

39, 40, 41, 42, 43, 44, 45, 46, 47, 48, 49, 50,

51,52,53,54,55. Painting, 7, 8, 9, 10, 12, 13, 14, 15, 16, 17. Sculpture, 77, 78, 79.

Sword Furniture,

105, 106, 107, 110, 111, 112,

113, 114, 115, 116, 117, 118, 119, 120, 121.

Metal Work, 89, 90. Lacquer, 130, 131,133.

Armor, 97, 98. Ceramics, 139, 140, 141, 142, 143, 144, 145,

Sword Furniture,

101, 102.

146,147,148,149.

Lacquer, 122, 124. Textiles, 155, 156, 157, 158, 159, 160, 161, 162,

Ceramics, 134, 135. Textiles, 151.

163, 164, 165, 166, 167. Dolls, 168,

169

..

.

178.

PAINTING III

the early days of Japanese painting sul^ject matter

was exclusively

From

religious.

the 6th to

the 15th Century the artist devoutly painted images of Buddhist divinities. In this exhihition there

are specimens of the Heian period (12th Century), the ries),

some images of the founders of Japanese Buddhist

tration of the Life of

Kamakura period sects (e.g..

(13th and 14th Centu-

Image of

Priest Jion

and

Illus-

Sakyamuni: Eight Aspects of Buddha's Life) and such iconographical draw-

ing as Shinkai's Bishamon-ten from the Daigoji collection.

*

Registered Important Art Object

1

Priest Jion Daishi.

7 Manjusri Crossing Over the Ocean.

*

12th Century. Color on silk. Kakemono. H. Kofukuji (temple), Nara.

*

95%

in.,

W. 49y8

in.

Middle

*

Yama).

Sanskrit:

I

(

3 *

in.,

W. 25

in.

,

*

of 12th Century.

Color on silk. Framed. H. 40M> Bujoji (temple), Tottori.

in.,

W. 20 Vi-

in.

37%

in.,

W. 20 V-'

in.

11

Late 12th Century. Color on silk. Kakemono. H. 61 National Museum, Tokyo.

Konrin (Buddhist

6

Ichiji

*

Sanskrit: Vairocana).

divinity,

Fragment of the

in.,

W. 15%

in.

Illustrated Inga-kyo Sutra.

8th Century. in.,

W. 79%

Color on

in.

silk.

Mr. Minora

Kakemono. H. 10%

Ishii,

in.,

W. 10%

in.

Tokyo.

divinity,

silk. Kakemono. H. Museum, Tokyo.

Scroll painting in ancient

—

i-lVs in.,

W. 33 y2

in.

a kind of illustrated story

—

is

a combination of literature

and painting invented

China. Introduced to Japan, this form greatly interested artists and writers.

works are seven specimens of

here are masterpieces of the painted scrolls 1

in.

of 13th Century.

Color on National

isting

W. 22%

Late 13th Century. Color on silk. 4 Kakemonos. H. 43% in. each., W. 12% in. each. Mr. Ino Dan, Tokyo.

Early 14th Century. Color on silk. Kakemono. H. 44 National Museum, Tokyo.

each.

5 Nirvana.

Middle

in.,

Sanskrit: Ksitigarbha).

Buddhist sages). Middle of 12th Century. Color on silk. Kakemono. H. National Museum, Tokyo.

*

Sanskrit: Vaisravana).

10 Jizo Bosatsu (Buddhist

4 Arhats (Two of the sixteen images of *

in.

9 Eight Aspects of Buddha's Life.

Fugen Bosatsu (Buddhist divinity, Sanskrit: Samantabhadra). Middle

W. 41%

in.,

By Shinkai. Late 13th Century. Ink on paper. Kakemono. H. 51V4 Daigoji (temple), Kyoto.

of 12th Century.

Color on silk. Framed. H. 44 Ms Kyoto. Kanchi-in temple

56%

8 Bishamon-ten (Buddhist demi-god,

2 Emma-ten (Buddhist King of Hell, *

End of 12th Century. Color on silk. Framed. H. Kodai-in (temple), Kyoto.

in

illustrated

Among

Buddhist scriptures of the 8th Century. Exhibited

Kamakura period (13th and

14th Centuries)

when

excellent artists

great number.

2 Court-guards in Equestrian Training. * Ascrihed to p'ujiwara Nobuzane. Middle of 13th Century. Slight color on paper. Scroll. W. llVi in., Mr. Kishichiro C)kura, Tokyo.

13 Scroll Illustrating Seats of Courtiers * in the Order of Ranks. L. 93 in.

ex-

Believed to have been executed by an artist Nobuzane School. Late 13th (!cnlury. Cultural Properties Protection Cnunuission, Tokyo of

..

.

14 Scroll of Long-nosed Goblins. Late 13lli Century. Color on paper. .Scroll. W. National Museum, Tokyo.

15 Scroll of the Life of an Late 13tli Century. Color on paper. Scroll. Imperial collection.

16 Scroll of the Story of Haseo. *

421%

ll-'i in., L.

in.

17 Scroll of the Horse-race

Artist.

*

W. 11%

in.,

L.

310%

in.

Suiboku or black and white painting Buddhist

sect

in the 14th

were

known

and

in

18 Priest Kensu. ByKao-Ryozen (1317-1345). Ink on paper. Kakemono. H. 34% National Museum, Tokyo.

in.,

L. 1.53 V4 in.

Japan, flourishing especially artists of these

times

to the teach-

and 16th Centuries

representative. Later in the 15th

Noami and Motonobu became famous

birds. This exhibition contains

Royal Palace.

were usually based upon subjects related

their paintings

Shubun and Sesshu are

secular artists such as

for their paintings of landscape,

examples of Suiboku painting by the 22 Kannon Bosatsu (Buddhist

artists

mentioned.

divinity,

Sanskrit: Avalokitesvara). in.,

W. 13%

By No-ami (1397-1471).

in.

Ink on silk. Kakemono. H. 30% in., Mr. Munehiro Mizoguchi, Tokyo.

19 Landscape. Ascribed to Shubun

(died 1470) Slight color on paper. Kakemono. H.

National

became popular

in.

With the introduction of the

art form.

Century and the Muromachi period (1334-1572). Most of the

ings of Zen. Kao,

and

in the

Early 14lh Century. Color on paper. .Scroll. W. 11% Mr. .Saneliaru Sanjo, Tokyo.

an ancient oriental

is

as Zen this kind of painting

priests of the sect,

flowers

Early lltli Century. Color on paper. Scroll. W. ll-'/s in., L. 423 Mr. Morilalsu Ilosokawa, Tokyo.

29%

in.,

W. 13%

in.

W.

151/2 in.

23 Spring and Summer Landscapes. * By Sesshu (1420-1506).

Museum, Tokyo.

Slight color on silk. 2

Kakemonos.

H. 58V2 in.. W. 29% in. each. National Museum, Tokyo.

20 Landscape. Ascribed to Shubun (died 1470 Ink on paper. Kakemono. H. 35% Mr. Muneliiro Mizoguchi, Tokyo. )

in.,

W. 12%

in.

24 Landscape with Flowers and Birds. *

Ascribed

to

Kano Motonobu

(

1476-1559)

Slight color on paper. 2 Kakemonos. H. 70 in., W. 46K' in. each.

21 Kanzan and Juttoku, the Two * Legendary Chinese Priests. Middle of 15th Century. Ink on paper. Kakemono. H. 39VL> National

Ryoun-in (temple) Kyoto. ,

in.,

W. 14%

Museum, Tokyo.

Folding screens are often used

in

in.

25 Rei-sho-jo, Chinese Girl of the T'ang Dynasty. By Kei Shitsusai. Middle of 16th Century. Slight color on paper. Kakemono. H. 35VL> in., W. 15':; National Museum, Tokyo.

in.

Japanese rooms as temporary partitions. Their large area pro-

vides a fine field for painting and calligraphy. In the exhibition there are ten painted folding

screens dating from the middle of the 16th to the 18th Century. Subjects for such screens varied

from flowers and birds their visit to

to

landscape and genre and even included scenes of Europeans enjoying

Japan and playing

their

26 Hawks. *

By.Sesson (1504-1589). Ink on paper. Pair of six-leaf folding screens. H. 62% in., W. 135% in. each screen. National Museum, Tokyo.

Western musical instruments. 27 Peony and Plum Blossoms. * By Kaihoku Yusho (1533-1615). Color on paper. Pair of six-leaf folding screens. H. 70% in., W. 137% in. each screen. Myoshinji (temple) Kyoto. Illustrated in color. ,

.

32 Autumn Grasses. * By Ogata Korin (1655-1716).

28 Eagles and Pines. By

artist of the

Kano

school. Early 17th Century.

Color on paper. Pair of two-leaf folding screens. H. 60% in., W. 68 in. each screen. Mr. Zenjuro Watanabe, Tokyo.

Color on gold-foiled paper. Pair of six-leaf folding screens. H. 6^% in., W. 143% in. each screen. Tokyo University of Arts. 3.^

29 Westerners *

in

Japan.

Tides of Ch'ien-t'ang River.

Early 17th Century. Color on paper. Pair of six-leaf folding screens.

By Ikeno Taiga (1723-1776). Color on paper. Pair of six-leaf folding screens. H. 65 in., W. 144 in. each screen. National Museum, Tokyo.

H. 60% in., W. 143% in. each screen. Mr. Ataru Kobayashi, Tokyo.

30 Westerners Playing Their Music. *

34 Rainy and Snowy Landscapes.

Early 18th Century. Color on paper. Pair of six-leaf folding screens. H. 40V4 in., W. 119 in. each screen. Mr. Moritatsu Hosokawa, Tokyo.

By Matsumura Goshun (1752-1811). Slight color on paper. Pair of six-leaf folding screens. H. 49% in., W. 113% in. each screen.

National

31 Scenes on and Back of the Stage. Ascribed to Hishikawa Moronobu (died

Color on paper. Two-leaf folding screen. H. 57 in., W. 561/2 in. Mrs. Sue Hara, Kanagawa.

The Edo period (17th-19th Centuries)

1.

Museum, Tokyo.

35 Autumn Grasses and QuaiL * By SakaiHoitsu (1761-1828).

c. 1694) Color on paper. Pair of six-leaf folding screens. H. 1571/2 in., W. 400 in. each screen. National Museum, Tokyo.

artists,

Landscape at Lake Hsi and Overlooking

is

marked with

the rise of a

number

of schools and able

namely:

Sotatsu-Korin School

Works

of the school, established by Sotatsu (flourished in the begin-

ning of the 17th Century) and Korin (1658-1716), are highly decorative, presenting landscapes

and figures 2.

in

ornate style. Such artists as Sosetsu, Koho, Korin, and Hoitsu belong to this school.

The school

Tosa-Sumiyoshi School

painting developed in the Heian period, as

is

is

loyal to the traditional style of classic Japanese

represented by the work of Sumiyoshi Gukei

among

who belong

to this

the works exhibited.

3.

Maruyama-Shijo School

Works

of Okyo, Goshun, Rosetsu and Soken

school are popular because of their realistic style and elaborate workmanship. 4.

Literati

School

of this literati school.

Hyakusen, Taiga, Buson, Mokubei, Kyosho and Kazan are among masters

They are

artists

who represented nature symbolically through

flowing lines

and a remarkable use of space. 5. Ukiyo-e

School

Artists of this school, noted also for their beautiful

wood-block prints,

were genre painters who painted for the common people. Moronol)!!, Kaigetsiido, Choshun,

Masanobu, Shunsho and Utamaro were famous masters of

38 Yuima (Indian sage, Sanskrit: Vimalakirti).

36 Poppies. By Kitagawa Sosetsu. Middle of 17th Century. Color on paper. Kakemono. H. 43 in., W. 16% in. Mr. C.akuryo Nakamura, Kanagawa.

*

By Ogata Korin (1655-1716). Ink on paper. Kakemono. H. 14% Mr. Junji Hozaka, Kanagawa.

in.,

W.

21 '2

in.

39 In and Around Kyoto.

37 Wistaria, Maple and Peonies. By Honnami Koho (1601-1682). Color on paper. Kakemono. H. 43 National Museum, Tokyo.

this school.

By Sumiyoshi Gukei (1631-1705). in.,

W.

15

in.

Color on paper. Scroll. W. 16i,s National ^luseum, Tokyo.

in.,

L. 467''v( in.

.

.

.

40 Birds and Fishes. By

48

Jakuchu (1716-1800). Color on silk. Kakemono. H. 56 5/16

*

Ilo

in.,

W. 31%

Portrait of Ichikawa Beian.

By Watanahe Kazan Color on

in.

Imperial (Collection.

silk.

(1793-1841).

Kakemono. H. 49

in.,

W. 23

'/li

in

Mr. (Joro Katakura, Nagano.

41 Waves. * By MaruyamaOkyo (1733-1795). .Slight color on paper. 12 Kakemonos. H. 68% in., W. 36 '/s in. each.

49 Album of *

Insects

and Fishes.

By Watanabe Kazan. Has inscription dated 1837. Color on silk. Album. H. 11% in., W. 9% in. Mr. Jimzo Kosaka, Tokyo.

Kongo ji (temple) Kyoto. ,

50 Young Woman. 42 Landscape *

in Moonlight. By Nagasawa Rosetsu 1755-1799) Ink on silk. Kakemono. H. 38% in., W. 14 Nagao Museum, Kanagawa.

By Kaigetsudo Ando. Late 17th Onliiry. Color on paper. Kakemono. H. 37^/4 in., W. 16% National Museum, Tokyo.

(

in.

51

43 Peacock. *

By Yamaguchi Soken 1759-1818) Color on silk. Kakemono. H. 63 in., W. 25V^ (

in.

in.

Woman

Flying on a Crane. By Miyagawa Choshun (1682-17.52). Color on paper. Kakemono. H. 37 in., W. 1414 National Museum, Tokyo.

in.

Seikado Foundation, Tokyo.

52 Villa at the Foot of Ogurayama Hill. By Okumura Masanobu (1690-1768). Color on paper. Kakemono. H. 12% in., W. National Museum, Tokyo.

44 Lotus Flowers. By Sakaki Hyakusen (1698-1753). Color on paper. Kakemono. H. 39 in., W. 10% Mr. Kyubei Ando, Fukushima.

45 Landscape

in

in.

By Yosano Buson ( 1716-1783) Ink on paper. Kakemono. H. 10% Mr. Kinta Muto, Hyogo.

in.,

W.

51

(1726-1792). Color on silk. Kakemono. H. 37% in., Tokyo University of Arts.

in.

54 *

in.

53 Young Women. By Katsukawa Shunsho

Snow.

46 Sunny Morning

19

at Uji.

*

By AokiMokubei (1767-1833). Color on paper. Kakemono. H. 19% in., W. 23% in. Cultural Properties Protection Commission, Tokyo.

Woman

W. 13%

in.

Changing Dress.

By Kitagawa Utamaro (1754-1806). Color on silk. Kakemono. H. 46% in., W. Mrs. Sue Hara, Kanagawa.

21 1/16

in.

47 Crapes. By Tachihara Kyosho (1785-1840). Color on paper. Kakemono. H. 35'/, in., W. 15% in. Mr. Kango Furuta, Tokyo.

UKIYO-E (Wood-Block Remarks: The large

The medium The narrow 2.

1.

size is

The 15

in.

15

Ages of Ukiyo-e

sentative artists:

x lOMi

IOV2

size is size is

largest

in.

in.

x

paper

size is

29%

in.

x 20Vi

Prints)

in.

in.

x8

3%

in. in.

prints: First period

c.

1661-1688. Black

line print called Sumizuri-e. Repre-

Hishikawa Moronohu, Torii Kiyonohu and Kaigetsudo Ando.

Second period:

c.

1689-1715. Black line print and vermilion applied with hrush, called

Tan-e. Representative artists: Hishikawa

Moronohu, Torii Kiyomasu, Kaigetsudo Ando and Torii

Kiyonohu. Third period:

c.

1716-1744. Black line print with red, green and yellow

in

hrushwork, called

Beni-e.

With

the addition of glossy black

by the use of a

sort of glue,

lacquer-black picture. Representative artists: Torii Kiyonobu

Shigenaga,

II,

it is

called Urushi-e,

Kiyomasu

Torii

II,

meaning

Nishimura

Okumura Masanobu and Okumura Toshinobu.

Fourth period:

c.

1745-1764. Primitive polychrome

print, called Benizuri-e, at first red

green alone, later with the addition of yellow and purple. Representative

artists:

and

IshikawaToyonobu

and Torii Kiyomitsu. Fifth period:

1765-1867. Elaborate polychrome

c.

ten colors. Intermediate colors such as gray

The most elaborate

in color-printing

print, called Nishiki-e,

and indigo came

was Utagawa Toyokuni

to III,

done

in

more than

be produced by double printing.

who used over

forty colors in his

depiction of actors. Representative artists: Suzuki Harunobu, Torii Kiyonaga, Kitagawa Utamaro,

Toshusai Sharaku,

3.

The

Ando Hiroshige and Katsushika Hokusai.

exhibits listed below are

55—1 Scenes

at

from the National Museum

Yoshiwara (gay quarters in Edo).

6 pictures. Large size Sumizuri-e.

By Hishikawa Moronobu. To be exhibited throughout

55—2 Young

Woman

Holding a Poem Card.

By Kaigetsudo Dohan.

55—12 Young Woman on the Verandah. Medium size Nishiki-e.

Narrow size Urushi-e. By Okumura Toshinobu. exhibited in the

first

week.

By Suzuki Harunobu. To be exhibited in the second week.

exhibition.

55—4 Fan Dealer.

To be

first

a Lute.

55—11 Couple at the Verandah. Medium size Nishiki-e.

killer).

Largest size Tan-e.

By Torii Kiyomasu. To be exhibited throughout

55-10 Young Woman Playing Medium size Nishiki-e. By Suzuki Harunobu. To be exhibited in the

exhibited throughout exhibition.

55—3 Shoki (demon

55—9 Okiku and Kosuke (heroine and hero of a Kabuki play). Large size Benizuri-e. By Ishikawa Toyonobu. To be exhibited in the third week.

exhibition.

Largest size Sumizuri-e.

To be

collections.

By Suzuki Harunobu. To be exhibited in the

week.

third week.

55—13 55—5 Beautiful

Sei Shonagon (historical court lady in full dress).

Girl of Osaka.

Narrow size Urushi-e. By Okumura Toshinobu. To be exhibited in the second week.

55—6 Beautiful Narrow

Large

Large

size Urushi-e.

Women

in Disguise as Travelling

in

the

first

Monks.

week.

Women in Travesty of Kanzan and Juttoku (Chinese hermits).

55—8 Two

Large size Benizuri-e. By Ishikawa Toyonobu. To be exhibited in the second week.

week.

size Nishiki-e.

By Torii Kiyonaga. To be exhibited in the second week.

Large size Benizuri-e. By Ishikawa Toyonobu.

To be exhibited

first

55—14 Taking Shelter from Shower.

Girl of Kyoto.

By Okumura Toshinobu. To be exhibited in the third week.

55—7 Two

size Nishiki-e.

By Torii Kiyonaga. To be exhibited in the

55—15 Enjoying Evening Cool on the Riverside at Shijo. Large size Nishiki-e.

By Torii Kiyonaga. To be exhibited in the

third week.

55—16 A Coquettish Type: From Large

the series "Ten Physiognomic Types of Women.' size Nishiki-e.

By Kitagawa Utamaro. To be exhibited in the first week.

55—17 Young From

Woman

the series

Reading a Letter:

"Ten Physiofinomic Types

55-27 Somenosuke of the Matsubaya (a brothel) of

Women."

Large size !\ishiki-e. By Kitagawa Ulamaro.

To

l)e exliil)ite(i in

55-18 Love

in

the series "Beauty Contest of (Jirls of (iay Quarters."

Large

the second week.

;

From

size Nishiki-e.

By Ichirakutei Eisui. To he exhihited in the

third week.

Middle Age:

the series depicting women in travesty from a group of famous poets of the Heian Period.

From

Large size l\ishiki-e. By Kilagawa LItamaro.

To he exhihited

From Large

in tile third

as Shiga Daishichi.

55—29 Yamato-ya: From

Large size Nishiki-e. By Toshusai Sharaku. To he exhihited in the

Large first

as Ishii Cenzo.

Large size Nishiki-e. By Toshusai .Sharaku.

55—30 Otowa-ya: From

in the

the series "Portraits of Actors on the .Stage.' size Nishiki-e.

By Utagawa Toyokuni. To be exhibited in the second week.

week.

55—20 Actor Bando Mitsugoro

the series "Portraits of Actors on the .Stage.' size Nishiki-e.

By LJtagawa Toyokuni. To he exhihited in ttie first week.

week.

55—19 Actor Irhikawa Koniazo

To be exhibited

55-28 Koraiya:

second week.

Large

the series "Portraits of Actors on the Stage.' size Nishiki-e.

By Utagawa Toyokuni. To be exhibited in the third week.

55—21 Actor Arashi Ryuzo

as the

money lender

Ishibe Kinkichi.

55-31 Red Fuji: Large size Nishiki-e. By Toshusai Sharaku.

To be exhibited

From

in the third

the series "Thirty-six Views of Mt. Fuji.''

Large size Nishiki-e. By Katsushika Hokusai.

week.

To be exhibited

in the first

week.

55—22 Suma: A

satirical depiction of the

scene of

Suma

from the classic novel. Tales of Genji. Large size Nishiki-e.

By Hosoda Eishi. To be exhihited in

the

first

week.

55—23 Itsuhana: the series "Beauty Contest of Geisha Girls at Yoshiwara." size Nishiki-e.

By Hosoda Eishi. To be exhibited in the second week.

55-24 Ohane and Ofuku: From

the series "Beauty Contest of Geisha Girls at Yoshiwara." Large size Nishiki-e.

By Hosoda Eishi. To be exhibited in

55—25 Young Large

the third week.

Woman

and Wind-bell.

the series "Thirty-six Views of Mt. Fuji. Large size Nishiki-e. By Katsushika Hokusai. To be exhibited in the second week.

By Eishosai Choki. To be exhibited in the

From

first

week.

the series "Thirty-six Views of Mt. Fuji

Large size Nishiki-e. By Katsushika Hokusai.

To be exhibited

in the third

week.

55—34 Yoshitsune Uma-arai no Taki (waterfall where the warrior Yoshitsune washed his horse)

:

From

the series "Famous Waterfalls Throughout Japan. Large size Nishiki-e.

By Katsushika Hokusai. To be exhibited in the first week.

55-35 Ono Waterfall: From

size Nishiki-e.

55—26 Kascn of

From

55-33 Mt. Fuji Reflected on Lake Misaka:

From

Large

55—32 Enoshima:

the series

"Famous Waterfalls Throughout Japan.

Large size Nishiki-e. By Katsushika Hokusai. To be exhibited in the second week.

the Ogi-ya (a brothel);

From the series "Beauty Contest of Gay Quarters."

55-36 Yoro Waterfall: of Girls

Large size Nishiki-e. By Chokosai Eisho. To be exhihited in the second week.

From

the series

"Famous Waterfalls Throughout Japan.

Large size Nishiki-e. By Katsushika Hokusai.

To be exhibited

in the third

week.

55—37 Enkvo Bridge. Large

55—45 Sensoji Temple

at Aisakusa:

From

the series "Hundred Famous Places in Edo." Large size Nishiki-e. By Ando Hiroshige. To be exhibited in the third week.

size Nishiki-e.

By Ando Hiroshige. To be exhibited in the

week.

first

55—38 Kambara: From

tlie series "Fifty-three Stages the Tokaido Higliway." Large size Nishiki-e. By Ando Hiroshige.

To be exhibited

on

55—46 "Fox Fire" (Sort of Jack-o-Lantorn)

the series "Hundred Famous Places in Edo." Large size Nishiki-e. By Ando Hiroshige. To be exhibited in the first week.

second week.

in the

55—39 Snow Landscape

at

River Fuji.

Largest size Nishiki-e. By Ando Hiroshige. To be exhibited in the third week.

55—40 Snow on River Sumida

55—47 Lumber-yard

the series "Famous Places in Narrow size Nishiki-e.

Edo

in

Four Seasons.'

55—48 Tsukuda-jima Across

the series "Hundred Famous Places in Edo.' Large size Nishiki-e. By Ando Hiroshige. To be exhibited in the third week.

Narrow size Nishiki-e. By Ando Hiroshige. exhibited in the second week.

55—49 Jumantsubo

55—43 Night Scene

at

From

55—44 Hikifune

Fukagawa:

the series "Hundred Famous Places in Edo. Large size Nishiki-e. By Ando Hiroshige. To be exhibited in the first week.

third week.

Saruwaka-cho: Famous Places

the series "Hundred Large size Nishiki-e. By Ando Hiroshige.

To be exhibited

at Susaki,

From

55—42 Peony and Peacock. Narrow size Nishiki-e. By Ando Hiroshige. To be exhibited in the

Eilai Bridge:

From

week.

first

:

the series "Hundred Famous Places in Edo.' Large size Nishiki-e. By Ando Hiroshige. To be exhibited in the second week.

55—41 Camellia and Bird.

To be

Fukagawa

at

From

:

From

By Ando Hiroshige. To be exhibited in the

at Oji:

From

55-50 Yabukoji in

55—51 Shower

at Yotsugi:

From

the series "Hundred Large size Nishiki-e.

Famous Places

in

Foot of Atago Hill:

the series "Hundred Famous Places in Edo. Large size Nishiki-e. By Ando Hiroshige. To be exhibited in the second week.

week.

in the first

at the

From

Edo."

at

Ohashi Bridge:

From

the series "Hundred Famous Places in Edo. Large size Nishiki-e. By Ando Hiroshige. To be exhibited in the third week.

Edo.

By Ando Hiroshige. To be exhibited in the second week.

CALLIGRAPHY These works are mostly specimens of Kana (Japanese syllabic characters) written or copied upon decorative papers.

Some

are of decorated scripture.

56 Konkomyo-saishoo-kvo *

59 Fan-shaped Hoke-kyo

(Buddhist Scripture) Vol. 8.

*

Middle of 8th Century. in gold ink upon purple paper.

H.93/I6in., W.

Written

W.

9%

Total L. 27 ft. 2 Saikokuji (temple), Hiroshima. Scroll.

in..

Sutra.

Late 12th Century. 19'/^ in.

(top),8i4

in.

(boiium).

Horyuji (templet, Nara.

in.

60 Fan-shaped Hoke-kyo Sutra. 57 Hoke-kyo (Buddhist Lotus Sutra,

known

as Kunoji-gyo).

Middle of 12th Century. Scroll.

W.

10 '/4

in..

Total L. 132

*

Late 12th Century. H.9-'H in., W. 19'-.. in. (top),?",;, Saikyoji temple , Shiga.

in.

(bottom).

I

(

in.

Mr. Keita Goto, Tokyo.

61 Fragment of

58 Hoke-kyo (Buddhist Lotus Sutra). *

Late 12th Century. W. lOVi in.. Total L. 152 .Atsuta Jingu (shrine), Aichi.

Scroll.

(Known

Wakan

11th Centurv. in.

Roei-shu Anthology.

as Ota-gire).

11.9':; in., Vi.

ll's

in.

Mr. Keita Goto, Tokyo.

62 Fragment of Kokin-shu Anthology. *

64 Fragment of Sanju-rokunin-shu (Anthology of Selections from Thirty-six Poets,

(Ascribed to Minamoto Toshiyori). Early 12lh Century. II.

8%

in.,

W. 15%

known as

Mr. Masataka Kato, Kanagawa.

H. 7'/«in., W.eViin. Mr. Tsusai Sugawara, Kanagawa.

63 Fragment of Sanju-rokunin-shu (Anthology of Selections from Thirty-six Poets,

known

Ishiyama-gire).

Early 12th (-entury.

in.

65 Poem Written Upon Decorated Paper.

as Ishiyama-gire).

17th Century. Calligraph by Koetsu, Painting by Sotatsu.

Early 12th Century. H. 8 in., W. 121/2 in. Mr. Hikotaro Umezawa, Tokyo.

H. 13'/«in., W.27y«in. National Museum, Tokyo.

SCULPTURE The clay ture

figures

made

(Haniwa) exhibited here are representative of the indigenous Japanese sculp-

as grave figures in the ancient burial

dhism

(c.

3rd

and eloquently expressive. Some

primitive, simple in representation

was replaced by the Chinese sculpture

native art

mound age

style

to 5th Centuries).

They are

critics regret that this

which was introduced

into

type of

Japan with Bud-

in the 6th Century.

During the Asuka and Hakuho periods (6th and 7th Centuries) many excellent Chinese works must have been brought were made by Chinese

to

Japan

artists in

either directly

Japan. Japan

is

from China or possibly by way of Korea. Others thus an excellent repository of Chinese sculpture

of these centuries.

During the 9th Almost

all

to

12th Centuries a characteristic Japanese style of sculpture was developed.

of the existing works are of wood, often lacquered or colored. Prior to the 13th Century,

Japanese art in general reflected a court civilization centering around the two old capitals of Kyoto

and Nara. Highly organized were

built

and

divinities

sculptors' guilds

were constantly

at

work

were represented in painting and sculpture

court rank for the repose of their dead mothers, fathers, husbands. duction, statues which in the early

block of wood were

now made

number

of a

was created

known

samurai

class.

This new

dating from the

works of the

Kamakura

late

period.

civil

war these were

style, side

later restored

by

by side with the graceful rep-

was continued through

exhibits here include four specimens of the

style, three

facilitate the increased pro-

as the shogunate seized control of the gov-

machi (1334-1572). This was the period of great progress

Asuka

wish of persons of high

.

resentation of the preceding court civilization,

The

Temples

Kamakura period ( 1186-1333) A realistic and expressive style

in the

to serve the taste of the

To

cities.

of separately carved parts.

ernment. Although temples in Nara were damaged during the

new samurai regime early

at the

two

Heian period (782-897) would have been carved from a single

Late in the 12th Century a powerful group

the

in these

in

the next period, the

Muro-

Japanese sculpture.

Haniwa clay

Nara period, three others of

the

figures,

one specimen of the

Heian period, and four statues

73 Hosho Nyorai (Buddhist divinity, * Sanskrit: Ratnasambhava).

66 Tcrra-cotta Grave Figure (Man). Ancient Burial Mound Age.

Late 8th Century. Wood, lacquered. H. 29% Nara.

H.29y8in. National

Museum, Tokyo.

Saidaiji (temple)

67 Terra-cotta Grave Figure (Head of a Ancient Burial Mound Age.

Girl).

74 Yakushi Nyorai (Buddhist *

H.6liin. Mr. Masanari Matsubara, Tokyo.

Wood. H. 19% in.. Total H. 38 MNagao Museum, Kanagawa.

*

76 Tamon-ten (Buddhist demigod, *

H. 5% in. Mr. Masanari Matsubara, Tokyo.

70 Kannon Bosatsu (Buddhist

12th Century.

divinity,

77 Seitaka (Cetaka, Oneof the * Eight Attendants of Fudo Myo-o)

7th Century. One of the two attendants of of the Golden Hall.) Bronze, gilded. H. 24 in.

Amida Nyorai

(

,

Sanskrit: Vaisravana).

Wood, colored. H. 51 in. Kawai-dera (temple), Osaka.

Sanskrit: Avalokitesvara).

Horyuji (temple)

Early 10th Century. colored. H. 66Mi in. Yakushiji (temple), Nara.

Wood,

Museum, Tokyo.

69 Terra-cotta Grave Figure (Hen). Ancient Burial Mound Age.

*

in.

75 Eleven-headed Kannon.

in.

National

divinity,

Sanskrit: Bhaisajyaguru). 9th Century.

68 Terra-cotla Grave Figure (Horse). Ancient Burial Mound Age. H. 24ys

in.

,

.

12th Century.

Wood, colored. H. 40% in.. Total H. 47 Kongobuji (temple), Wakayama.

in.

Nara.

78 Kongo Rikishi (Buddhist Guardian Gods, *

71 Head of a Bosatsu (Bodhisattva). *

Late 8th Century. Wood, dry-lacquered. H. 30 Toshodaiji (temple), Nara.

Sanskrit: Yajirapani).

Middle of 13th Century. Wood, colored. H. 65Vi in. (each). Myoho-in (temple), Kyoto.

in.

79 Juni Shinsho (One of the Twelve * Escorts of Yakushi Nyorai)

72 Torso of Buddha.

.

Middle of 13th Century. Wood, colored. H. 27% in. Mr. Tsuneichiro Nakamura, Tokyo.

Late 8th Century. Wood. H. TO'/a in. Toshodaiji (temple), Nara.

MASKS Gigaku was originally a Chinese dance performed This dance was often performed 8th Centuries). tion

A

number

were formerly

in the

to

music. Dancers wore colored wooden masks.

Japanese court during and after the Nara period (7th and

of excellent masks date from this time.

in Horyuji, oldest of

Japanese temples located

ferred to the Imperial collection and then to the National

The

three other

Gigaku masks come from Todaiji,

the

Two in

of the masks in this exhibi-

Nara. These were later trans-

Museum where

monastery

in

they are

now

treasured.

Nara famous for the Grand

Bronze Buddha.

The dance known

as

Bugaku was

also introduced

from China. In origin

it

combines music and

dance of India and Chinese Turkestan with that of China. Japanese court nobles were familiar with

Bugaku

as early as the

Nara period. The

earliest existing

masks for

this dance,

however, date only

from the 12th Century.

The Japanese Noh play has It is

its

origin in the

Gigaku dance but

not only a musical performance but also tells a story.

The

is

actors

more

like the

modern drama.

wear masks and assume the

.

The

roles of liiimaii characters.

They represent sculpture by time onward

earliest

masks come from the Muromachi period (1334-1572).

the best masters of the period, as religious sculpture

83 Four Noh Masks.

6th-7lli Centuries.

16th-17th Centuries. colored.

Wood, colored Daikof u

:

L.

Wood,

Ko-omote: L. 8% in., W. 5 7/16 1 2 Hannya: L. 9% in., W. 7 in. Heita: L. 8 in., W. SV^ in. :i 4 Myoga Aku Jo: L. 8% in., W. 6 'A National Museum, Tokyo.

12% in., W. 778 in. 15% in., W. 8V2 in.

2 Riivishi: L. National Museum, Tokyo.

81 Three Gigaku Masks. *

8th Century. Wood, colored. a Suiko-o: L. IT'/k

b c

temple)

(

,

in.

in.

84 Two Masks for Kyogen.

W. 9% in. Konron: L. 151/4 in., W. 11 in. Baramon: L. 11 in., W. 8Vi in.

Todaiji

this

in decline.

80 Two Gigakii Masks.

1

was from

16th-17th Centuries.

in.,

1

Buaku:

6% in., W. 5% in. 7% 5% in.

L.

2 Usobuki L. in., W. National Museum, Tokyo. :

Nara.

82 Four Bugaku Masks. *

12tli-13th Centuries.

Wood,

colored. a Chikyu: L. 8% b Sanju L. IQiA

W. 61/4 in. W. 81/4 in. Shin Toriso: L. 8% in., W. 6VNasori: L. 7% in., W. 6% in. :

c

d

in.,

in.,

Kasuga Taisha (shrine

),

in.

Nara.

METAL WORK Dotaku (bell-shaped bronzes) are the most ancient objects have been made about or even prior dhist ceremonial

to the 1st

implements and mirrors

—

in the exhibition.

They are believed

Century. Other bronzes exhibited are mostly Bud-

typical Japanese metal works. There are also exhibited

iron kettles for the Japanese tea ceremony.

85 Dotaku (bell-shaped bronze). About 1st Century B. C. Excavated at Kojin-yama, Tsuri-mura, Nishi Hamana-mura, Shizuoka-ken.

89 Keko (Two Trays Used in Flower-Sprinkling * Ceremony in Buddhist temple). 13th Century. Bronze, gilded, with design in openwork and plated with gold and silver. D. (a) llVs in., (b) 111/4 in. Jinshoji (temple) Shiga.

H. 291/8 in., W. 15% in. National Museum, Tokyo.

,

86 Dolaku. About

1st Century B. C. Excavated at Muko-yama, Ibaraki, Higashi Uchihara-mura, Hidaka-gun, Wakayama-ken. H. 32% in., W. UVh in. National Museum, Tokyo.

87 Mirrors. 12 Pieces. llth-12th Centuries. Bronze. D. 4'/:. in., SVa

90 Mirror. *

13th Century. Bronze. D. 9 in.

Design of chrysanthenumis and a pair of sparrows. Mr. Ryoichi Hosomi, Osaka.

91 Ashiya: * Type of kettle

in.

Discovered in Mitarashi Pond in the precinct of

15th Century.

Haguro Jinja (shrine), Haguroyama, Yamagata-ken. National Museum, Tokyo.

Iron. H. 914

88 Keman (Pendent Ornament * Buddhist Temple).

of a shape

in.,

known

as Shin

D. of body: IOI/4

(

formal

in.

Design of raised spots, maple trees and deer. Mr. Ryoichi Hosomi, Osaka.

in

12th Century. Bronze, gilded. H. 11 Vi in., W. 12i/s in. From the ornament inside the Main Hall of the Chusonji (temple), Iwate.

to

92 Ashiya: Kettle of shin shape, used in tea ceremony. 16th Century. Iron. H. 7V4 in., D. of body 914 in. Design of pine and plum trees. :

National

Museum, Tokyo.

)

95 Mirror.

93 Hanging l^antcrn.

*

Inscription dated 28 July, 1550. Bronze. H. 9 in., D. between opposite sides: l.'iVi in. Design of plum branches and bamboos in openwork.

National

Museum, Tokyo.

96 Kettle of "Flat Spider" Type.

94 Sutra Box. *

Century. Bronze. D. 9 in. I.ate 16th

Design of paulownia, bamboo and phoenix. Mr. Ryoichi Hosomi, Osaka.

Inscription dated 28 May, 1555. in.. H. 4Vk Bronze, gilded. L. ll's in., W. Design of lotus scroll in openwork.

7%

Yohoji (temple)

,

Iron.

Late 17th Century. H.3'/sin., D.of body: 12Mi National Museum, Tokyo.

in.

Kyoto.

in.,

D. of

mouth

:

7

1/16

in.

ARMOH The

three suits of

and

1

armor made especially

for generals are good examples of 13th, 14th, 15th, 16th

7th Century craftsmanship.

97 Armor with Gradated Purple Lacing, * with Helmet and Shoulder-pieces. ISthCentury. H.c. 32I2

99 Dark-Blue Laced Armor with Two-piece

Cuirass.

(Used by Kobori Enshu). Middle of 16th Century. H.38in. National Museum, Tokyo.

in.

Mitake Jinja (shrine), Tokyo.

98 Cuirass with Lacing of Jay-bird's Feather Color, * with Helmet and Shoulder-pieces. Late 14th Century. H. 42

in.

Mr. .Shigesue Akila, Tokyo.

SWORD MOUNTINGS The sword mountings and sword cases are varied

shape and style according

in

to the

which they were made. Examples of ceremonial swords from each period are present bition, the earliest

of pure gold, with design of lions in relief. L.

10th Century. Gilded, with designs in openwork, nacre inlay and gokl lacquer niaki-e L. 40% in.

National

in this exhi-

being of 12th Century design and craftsmanship.

100 Sword Mounting of Tachi Type.

(

periods in

)

44V2

and peonies

in.

Mr. Kokichi Aoyama, Tokyo.

.

104 Sword Mounting of Itoniaki-iio-Tachi Type.

Museum, Tokyo.

*

16th Century.

Scabbard of wood, aventurine-lacquered, with design of chrysanthemums in nacre inlay and maki-e. Metal accessories of pure gold with design of chrysanthemums. L. 39'/4 in. Mr. Tokutaro Kimura, Tokyo.

101 Sword Mounting of Hyogo-Gusari-no* Tachi Type. 13lh O'ntury.

with design of lions and peonies openwork and relief. L. 38 in. Nibutsuhime Jinja (shrine), Wakayama.

(;ii(led,

in

102 Sword Mounting of Koshigalana Type.

105 Sword Mounting of Vchigatana Type. Nth Century. .Scabbard of wood, cinnabar lacquered, with design of wistaria sprays in inlay of nacre and sheet gold. Hilt wrapped with dark blue braid. Accessories.

14th Century.

Cilded

silver,

with design of peonies

in relief.

L. IS'/s in.

cloisonne. L.

National Museum, Tokyo.

Mr. Torasaburo Kawase, Nara.

103 Sword Mounting of (Jchigatana Type. *

Late 15th Century.

wood, aventurine-lacquered. Hilt wrapped with purple braid. Metal accessories

.Scabbary,in., D. 3-yi in.

(d)

Shelf with Design of Fishing Net and Herons in Maki-e. (

Century. 11. 22'- in., L. IVYs in., W. National Museum, Tokyo.

c

.Sfiiali

round fans.

17lh (icntury.

12%

in.

II.

in

10

Naliijier.

Small drum hody with dcsi};n of rice ears.

1

17lli

Among

Pieces.

l)i)(ly

(hi Drimi hody with desifjn of holly and lo/en^es. I.alc 16th Century. 11. liy, in., 1).4'/-! in.

Shelf with Design of Kokei Sansho (three (^hinese sages) in Maki-e.

11.25%

.i

with design of shells. Laic 16lh Century. 11. IIV, in.. 1).4'L. in.

L. 18'V, in.,

W.4''Nin., ll.SViin. Iloinina iMusciiin, Yamafiala.

liodies with Design in Maki-e.

Drum

(a)

3%

in.. 1).

in.

Museum, Tokyo.

ART

Japan, earthenware existed already

in the

archaeological age, and in the

8th and 9th Centuries Japan had glazed pottery (lead glaze) under the influence of the Chinese

T'ang

art.

But

it

was

after the 14th or 15th Century that fine pottery pieces of artistic value

came

to

he produced in Japan. Exhibited are good specimens beginning with the Seto ware.

Ceramic art developed rapidly Japanese character

in

and after the 16th and 17th Centuries, and wares of peculiarly

in glazes of beautiful color

came to be made

in

Kyushu, Kyoto, Kaga and other

ceramic manufacture centers. Famous pieces among these wares are on exhibit, such as Karatsu ware,

Kakiemon ware, Nabeshima ware, and Imari ware

works of such 1.34

artists as

of Kyushu, Kutani ware of Kaga, and

Ninsei and Kenzan of Kyoto.

139 Tea Bowl.

Pot. Century. Old Seto ware. Yellow glazed, with engraved design of peonies. H. 10% in., D. of body: 11 in. National Museum, Tokyo.

17th Century. Black Baku ware. By Donyu. Named: Tamamushi. H. 3V4 in., D. of mouth: .5 in. Mr. Masatoshi Okochi. Tokyo.

14tli

140 Tea Bowl. 1.S5

Pot.

17lli

Century.

Bed Baku ware. By Donyu. Named: Kan Kobai. H. 4Vs in., D. of mouth: 3V-' in.

14th Century. .Selo ware. Brown glazed, with engraved design of tree leaves. H. 1114 in., D. of body: 7Vi in.

Old

Mr. Masatoshi Okochi, Tokyo.

Mr. Yozo Nakajima, Tokyo.

141 Pot with Three Ears.

136 Oblong Bowl. Early 17th Century. .Shino ware. Design of reeds and birds. H.2in., L.8'/..in., W.Q'^in. Mr. Kan-ichiro Morikawa, Aichi.

Cray

17th Century. E-garatsu ware. H. 61/4 in.. D. of mouth: 3-H

in..

D. of base: SVi

in.

Mr. Hirosuke Uchimoto, Fnkuoka.

142 Bowl with Mouth

in

Shape of Flower

Petals.

Century. Kakiemon ware. Design of flowering grasses I81I1

137 Square Bowl. Early 17th Century. Orihe ware. Design of stripes. H. 2% in., L. 9 in.

in.. W. 51 'j Daihiko Institute of Textile Art Research. Tokyo.

in.

.

164 Noh Robe of Nui-haku Type.

160 Katabira. 19tli

Onliiry.

18th Century. Silk covered with gold leaf, with design of autumn grasses in embroidery.

White hemp, willi design of streams and mandarin oranges. H. 68 in., W. 51 in. Dailiiko Institute of Textile Art Research, Tokyo.

161 Koshimaki (ladyV summer dress).

H. 63 in., W. .52^! in. National Museum, Tokyo.

165 Noh Robe of Nui-haku Type.

19th Century. Black silk, with design of symbols of riches.

18th Century. silk, with design of autumn gra>ses gold-leaf imprint and embroidery. H. 611/j in., W. 51 in.

While

H. 69% in., W. 49% in. National Museum, Tokyo.

in

National Museum, Tokyo.

162 IVoh Robe of Kara-ori Type. 17th Century.

166 Obi (sash).

Ked

silk twill, with design of diagonal s(|uares. H. 661/2 in., W. 59M! in. National Museum, Tokyo.

18th Century. Scarlet velvet, with design of flowering grasses and puppies. L. 153 in., W. 10V-> in.

National

Museum, Tokyo.

163 Noh Robe of Kara-ori Type. 18th Century. Silk twill in stripes of scarlet, light blue and black, with design of flowers and conventionalized waves pattern. H. 67^! in., W. 56 in.

National

Museum, Tokyo.

167 Obi. 19th Century. silk, with design of diagonal squares and in embroidery. L. 173 in., W. ll'Yt

Purple

chrysanthemums National

in.

Museum, Tokyo.

DOLLS There are many kinds of Japanese dolls: Gosho Ningyo, figures of lovely children; Saga Ningyo,

wooden

dolls carved

and colored; Nara Ningyo, wooden dolls made

special beauty of carving; Isho Ningyo, dolls to be dressed;

in

Nara, distinguished by their

Kimekomi Ningyo, wooden

clothing attached; and Mitsuori Ningyo, dolls with movable limbs.

dolls with

The exhibition contains

fine ex-

amples of these types. 174 Kimekomi Ningyo (wooden doll

168 Draping Doll (Woman).

with attached clothing).

Late 17th Century. H. 12in. National Museum, Tokyo.

169 Cosho Ningyo

19th Century. of the Temmei era." H. Ascribed to Daihachiro.

"Dandy

Middle of 19th Century. "Ushiwaka and Kumasaka." H.: Ushiwaka, 30 in.; Kumasaka, 31 National

2%

in.

Mr. Shinzo Noguchi, Tokyo.

(royal-gift doll).

in.

Museum, Tokyo.

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

170 Gosho Ningyo. Middle of 19th Century. "Spirits of crane and tortoise" (symbols of longevity) H. 2414 in. National Museum, Tokyo.

II. 3V-;

176 Kimekomi Ningyo. Late 18th Century. "Bird catcher." H. 6V» in. Mr. Shinzo Noguchi, Tokyo.

171 Gosho Ningyo. Middle of 19th Century.

"Young National

piper." H. 9

in.

177 Nara Ningyo (wooden

Museum, Tokyo.

dolls

made

in

Nara City).

Late 19th Century.

172 Mitsuori Ningyo

(dolls with

movable limbs).

Middle of 19th Century. H.: man, M'/o in.; woman, 12% Dolls and Toys Society, Tokyo.

173 Saga Doll. Late 17th Century. "Beauty." H. 9 7/16 in. National Museum, Tokyo.

in.

"Ushiwaka and Kumasaka." By Morikawa Toen. H.: Ushiwaka, 6V-2 in.; Kumasaka, 11 in. National Museum, Tokyo.

178 Dolls for the

Girls' Festival in

Middle of 19th Century. H.: man, 14% in.; woman, 12 in. Dolls and Toys Society, Tokyo.

March.

?1 #.

'V ;i. gp H- iS -(^

#

ffc

jei -^r

-^

+

4^

iW

ft i*

PI

>'^

4i

i Jt #a

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-^

«L

i*

:f

11

e.

^

^

"^

§

FRAGMENT OF THE ILLUSTRATED INGAKYO SUTRA

^ ^ 8th Century

PAINTING

2

EMMA-TEN

(YamaJ

12th Century

3

Fl

GEN BOSATSU

(Samanlabhadra)

12th Century

6

ICHIJI

KONRIN

(Vairocana)

12th Century

4

ARUATS

12tli

Century

10

JIZO

BOSATSU

(Ksitigarbha)

\M\ Cenlury

^ i!^'

^/T. 8

^ ^ li^.

BISHAMONTEN

CFfliVato/iaj

13th Century

7

MANJUSRI CROSSING OVER THE OCEAN

13th Century

9

EIGHT ASPECTS OF BUDDHA'S LIFE

13th Century

i! 1

i .^

J^^-'^ 1

12

COURT GUARDS

IN

EQUESTRIAN TRAINING

I 13th Ceniury

14

SCROLL OF

L()\(-\()>K1)

plm f

(.()]!l.l\

l.llli

CcnliiiN

."^

f

^/

.:

"*

,.

15

/

%

SCROLL OF THE LIFE OF AN ARTLST

13th Century

16

SCROLL OF THE STORY OF HASEO

17

SCROLL OF THE HORSE RACE

IN

14th Century

THE ROYAL PALACE

14th Century

"h /^

-i

V'

^- ^r ^^

t 71

;*

^

i

IM»^ 18

M

PRIEST KENSU By Kao Ryozen

..

14th Century

20

LANDSCAPE Altrilnilfd to Sliiihim

lolli

OiUiirv

4>

^

/X.^^V'v.

24

LAND.SCAPK VVnil H.OVVEHS AMU BIRDS Atlriliuted to

2S

SUMMER LAN BySesshu

1

1-1

W\.

15th Century

Kano Motonobu

16th Century

22

k\\ \\,\()\

By No-Ami

I!()>\T>1

iAvuloLitv.suint)

15th Century

21

25

REISHO-JO OF THE T'ANG DYNASTY By Kei

Sliilsusai

16tli (ientiiry

KANZAN AND JITTOKL

loth

Ontury

>

^ 26

llAWkS

28

EAGLES AND PINES

B) Se>M,n

16th Century

Attributed to

Kano Eitoku

17th Century

26

HAWKS

28

EAGLKS AND PINES

BySesson

16th(.,niiir>

Atirihut.a

to

kaim

i;ii,,ku

ITih

Ccutun

30

WESTERNERS PLAYING THEIR MUSIC

35

I8th Cciiuii>

AUTUMN GRASS AND QUAIL

By Sakai Hoitsu

19ih Century

29

32

WESTERNERS

IN

AUTUMN CRASS

JAPAN

17th Century

By Ogata Korin

17th Century

3;^

I

\M)--(

\l'i;

B> Ike Taiga

\T l,\Ki:

IISI

and overlooking tides of CH'IEN-TANG rivek

18th Century

W.--^ 31

SCENES ON AND B A (K

ol-

I'HE

STAGE

ViimImh,-,!

m

lli^lnk.iua

^^' M.u

.1mi

I7i1i (..ni

-!4^U^'''

34

SNOWY LANDSCAPE

.31

SCENES ON AND BACK OF THE STAGE

By Matsumura Goshun

18th Century

Aiirihiiua

i..

lli-lnkaua M.unnoLu

i:il,

<

.miui)

41

WAVES

By Maniyama Okyo

18th

Centun

41

WAVES

By Mariiyama Okyo

18th Century

65

POEM WRITTEN UPON DECORATED PAPER Painting by Sotatsii

38

YVIMA

Calligraph by Koetsii

17th Century

(Vimalakirti)

By Ogata Korin

18tli Ceiitur\

'

"^

Rk

iii wmfc^*< ^\^^

'^>

ij-.

T'

't'-'

1^ 37

WISTAKIA

IN

BLOOM

By Honnami Koho

.•i6

l'Ul'l'IK.>

By Kitagawa Sosetsu

17th Century

17th Century

47

GRAPES By Tachihara Kyosho

44

LOTUS FLOWERS By Sakai Hyakusen

49 18th Century

19th Century

ALBUM OF INSECTS AND FISHES By Watanabe Kazan

19th Century

MORNING

U>

Sl'NNY

45

LANDSCAPE

IN

IN UJI

SNOW

By

A-.ki M..lsMl)ci

By Yosa-no Buson

lyih Cfiiiiiry

I81I1 C.-ntiiry

40

GROUP OF COCKS

By

Ito

Jakuchu

18th Century

43

PEACOCK By Yamaguchi Soken

18th Century

-t

t

i^ ff

-f

^

i^

it ^.

48

t

^

+

>^.

t

j-1

LANDSCAPE By Nagasawa

IN

MOONLICHT

Rost-Isu

I81I1

Ccniiiry

#A ^ .-*>

t

A.

i

i^ j^

«

-^"

J^ ;i

^

-^

^

+«

PORTRAIT OF ICHIKAWA BEIAN By Watanabe Kazan

42

±

^ ^^

19th Century

^^

^

^ i !l

^

39

IN

AND AROUND KYOTO

52

By

Siiniiyo>lii dikt-i

17th Century

VILLA AT THE FOOT OF OGLRAYAALV HILL By Okumura Masanobu

18th Century

54

WOMAN CHANCING HER By Kitagawa Utamaro

DRESS

18th Century

55-1

SCENE OE YOSHIWARA By Hishikawa Moronobii

18th Century

55-2

YOUNG WOMAN HOLDING A POEM CARD By

Kaigetsiido Dolian

18th Century

53-11

COUPLE TALKING AT THE VERANDAH By Suzuki Harunobu

18th Century

55-16

A COQUETTISH TYPE By Kitagawa Utamaro

55-21

ACTOR AKASUl RYUZO AS A MONEY-LENDER By

Toshii.sai

Sharaku

19th Century

19lli

Century

35-35

ONO WATERFALL By Katsushika Hokusai

19th Century

55-51

SlIOWKK AT OMASIll Ando Hiroshige

19tli

BKII)(;K

Century

1

t^

-Vk

v1^ ^ r

^

1

-^)k.

-^

m- y^^ *

\

,5.

rt

6'']

if

i.

1'-

t^f/

•}"'

J-*

1

^ J

&1fc

-^

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