A History of Japanese Art

by Noritake Tsuda

  Fig. 203. Daibutsu (N.T.)

  Kamakura

  Fig. 204. Gusho-jin (N.T.)

  Kokukō-kwan Museum, Kamakura

  3. THE KOKUHŌ-KWAN MUSEUM, KAMAKURA

  The museum is situated in the compound of the Tsurugaoka Hachiman Shrine. The first aim of the museum is to preserve and exhibit different kinds of objects owned by Shinto and Buddhist temples and private collectors in Kanagawa prefecture to show the culture, arts, and civilization of the Kamakura Period. But owing to the difficulty of borrowing enough exhibits to illustrate the art of the Kamakura Period, objects of other periods also are placed on view. There are about thirty good examples of sculpture of different ages including about twenty national treasures; about fifty exhibits of painting, including twenty national treasures, mostly produced in the Kamakura and Muromachi periods; and of minor arts there are about ten national treasures. They are mostly related to Buddhist art.

  Gushō-jin. (Fig. 204) A national treasure, Ennō-ji temple. Gushō-jin is one of the attendants to the King of Hell. The figure is very realistic in form and expression and is a representative masterpiece of the Kamakura sculpture in wood.

  Figure of Uesugi Shigefusa. (Fig. 205) Meigetsu-in temple. The figure measures 68 centimeters in height, and is one of the best examples of portrait sculpture produced in the late thirteenth century. The costume he wears is called kari-ginu, the ceremonial dress of military nobles in the Kamakura Period.

  Fig. 205. Figure of Uesugi Shigefusa (N.T.)

  Kokuhō-kwan Museum, Kamakura

  Fig. 206. Hōyaki Amida Engi (N.T.)

  Kokuhō-kwan Museum, Kamakura

  Illustrated History of the Figure of Hōyaki Amida, or Hōyaki Amida Engi. (Fig. 206) Kōsoku-ji temple. Mounted as two kakemono. Colored on paper. The Kamakura Period. The picture illustrates the miraculous attributes of the figure of Amida enshrined in the Kosoku-ji temple, and it is one of the best representative picture scrolls produced in the Kamakura Period. Its style of painting belongs to the Tosa School.

  CHAPTER 3

  Nikko, Sendai, And Hiraizumi

  1. THE TŌSHŌ-GŪ SHRINE, NIKKO

  The Tōshō-gū at Nikko is the mausoleum built for Ieyasu, the founder of the Tokugawa Shognate. The first mausoleum was erected by the Second Shogun Hidetada in 1617. But the present one was rebuilt by the Third Shogun Iemitsu. He began rebuilding it in November of the eleventh year of Kwan-ei (1624) and completed it in April of the thirteenth year of the same era. It took only one year and a half; but for lavish decoration and dazzling ornamentation it is universally admitted to be the foremost edifice in Japan. In the plans and the architecture of the shrine three important facts will be noticed. In the first place, it is laid out most cleverly on a narrow hillside, the buildings being arranged very irregularly but harmoniously in relation to one another and to their environment. Second, the vast and evergreen trees, much older than the buildings, are preserved in their original places, to make them a harmonious background for the elaborate ornamentation of the buildings. Third, every effort is made to have the most elaborate and gorgeous ornamentation for all the buildings.

  Five-storied stupa, a national treasure, stands on the left as one enters the main entrance. It was re-erected in the year 1817, and measures 32 meters in height. The exterior is red but the doors are lacquered black and all the brackets and carvings between them are lavished with different colors.

  Three storehouses, national treasures, stand on the right as one enters the Niō-mon gate. They are built in composite form, a harmonious combination of the storehouse style (azekura) and the ordinary palace style. The exterior is lacquered red except for doors which are black lacquered, and the bracket systems, the carvings of frog-leg supporters, and gable ends are decorated with various bright colors. On the left is the sacred stable. This is the only building constructed of plain wood. At the end of the pavement that passes between the stores and the stable is the Fountain Pavilion, which is decorated with elaborately colored carvings and gilded metal fittings. Although very small in scale, its roof is supported by twelve monolithic columns. Turning to the right at this point and passing through the bronze Torii, we come to the Rinzō (revolving library) which faces one of the storehouses. The interior of the library is furnished with revolving bookcases which contain the tripitaka or all the collections of Buddhist scriptures.

  Fig. 207. Yōmei-mon (N.T.)

  Toshō-gu Shrine, Nikko

  Coming up a flight of stone steps, we see the Bell Tower and the Drum Tower. Behind the latter stands a magnificent temple called Honji-dō dedicated to Yakushi Buddha whom Ieyasu worshipped in his life time as his tutelary Buddha.

  The Yōmei-mon gate (Fig. 207), a national treasure, approached by passing upward between the two towers of the bell and the drum. This is the most elaborate and the most famous architecture of all the buildings of the shrine. It is a two-storied gateway with three column intervals, the roofs of the upper story having curved gables (Kara-hafu) on four sides. Everywhere the technical details are most elaborate, and there is prodigal use of polychromatic decoration. The whole surface of this small structure is covered with intricate carving and resplendent with colors; every inch presents what we call the Rococo style of Japanese architecture. The cornice is most complicated. All the brackets are lacquered black but the chambered parts are gold lacquered. Between the groups of brackets are inserted statuettes of Chinese sages and wisemen. The ornamentation of this architecture is, however, so skilfully harmonized with the surrounding landscape that there is no vulgarity of over-elaboration. The galleries extending from the gate are filled with wonderful polychromatic carvings of phoenixes, peacocks, and other birds of gorgeous plumage. (Fig. 208)

  Fig. 208. Carving of Gallery (N.T.)

  Tōshō-gu Shrine, Nikko

  As we pass through the Yōmei-mon gate, there is a storehouse for the sacred portable shrines on the left; and on the right is the stage for sacred dance (Kagura-den). Next, we come to the innermost gate, called Kara-mon, which is also elaborately overlaid with many colored carvings.

  The main shrine (Honden), the stone-floored chamber (Ishi-no-ma), and the hall for worship (Haiden) are inside the Karamon gate. The hall for worship measures nine spans by four and is surrounded by a gallery. Inside is one spacious room flanked by two chambers, the right to be used by the Shogun (Fig. 209) and the left by the Lord Abbot of the shrine. Both of these chambers are decorated with elaborate carving on the panels, friezes, and ceiling. Back of the hall is the stone-floored chamber which leads to the main shrine. The interior of the main shrine is divided into three apartments, outer, inner, and innermost sanctuary where is the sacred shrine most sumptuously ornamented, in which Ieyasu is enshrined.

  Fig. 209. Shogun's Chamber (N.T.)

  Tōshō-gu Shrine, Nikko

  This style of construction in which the main shrine is connected with the hall for worship by the middle hall, is called gongen-zukuri in the history of Shinto architecture; and this shrine is a good specimen. There are about 220 Tōshō-gū shrines distributed among all the districts of Japan. Ieyasu is enshrined in all of them and their architectural style is always the same as that of this shrine.

  2. THE ZUIGAN-JI, MATSUSHIMA

  The Zuigan-ji, a Zen monastery, was re-erected by the order of Date Masamune, Lord of Sendai, in 1609 at Matsushima, one of the "Three Scenic Beauties of Japan." The temple has the middle gate (Chū-mon), the Onari-mon gate, the main hall (Hon-dō),the residential building (Kuri), and the galleries (Kwairō). They are all national treasures. Among all of them the main hall is the greatest piece of architecture in the shoin-zukuri style. It is a single-story construction with an irimoya roof which is covered with tiles. The interior is divided into different rooms; but the central room, called the Peacock Room, is the finest. The sculpture on the door-panels and friezes is vigorous and decorated in rich colors; and all the sliding screens (fusuma) are painted with gorgeous pictures. As a whole, one finds here some good examples of
architectural sculpture and painting of the Momoyama Period.

  3. KWANRAN-TEI, MATSUSHIMA

  The Kwanran-tei was a villa of the Lord of Sendai, situated at the beach of Matsushima Bay overlooking a beautiful view of the sea. It is said that the villa was originally one of the buildings in the castle of Fushimi, near Kyoto, which had been given to Date Masamune by Toyotomi Hideyoshi and later transferred here. Anyhow, it is a good example of residential architecture of the shoin-zukuri. The walls and sliding screens are all covered with gorgeous paintings in the Momoyama style, which are attributed to Sanraku.

  4. CHŪSON-JI MONASTERY, HIRAIZUMI

  The Chūson-ji monastery is situated on a hill of Hiraizumi, overlook-ing a vast landscape field through which the Kitakami-gawa river flows quietly. The temple may be reached by train in twelve hours from Tokyo.

  It was founded by Fujiwara Kiyohira in the early twelfth century and was enlarged by his successors, Motohira and Hidehira. In the time of its prosperity there were about forty temples and a hundred residential buildings for priests. However, at present only two buildings, the Konjiki-dō and the Kyō-zō remain to tell of its past glory.

  Kiyohira and his two generations reigned with supreme power over eastern Japan. Their headquarters was Hiraizumi. To it, they were eager to transplant the aristocratic life of the court nobles in Kyoto. Archaeologists may trace its grandeur in the various sites of the temples and residential buildings erected by them, as well as in the two extant examples, the Konjiki-do and Kyō-zō.The Konjiki-dō was constructed in 1124 by order of Fujiwara Kiyohira who wished it to be his own mortuary. His remains are actually buried under the dais of the hall. It is a small one-storied edifice 18 ft. square, but the whole building stands as a sample of gorgeous extravagance achieved by all the technical skill and artistic imagination that were available at the time. The architecture was too fine and delicate to be exposed directly to the vicissitudes of weather for many years. Therefore it is protected under an outer building built in the Kamakura Period (Fig. 210) and from that time it has not been possible to see the exterior appearance properly.

  Fig. 210. Outer Building of Konjiki-dō (N.T.)

  Chūson-ji, Hiraizumi

  However, the interior decoration is marvellously well preserved. (Fig. 211) The dais, on which is enthroned the image of Amida with his attendant figures, is extremely beautiful and the most important example of its kind in which the best of the Fujiwara decorative art can be seen today. The ceiling above the dais, specially constructed and coffered to dignify the place, is supported by four columns. On each column are represented twelve Buddhist figures, called Jūnikō-butsu, in gold lacquer. These twelve Buddhas symbolize twelve manifestations of the attributes of Amidas boundless Light of Mercy. The interstices of the Buddhist figures are filled with a diaper design called shippō which was one of the characteristic designs of the Fujiwara Period. The upper and lower parts of the figures are encircled with ornamental bands inlaid with the hōsōge design in mother-of-pearl. The hōsōge design is composed of floral arabesque, the most popular design in the Fujiwara Period. The columns, brackets, tie-beams, and other horizontal members are decorated profusely with this design made of mother-of-pearl on lacquered ground and have beautiful color harmony. The panels at each side of the dais are decorated with peacocks in gilt repoussé, in the tails of which are inserted colorful gems. The railings are veneered with some foreign wood on which are inlaid decorative flowers in mother-of-pearl. From the beams which connect the four columns, are suspended ornamental hangings made of gilt-bronze. There are Two Buddhist sacred birds, called Karyōbinga, in the hōsōge design in open work. This is also representative metal work of the Fujiwara Period. The whole interior decoration of this chapel represents most colorfully the best of the later Fujiwara decorative art, raised from the terrestial art of the age to religious sacredness.

  Fig. 211. Interior of Konjiki-do (N.T.)

  Chūson-ji, Hiraizumi

  The Kyō-zō. This is the sacred library erected by the order of Kiyohira in 1108. It was originally a two-storied building, but it lost its upper story by fire in 1339. Along the walls are wooden shelves on which are arranged two hundred and sixty black lacquered sutra-cases. These cases contain two kinds of Buddhist sutras; one copied with gold and silver pigment and another with only gold pigment, altogether numbering 620 scrolls. The pictures inside the covers of these sutras are also painted with gold and silver pigment. They are all excellent examples bequeathed by the late Fujiwara Period. In the middle of the room there is an octagonal dais (shumi-dan) which is decorated with mother-of-pearl inlay and gilded metal fittings. On the dais is enthroned Monju Bosatsu or Manjusri. In front of the dais are several pieces of lacquered furniture which are of the same age and value as the building itself.

  Benzaiten-dō temple. In this temple are placed on view ten pictures of "Saishō-wō-kyō-jikkai-hōtō-mandara." In the middle of each picture is the shape of a stupa, which is formed by an arrangement of all the ideographs of the Saishō-wō-kyō sutra. And around the stupa are colored pictures illustrating the meaning of the sutra. The pictures are rare examples of the late Fujiwara Period.

  The Sacred Treasury (Hōmotsu-kwan) stands near the Kon-jiki-dō. The treasury contains a number of fine examples of art objects produced in the late Fujiwara Period. The following are a few of the important ones:

  Ichiji Kinrin. Wood. This is the colored wooden image of Ichiji Kinrin in a sitting posture. (Fig. 212) The figure of Ichiji Kinrin is one of the manifestations of Dainichi Buddha or the Great Illuminator. It was worshipped for protection against calamities and evil spirits or for getting childen, in the Fujiwara Period. The figure typifies the ideal form of elegance as conceived by late Fujiwara Period, even attempting to appeal to our sense of reality; but it lacks spiritual vigor. In technique it is curious, for though the manner is quite that of sculpture in the round, the back is flat against the halo and the body is only about three quarters of the natural thickness. In this figure, we see crystal eyes for the first time.

  The figure of Dainichi-nyorai. A national treasure. Wood. The statue is sitting cross-legged, measuring about 76 centimeters in height. This is an excellent example of the sculpture produced in the late Fujiwara Period.

  Tengai or canopy. A national treasure. Wood. This was originally suspended over the main Buddhist figure of the Konjiki-dō. It has a design of lotus flower in the middle and hōsōge arabesque around the lotus in delicate relief and open work. This was also produced in the late Fujiwara Period.

  Fig. 212. Ichiji Kinrin (N.T.)

  Chūson-ji, Hiraizumi

  Gilt-bronze banner. A national treasure. This is an excellent example of metal work of the late Fujiwara Period. It represents Buddhist sacred birds and hōsōge arabesque in delicate open work.

  CHAPTER 4

  Nagoya Castle

  In the eleventh year of Keichō (1606) Ieyasu, the first Shogun of the Tokugawa family, made his son Yoshinao the Lord of Owari, and built for him a forceful and magnificent castle, which we are about to describe. Since the erection of the castle, the city of Nagoya has developed remarkably and is at present the third largest city in Japan.

  Fig. 213. Nagoya Castle (N.T.)

  Gov. Rys. Photo.

  The castle (Fig. 213) was completed in 1610, its erection being shared, by the Shogun's command, among twenty-two great daimyos. It is noted for its five-storied donjon, built under the direct supervision of the great warrior, Katō Kiyomasa, who was also known as an eminent castle architect. The height of the donjon is about 144 feet above the ground level and is one of the foremost old castles in Japan. The structure is said to be one of the finest examples of castle architecture Japan has ever produced.

  Fig. 214. Sliding Screens (N.T.)

  Nagoya Castle, Nagoya

  The castle was the residence of the Lord of Owari for about two centuries and a half from its erection till the Meiji restoration in 1867. The original residential buildings of the lord, whi
ch were also erected in the early seventeenth century with the donjon, still remain in the inner enclosure. There are several large buildings connected by galleries, the rooms of which are gorgeously decorated with splendid pictures on the walls and sliding screens used as the partitions of rooms. The style of pictures belongs to the Kanō School of the late Momoyama Period. They are really unique examples of the gorgeous residences of powerful daimyos in the early Yedo Period; and are worthy of careful study. Among them, the most noteworthy rooms are the Genkan, Omote-shoin, and Taimen-jo.

  The Genkan consists of two rooms which are also called "Tiger-rooms." The wall of the toko-no-ma, or alcove, and all the faces of the sliding screens are painted with about ninety tigers roaming about in bamboo groves and flowers, in rich colors on a ground of gold leaf. The powerful appearance of the tiger was a popular subject selected for interior decoration in the Momoyama and early Yedo periods; and it was appropriate in the entrance rooms of such an imposing mansion as this.

  The Omote-shoin. This building is connected with the Genkan by a gallery and divided into four rooms: the elevated room, first, second, and third rooms. On the wall of the alcove of the elevated room is painted a large pine tree, together with a plum tree, in rich colors on gold leaf. But the finest and the most representative picture is that painted on the sliding screens of the first room of this building. A large cherry tree in full bloom is painted at the bank of a stream which runs between rocks where plants and flowers blossom in profusion. The picture remains in good condition. (Fig. 214)