A History of Japanese Art
Page 30
Fig. 241. Tōgu-dō Hall (N.T.)
Jishō-ji, Kyoto
The architecture of the Silver Pavilion is a mixture of Buddhist and residential styles as in the Golden Pavilion. But the residential style of the first floor of the Silver Pavilion belongs to the shoin-zukuri style while that of the Golden Pavilion belongs to the shinden-zukuri style. This is the great difference between these two important architectural examples of the Muromachi Period.
The Tōgu-dō Hall (Fig. 241) standing near the pond in the northeastern side of the garden is an even better example of the shoin-zukuri architecture than the Silver Pavilion. The plan of the hall is rectangular, and the roof in irimoya style is covered with shingles. The pillars are square and very simple. The brackets are also of the simplest kind, called funa-hijiki. All the sides are surrounded with verandahs. The exterior is most simple in appearance and construction. The interior is divided into four rooms by sliding screens painted with landscape pictures in black and white. The Butsu-ma, or Buddha's room, is the largest, having eight mats. In the apse of this room are enshrined a statue of Kwannon and a figure of the Shogun Yoshimasa; the entrance is flung out by two panelled doors. The tearoom at the rear right hand side is called Dōjin-sai and is famous as the oldest tearoom in the history of tea-ceremony. It is a tiny room of four and a half mats, designed to accommodate four or five people. It has a square sunken fire box in the center, and is furnished with an alcove and ornamental shelf in rustic and simple style. After retiring from the Shogunate, the Shogun Yoshimasa spent his days in this hall in appreciating rare art objects imported from China, in having incense parties, flower parties, poem parties, and tea-ceremonial parties with a few selected friends.
Fig. 242. Garden of Silver Pavilion
Jishō-ji, Kyoto
It would be difficult to appreciate the greatness of the simplicity and rusticity expressed in such tiny and delicate architecture. But they should be appreciated in association with the studied beauty of the landscape gardening in which the building is set.
The garden is laid out in beautiful surroundings. (Fig. 242) A large pond called Kinkyō-chi or Brocade Mirror Pond is at the western skirt of a hill called Tsukimachi-yama, or Waiting for-the-moon Hill. Stone bridges span the pond here and there and various kinds of evergreen trees and rocks of different shapes are skilfully set in to form a beautiful landscape garden. In the northwestern part of the garden is a terrace of white sand wrought into "Silver Sand Foreshore" (Ginsha-nada), and a gigantic flat-topped conical heap of sand, named Kogetsu-dai, or the Mound that Looks towards the Moon. This is a unique feature of this garden.
The most noticeable characteristic of the garden is the well studied construction to make it fully appreciated from every angle. There is a complete and picturesque view from the Silver Pavilion as well as from the Tōgu-dō Hall. When walking in the garden one may have a beautiful attractive scene from any position. More than this, it is carefully contrived to have a particular attraction at every hour in the day and night. Special stress seems to have been put on the moon-light view. The moon floating on the still water of the pond and its reflected light on the white sand make one imagine a quiet moon-light scene at the shore. In the morning the reflection of the sunshine over the white sand through the verdure of evergreen trees on the surrounding mountain gives the fresh glory of morning.
Such was part of the luxury the Shogun Yoshimasa enjoyed after his resignation from the Shogunate.
9. THE SHUGAKU-IN IMPERIAL VILLA, KYOTO
The Shugaku-in Imperial Villa is situated at the western foot of Mt. Hi-ei in a northern suburb of Kyoto. The villa was constructed by the Shogun Ietsuna for the ex-Emperor Gomizuno-o in the middle of the seventeenth century. In the early nineteenth century it underwent considerable repair according to the wishes of the ex-Emperor Kōkaku.
It consists of three gardens, somewhat detached from one another, the uppermost (Kami-no-chaya), the middle (Naka-no-chaya), and the lowest (Shimo-no-chaya); and each garden contains several buildings which occupy special places chosen to harmonize with the beauties of nature.
The lower garden is the smallest of the three, and includes two buildings, one called Zōroku-an, and the other Jugetsu-kwan. The Zōroku-an is a small tea-ceremony house which was rebuilt in the seventh year of Bunsei (1824). The Jugetsu-kwan is a larger house, built at the same time and also used for the tea ceremony. Its interior is decorated with such pictures as "Three Laughers at the Tiger Valley," painted by Ganku in black and white on the sliding screens; and cranes, rocks, and orchids painted by Hara Zaichū on the doors of cupboards.
The middle garden is separated from the lower garden on the south. It contains a dwelling house called Rakushi-ken (House of Bliss) which was built at the time when the garden was originally laid out in the middle of the seventeenth century. The name Rakushi-ken was taken from a phrase in the Book of Odes, one of the Chinese classics. The interior is divided into a number of rooms of different sizes which were once decorated in colors now quite faded.
Fig. 243. Upper Garden (I)
Shugaku-in Imperial Villa, Kyoto
The uppermost garden is situated at the west slope of Mt. Hi-ei. This is the largest and finest of the three, covering an area of about 50 acres. (Fig. 243) The majority of the ground is occupied by an extensive pond, called Yokū-ryū-chi, or "Pool where Dragons Bathe." On the top of a hill at the eastern bank stands a pavilion called Rin-un-tei, or "House near the Clouds," which was built in 1824. This is the highest point in the grounds which overlooks the still water of the pond. It also commands an extensive view of the city and the mountains, near and distant, on the northwest. (Fig. 244) The garden will be enjoyed most in autumn when leaves take on different shades of colors; and next, in spring, when the trees and lawn of the garden assume new, fresh garments.
10. DAITOKU-JI, THE GREAT MONASTERY OF THE RINZAI SECT, KYOTO
The Daitoku-ji is the head monastery of the Rinzai sect. It was founded in 1319, and Daitō Kokushi, a noted Zen priest, was the first abbot. The monastery became prosperous and occupied the first rank of the five great monasteries of the Zen sect (Gosan) during the Muromachi Period. Although the temple buildings were several times reduced to ashes by fire, each time they were rebuilt, and some of present ones were re-erected during the Bummei Era (1469-1486) when Ikkyū was the abbot of this temple, and the rest in the Yedo Period. It is a complete specimen of a Zen monastery. The main buildings, the Imperial Messenger Gate, the Main Gate, the Main Buddhist Hall, the Preaching Hall, and the residential quarters of monks, which make up the body of the temple, are erected in this order on the axial line which runs through the middle part of the monastery precincts from south to north. The Hōjō is annexed to the Kuri on the east.
The Chokushi-mon, or Imperial Messenger Gate, a national treasure, is the first gate at the inner enclosure, and it is closed on ordinary days. The gate was originally built as the South Gate of the Imperial Palace in the 18th year of Tenshō (1590) and it was given to the temple in 1640. Between the lintel and cornice of this gate are fine carvings of pine, bamboo, plum, and peony. The free and powerful touch of chisels, as shown in them, is characteristic of the Momoyama sculpture.
Fig. 244. Upper Garden (II)
Shugaku-in Imperial Villa, Kyoto
The Sam-mon, or the Main Gate, a national treasure, is an impressive gate, standing next to the Chokushi-mon, and was erected in 1589 by Sen-no-Rikyū, a noted master of tea-ceremony This is a two-storied gate of five spans, having three doorways. Each side is provided with a staircase leading to the upper floor. In the upper story are enshrined the Shaka triad, accompanied by the sixteen Arhats, or Rakan. There is a dragon among clouds, painted on the ceiling by Hasegawa Tōhaku, 1539-1610, a painter of the Unkoku School.
The Main Buddhist Hall, or Butsuden, a national treasure, stands next to the Sam-mon and was rebuilt in the fifth year of Kwambun (1665). The exterior and the interior are of plain wood; but the pillars at the back of the dais are deco
rated with a polychromatic design on their upper parts; and the floor is tiled. On the ceiling are painted some angels among the clouds.
The Preaching Hall or Hattō, a national treasure, stands next to the Butsuden. It was re-erected in 1636 by Inaba Masanari, the Lord of Odawara. The building is double-roofed and has a façade of seven spans, with a side of six spans. The form is regular and the details display the typical features of the kara-yō style of Zen Buddhist architecture. The outside and inside are all of plain wood and no color design is applied. On the ceiling is painted a large dragon in circular form by Kanō Tannyu, the master painter of the Kanō School.
Fig. 245. Garden of Hōjō
Daiioku-ji, Kyoto
The Hōjō, a national treasure, stands in the residential quarter of the monks, and was built in 1636. It is the residential type of building developed in the Momoyama Period. The sliding screens at the partitions of the rooms are painted with landscapes of four seasons by Kanō Tannyu. The picture is black and white on paper; its simplicity and space composition harmonize perfectly with the architecture. These rooms open to the garden (Fig. 245) which is said to have been laid out by Kobori Enshu, the famous master of tea-ceremony. It is a flat garden, composed largely of clean sand, and so designed as to take in a fine view of ML Higashi-yama, the eastern boundary of Kyoto.
The Kara-mon gate, a national treasure, is erected at the south wall of the garden of Hōjō, and is said to have formerly belonged to the Juraku-dai mansion built by Hideyoshi. The gate, the finest architecture in the Daitoku-ji monastery, is supported by six columns, and has a charming roof. The ornaments consist of bold polychromatic, carving and elaborate metal fittings. All of them fully demonstrate the gorgeous art of the: Momoyama Period. Among them the most gorgeous is the round carving of peacocks in pine trees, which is fitted on the lintel.
Fig. 246. Portrait of Daitō Kokushi (N.T.)
Daitoku-ji, Kyoto
The following important works of art are national treasures owned by the monastery:
Portrait of Daitō Kokushi. (Fig. 246) Mounted as kakemono. Colored on silk. Late Kamakura Period. The priest Daitō Kokushi, 1292-1337, was the first abbot of the Daitoku-ji monastery, and was venerated by the Emperor Godaigo, who wrote with his own hand the eulogy which appears at the top of the painting. In the technical execution there is no trace of the Sung style of China, for the lines are slender and unaccentuated, and there is no gradation of color on the flesh and drapery. Its general style is of the Yamato-e School. The name of the artist is not known, but the portrait was undoubtedly drawn from life. This is a representative example of the portrait of a high priest whose individual personality was highly regarded and such art was very much esteemed by the leading class of people.
Portrait of Emperor Godaigo. Mounted as kakemono. Colored on silk The Emperor is attended by Marikōji Nobufusa, and the picture seems to have been drawn from life.
Ten Kings of Hell. Mounted as kakemono in ten pieces. Colored on silk. The pictures are rich in colors and are fine example of the kings of hell, painted in the South Sung Dynasty.
Yōryū Kwannon. (Fig. 247) Mounted as kakemono. Colored on silk. Early Ming Dynasty. This type of Kwannon was much welcomed in Zen monasteries of South China, and was also imported to Japan. This one seems to have been brought from China.
Fig. 247. Yōryū Kwannon (N.T.)
Daitoku-ji, Kyoto
11. SHINJU-AN CHAPEL, KYOTO
The Shinju-an Chapel is in the precincts of the Daitoku-ji monastery, where stand two historical buildings, Hōjō and Tsusen-in.
Hōjō, a national treasure, was originally built as a dwelling house for the priest Ikkyū in 1490. However, the present edifice was rebuilt in 1638 by Gotō Masukatsu, and its architectural style represents the residential building of the early Yedo Period. The garden is also historic, and is a fine example of tea-gardens, and both are excellent models of rustic simplicity and refinement. The sliding screens which divide the rooms are all painted in black and white by Jasoku, who was a pupil of the priest Ikkyū. In the landscape paintings, on twenty-nine large paper panels of these screens, is expressed his understanding of Zen Buddhism. The composition and the chiaroscuro of black ink happily harmonize with the simplicity of the garden attached to these rooms.
Fig. 248. Garden of Tsūsen-in
Shiuju-an, Kyoto
Tsūsen-in, a national treasure, was erected also in 1638, and is a good example of residential buildings of rustic style in the early Yedo Period. The landscapes painted in black and white on the sliding screens of the first room are attributed to Sō-ami.The tearoom and the garden (Fig. 248) attached to this building are also famous.
The following paintings owned by the chapel are important works of art:
Shaka-muni Fasting. Attributed to Jasoku. A national treasure. Mounted as kakemono. Slightly colored on paper. Muromachi Period.
Kwannon in a White Robe. A national treasure. Mounted as kakemono. Ink painting on paper. Muromachi Period. Kwannon of this style was popular with Zen Buddhists of the Muromachi Period.
Nocturnal march of Hundred Demons or Hyakki Yakō. A national treasure. Attributed to Tosa Mitsunobu. Mounted as makimono. Colored on paper. Muromachi Period.
12. KOHŌ-AN CHAPEL, ITS GARDEN AND TEAROOM
The Kohō-an chapel is in the precinct of the Daitoku-ji monastery, and was originally built in 1612 by Kobori Enshu, the famous tea master.
Its Hon-dō, or Buddhist Hall, Sho-in, or Reception Hall, and Bosen, or Tearoom were all designed by him. However, they were destroyed by fire in the Kwansei Era (1789-1800), and shortly afterwards rebuilt after the original patterns by Matsudaira Fumai, also a famous tea master. They are built in accordance with the cult of the tea-ceremony and are now all enrolled as national treasures. The beauty of simplicity appears in the design of the alcove and shelves at the recesses of the rooms. The walls and sliding screens are decorated with landscape painting in black and white by Kanō Tannyū and Tanshin, which reproduces a quiet atmosphere of nature in the small rooms.
The garden attached to these buildings was designed by the artistic imagination of Enshu. The part of the garden, which faces the Sho-in, is designed to represent the Eight Famous Views of Lake Biwa. The large flat vacant space at the side of Hon-dō may seem insignificant but it plays an important role in giving a quiet atmosphere to the composition of the garden. (Fig. 249) The garden is recognized as one of the master works of fiat gardens (hiraniwa) which developed in the Yedo Period.
Fig. 249. Garden of Hon-dō
Kohō-an, Kyoto
13. KIN-KAKU-JI OR THE GOLDEN PAVILION, THE FORMER VILLA OF THE SHOGUN
In the year 1397 the Shogun Ashikaga Yoshimitsu planned a villa at this site where there had originally been a villa built by Saionji Kintsune in the Kamakura Period. Yoshimitsu erected thirteen fine buildings and charming gardens on a large scale and asked the Emperor Gokomatsu to come and see his villa. After his death the villa was converted into a Zen monastery which came to be known as Rokuon-ji. The Golden Pavilion and the garden are reminiscent of past glory.
The Golden Pavilion is built on the border of a large pond, commanding the beautiful scene of the garden. (Fig. 250) The Pavilion is a three-storied building, the roof of which has four hips and is thatched with the bark of hinoki wood. Its calm slope, the slightly upward curve at the four corners, and the finial shaped into the form of a phoenix with outstretched wings at the top of the roof, all unite in giving a delicate form and upward feeling toward heaven. The pillars supporting the roof and eaves are all delicate and square in shape and are harmonious with the lightness and gracefulness of the roof. Each story is surrounded with restful piazzas and balustrades. The first story has a very spacious piazza in front. In the apse are enshrined figures of the Amida Triad, a statue of Musō Kokushi, the first abbot of this monastery and a portrait statue of Shogun Yoshimitsu (Fig. 251), the founder of the villa. To the western side is attached a balcony which projects over the pond. The decora
tion of the first story is quite simple; all the wood members are left plain, being only in some parts of the interior painted with designs in colors. The interior and the exterior of the second story are lacquered black; and on the ceiling and frieze are painted angels, sacred birds, musical instruments, and clouds, in colors on lacquered ground, showing the whole angelic sphere descending from heaven. The third story is three spans square, and both the inside and outside are painted with lacquer and overlaid with gold leaf. The name of the Golden Pavilion comes from this fact; but today only a trace of the gold remains.
Fig. 250. Golden Pavilion (N.T.)
Rokuon-ji, Kyoto
Fig. 251. Figure of Shogun Yoshimitsu (N.T.)
Rokuon-ji, Kyoto
As a whole, the composition of the architecture is elegant and graceful, giving a new development to the palace architecture based upon old styles, such as shinden-zukuri of the Fujiwara Period and the buke-zukuri, or baronial form, of the Kamakura Period. It is especially successful as landscape architecture, being inseparably connected with the garden which forms an integral part of the architecture.