A History of Japanese Art
Page 33
After taking but a glimpse of these views, we come to a legendary isle called Chikubu-shima, which lies at the northern end of the lake, thirty-six miles from Ōtsu, from which it takes about two hours to reach the isle by a fine steam boat. The island rises eighty feet above the surface of the lake and measures about two miles in circumference. Its curiously shaped rugged rocks and dense trees make it an Elysian Isle.
On this island stands a famous temple dedicated to Benten (Sarasvati), the goddess of Music and Wealth. The temple is said to have been opened first by the Priest Gyōgi under the orders of the Emperor Shōmu about 1,200 years ago. Benten is one of the Seven Gods of Luck and one of the most popular Buddhist goddessess throughout Japan; and her temple is generally built on an isle or on artificial land surrounded with water, because she was originally a personification of the River Sarasvati in India.
Fig. 283. Chikubu-shima Shrine (N.T.)
Chikubu-shima Island, Lake Biwa
Fig. 284. Carving between the Bracket Works
Chikubu-shima Shrine, Lake Biwa
Fig. 285. Design of the Coffering
Chikubu-shima Shrine, Lake Biwa
Benten on Chikubu-shima Island is one of the three famous Benten temples in Japan, the other two being the one at Enoshima (Kamakura) and the other at Itsukushima. The temple occupies the choicest site on the island, overlooking the extensive mirror formed by the beautiful water of the lake.
The present edifice of the temple was originally one of the palace buildings in the Castle of Momoyama, built in 1593 by Toyotomi Hideyoshi. The building was transferred here in the year 1602 and dedicated to the Goddess Benten about 300 years ago by Hideyori, the son of Hideyoshi. It is now converted into a Shinto shrine. (Fig. 283)
The exterior beauty of this building lies in the pitch of its roof, which is thatched with the bark of hinoki wood. At each end of the ridge is a high triangular gable, and at the middle of the front and rear eaves is a semi-circular gable called kara-hafu. Such a pitch roof is peculiar to Oriental architecture, and such beautiful thatched roofs of bark have been developed only in Japan. In western architecture we see a beautiful pitch of roof only in the cupola, but it produces quite a different feeling from ours.
The pillars and bracket work in this building are not very significant when seen from outside, because they are partially concealed by shading roofs and protecting walls, but the interior is most elaborately decorated with sculpture, painting, and gold lacquer.
We find beautifully perforated carvings inserted between the bracket works of the narrow antechamber. (Fig. 284) They represent birds in peony or chrysanthemum flowers; and the panels between circular pillars are coated with peony arabesque, perforated and colored.
The inner chamber is more spacious and forms an almost square room. The pillars and various horizontal members are lacquered black and decorated with chrysanthemums and running water in gold lacquer. The technique and composition are excellent, and very representative of the beautiful Momoyama gold lacquer.
The right and left walls are gorgeously pasted with gold leaf. On the gold ground are painted pines, plum trees, and chrysanthemums on a large scale.
The ceiling likewise is gorgeous and still retains its original splendor and brilliancy. It is a coved compartment ceiling, each coffer of which has a beautiful floral design of peonies and chrysanthemus on a gold ground. (Fig. 285) The frames which form the square compartments are black and chamfered red. All the crossings of the frames are fastened with ornamental gilt metal with chrysanthemums in silhouette and chiseled work.
In this small building we see a rare example of the decorative architecture of the Momoyama Period, beautifully preserved in form and colors probably because it has been secluded in the Island from the outer world since its transference here at the beginning of the seventeenth century.
CHAPTER 6
Nara And Vicinity
1. NARA IMPERIAL HOUSEHOLD MUSEUM
The Museum was established in 1894 to show artistic treasures owned by the Shinto shrines and Buddhist temples in Nara and its vicinity. It stands in the park. (Fig. 286) The exhibits are divided into painting, sculpture, and industrial fine arts. They include a rich loan collection of sculpture, for which the museum is famous. We shall take up some important exhibits of these three different kinds of art and describe them in the following pages. However, they are not always on view; especially the paintings which are changed at short intervals because of the limited space and also because too long exposure of pictures is not good for their preservation.
Fig. 286. Nara Imperial Household Museum
Sculpture
A number of representative master works of Buddhist statues produced during the period from the seventh to the thirteenth century are placed on view in three large rooms, which occupy the major space of the whole museum.
Fig. 287. Interior of the Nara
Imperial Household Museum
In the first room (Fig. 287) which is the largest, are shown a number of Buddhist statues produced in the Suiko and Nara periods.
Kokuzō Bosatsu, or Bodhisattva of the Essence of the Void Space Above. Colored on wood. Hōrin-ji monastery. Suiko Period. The figure stands, carrying a vase in the left hand, and measures about 8 feet in height, occupying the largest case in the room. Its bodily structure lacks symmetrical proportion, but such is one of characteristic features of the Suiko sculpture. (Fig. 288)
The Eight Buddhist Guardian Kings or Hachibushū. Dry-lacquer. Kōfuku-ji monastery. Nara Period. The set of eight statues is complete, but only six are here on view. Each of them measures about five feet in height. They show quite a different technical skill in facial expression and costume. The gold and other colors still remain clearly enough to convey their original splendor. In Fig. 289 is reproduced the figure of Asura or Mightiest King of All Demons. However, its expression is soft and meek. They are all master works of the Nara sculpture in the eighth century.
Ten Great Disciples of the Buddha Shaka-muni. Dry-lacquer. Kōfuku-ji monastery, Nara Period. Only four figures are shown in the museum. They measure about 5 feet in height, and are successful in representing individual personality; that of Furuna is especially fine. (Fig. 35)
Fig. 288. Kokuzō Bosatsu (N.T.)
Nara Imperial Household Museum
Fig. 289. Figure of Asura (N.T.)
Nara Imperial Household Museum
The figure of the priest Gien. Dry-lacquer. Okadera monastery. Xara Period. The priest (Fig. 290) is represented as seated, and while the figure is full of dignity it is markedly different in its effect from the statues of Buddhist pantheons. His facial expression seems to be quite faithful to his individual personality. Under simple and broad curves over the knee, the realistic outlines of the legs are revealed by the technical skill of the Tempyō sculptor. This is surely a masterpiece of the portrait sculpture in the late Nara Period.
Fig. 290. Figure of Priest Gien (N.T.)
Nara Imperial Household Museum
In the second room are exhibited a number of master works illustrative of the sculpture developed in the Heian and Fujiwara periods, that is, during the period of about tour hundred years between the ninth and the twelfth centuries.
The Figure of a Shinto goddess, Nakatsu-hime. Colored on wood. Yakushi-ji monastery. Fujiwara Period. The figure is represented in a sitting posture. It measures about 1.2 feet in height. Its costume and the design are illustrative of those days when the statuette was produced. (Fig. 291)
The Figure of Miroku (Maitreya). A national treasure. Wood. Tōdai-ji monastery. Heian Period. This is a statuette, but a powerful touch of the chisel is highly expressed on its surface of plain wood.
Fig. 291. Figure of Shinto Goddess (N.T.)
Nara Imperial Household Museum
The Figure of the priest Nichira. A national treasure. Tachibana-dera monastery. Heian Period. The wooden figure stands, holding a gem in the left hand, and the right hand being suspended at the side. It measures about 4.7 fe
et in height. This is a representative masterpiece of the early Heian Period.
In the third room are collected a number of master works produced in the Kamakura Period.
The Figure of Kongō-rikishi, or Vajra Holder. Kōfuku-ji monastery. Colored on wood. Kamakura Period. The figure measures about 5.3 feet in height. In this example (Fig. 292), we see the very type and spirit of the Kamakura sculpture at its height. It expresses power of action and life, aided by the sweep and rush of the drapery, which give a perfect rhythmic unity.
Fig. 292. Vajra Holder (N.T.)
Nara Imperial Household Museum
The Figures of Seshin and Muchaku, the Patriarchs of the Hosso sect. National treasures. Kōfuku-ji monastery. Colored on wood. Both measure 6.3 feet in height, and they are said to have been produced by Unkei at the beginning of the thirteenth century. We see in these figures the individual characters of the priests most excellently visualized by his genius. The facial expression is vivified by the insertion of crystal into the eyes.
The figure of Yuima by Jōkei. A national treasure. Kōfuku-ji monastery. Colored on wood. Kamakura Period. The figure measures about 3 ft. in height. This is one of the master works of the Kamakura sculpture, highly realistic in the expression of individual personality. Jokei was the son of Unkei and a great master sculptor of the Kamakura Period.
Painting
The Goddess of Beauty or Kichijō-ten. A national treasure. Yakushi-ji monastery. Mounted as a tablet. Colored on the hempen cloth. It measures 1.8 feet in length. A rare example of the painting produced in the eighth century. (Fig. 28)
Fig. 293. Ami da Triptych
Nara Imperial Household Museum
Amida Triad with a Boy Attendant. Hokke-ji monastery. Mounted as kakemono in three pieces. Colored on silk. Early Fujiwara period. This is an early example of Amida and his attendants, who are coming down from Heaven to welcome people. The triptych is especially famous for its beauty of delicate lines and color scheme which represent the best of the early Fujiwara painting, that is, about the tenth century. (Fig. 293).
Fig. 294. Shigisan Engi (N.T.)
Nara Imperial Household Museum
History of Shigisan with Illustrations, or Shigisan Engi. (Fig. 294) Chōgosonshi-ji monastery. Mounted as emakimono in three pieces. Colored on paper. Late Fujiwara Period. The picture depicts the miraculous attributes of the figure of Bishamon-ten enshrined in the Shigisan (Chōgosonshi-ji). This is one of the oldest of the emakimono pictures which are extant today. The figures are all full of life and activity as will be noticed in our reproduction.
The Fan-shaped sutra, or Semmen Hokke-ky. Shitermō-ji monastery. Mounted as tablets in twelve pieces. Colored on paper. Late Fujiwara Period. The Hokke-kyō, or the Lotus of the True Law (Saddharma Pundarika) is written over the fan-shaped paper which is decorated with pictures in rich colors. The pictures are not illustrative of the meaning of the sutra, but they represent customs and manners of the time when the sutra was written in the second half of the twelfth century. (Fig. 295) In the delineation of human figures, it represents the popular style prevalent in the Fujiwara Period. The eyes are drawn with one line and the nose with two broken lines, which are so fine and delicate that they might escape notice, yet giving a quiet feeling and elegance to the whole composition of each picture. The gold and silver foils being skilfully used, the general effect is highly decorative. At the same time the picture is a unique example in the history of picture prints in Japan, because the outlines are printed, and over these outlines are elaborated all the details in colors.
Fig. 295. Fan-shaped Sutra (N.T.)
Nara Imperial Household Museum
The Figure of Gundari Myō-ō. A national treasure. Daigo-ji monastery. Mounted as kakemono. Colored on silk. Kamakura Period. Gundari Myō-ō is one of the Five Manifestations of Great Destructive Powers (Godairiki Myō-ō). He stands enveloped in burning flames. His body is blue, and his eyes are red and open wide. He looks even more horrible because of the blue serpents which he carries over his shoulders and limbs. (Color pit. 10) He was worshipped in a Buddhist service held to expel all the evils and demons which torture people.
In the Buddhist iconography there are three distinct manifestations for visualization of the Buddhist doctrine; namely the posture of Buddha and those of Bodhisattva and Myō-ō. The posture of Buddha visualizes the indigenous attributes of Buddhahood itself in simple form. Therefore no ornament is added (Fig. 296) to the figure of Buddha except rare instances. The posture of Bodhisattva expresses the attitude of preaching Buddhist doctrine. Therefore his image is made approachable by its meek expression and ornamentations. Lastly the posture of Myō-ō expresses the action of expelling evils and demons under the instruction of Buddha.
Fig. 296. Vessel with Statuette of Shaka (N.T.)
Nara Imperial Household Museum
Fig. 297. Engraving of the Vessel
Now our picture of Gundari Myō-ō is one of the most ferocious manifestations of Myō-ō whose vows are to destroy all the wickedness which harms human welfare, and this is an excellent example produced in the Kamakura Period.
Metal Work
The Vessel with the Statuette of Shaka. Tōdai-ji monastery. Gilt bronze. Nara Period. The vessel (Fig. 296) was once used in the canonization ceremony held in memory of the birth of Shakamuni. On the outside of this vessel is engraved a unique picture representing Chinese boys playing with lions among flowers, trees, and rocks. Some boys run on the backs of lions and others make fun with running lions. (Fig. 297) Such design seems to have been produced from the Persian prototype of hunting scenes, because Persian design modified in China was at this time introduced to Japan.
The musical instrument called Kwagen-kei. Kōfuku-ii monastery. Bronze. Nara Period. The bronze figure of a lion forms the stand. Its remarkable head, the strenuous body, and the curled tail are all admirably static, but ready for full activity at any moment, and show the powerful technical skill of the eighth century. (Fig. 298) But the instrument itself was a later restoration, probably of the Kamakura Period.
2. TŌDAI-JI, THE HEAD MONASTERY OF THE KEGON SECT, NARA
The Tōdai-ji monastery was founded by the Emperor Shōmu in the year 745. A colossal figure of Buddha Roshana (Vairochana) was cast in bronze for the Imperial prayer; and an enormous wooden hall was erected for it in the year 751. On the 9th of April in the following year its dedication I ceremony was held in the presence of the Emperor Shōmu. (See pp. 69-70) But in the fourth year of Chishō (1180) the Main Hall and all other buildings were reduced to ashes by a conflagration during a battle. In the following year the restoration work began under the patronage of Yoritomo, the first Shogun of the Minamoto family cooperating with pious people at large in the whole country. In the sixth year of Kenkyū (119 5) all the buildings were rebuilt and the dedication ceremony was held in the presence of the Emperor Gotoba and the Shogun Yoritomo. After this about three centuries I passed and the monastery was again devoured by a war fire in the tenth year of Eiroku (1567). At this time the sacred buildings were mostly burnt, including the main hall. The Daibutsu, the colossal bronze figure of Buddha, which had survived the last fire, this time lost its head, but was soon restored, although it was much inferior to the original. However, the hall was not restored and the Daibutsu was left weather-beaten for one hundred and thirty years until the fifth year of Hō-ei (1708), when the present hall was rebuilt as we see it now.
Fig. 298. Musical Instrument (N.T.)
Nara Imperial Household Museum
Fig. 299. Great South Gate (N.T.)
Tōdai-ji, Nara
Fig. 300. Nio (N.T.)
Tōdai-ji, Nara
The great South Gate, or Nandai-mon, remains from its second reconstruction in the year 1195. (Fig. 299) The architectural style of this gate belongs to what is known by the name tenjiku-yō. This style was for the first time introduced from China in connection with the restoration work of this monastery in the Kamakura Period. It is a two-storied gate with th
e frontal measurement of five spans, and the side of two spans. Its characteristic features are visible in the columns going up through the two stories, in the seven corbelled bracket construction, eaves, and inserted bracket elbows. In outward appearance, the gate is grand and imposing, and in construction free and ingenious.
At either side of the interior of the gate is installed a famous figure of Niō. Both figures are the largest statues of Niō in Japan, having a height of 26.6 ft. and are physically unequalled in the expression of terrifying fierceness. These two statues are attributed to Unkei and Kwaikei. Although it is difficult to know which is by Unkei and which is by Kwaikei, their type and technique represent more that of Unkei. (Fig. 300)
At the inner half of the interior of the gate stand a pair of stone lions. They represent the Sung sculpture introduced into Japan in the early Kamakura Period. They were undoubtedly produced by a Chinese artist at nearly the same time as Niō.
The Great Buddha Hall, or Daibutsu-den, is of the third reconstruction, in the fifth year of Hō-ei (708), and has recently been well repaired. (Fig. 301) Its architectural style belongs to the tenjiku-yō, as does that of the Great South Gate. It is double-roofed, of hipped type; and either end of the main ridge-pole is decorated with golden kite's tail (shibi). Its façade and side have seven spans; the frontal measurement being about 188 ft., and the side, about 166 ft., 30 percent less in dimension than the original plan. This reduction, of course, made a great difference in the magnitude of the whole structure. But the height measures about 157 ft., as much as the original. Anyhow the temple is the largest wooden building that Japan has today, and represents the greatest architecture built in the middle Yedo Period.