Just at the back of the triad is a screen which is composed of three vertical panels, pointed at the top into a wave form. (Fig. 333) On the lower surface are represented five blessed angels. They descend from above and sit in different postures upon lotus flowers growing with twisted stems. The upper halves of their bodies are naked and wavy locks flow over their shoulders. The different attitudes of their hands and bodies express the dreamy atmosphere of the heavenly life. The vertical spiral movement of their filmy mantles is suggestive of their coming down from above. Between the angels long lotus stems grow upwards, most harmoniously filling up the interstices, never trespassing upon other lines; and the leaves adapt themselves to the given spaces with oval shapes. Moreover between the lotus stems and the flying mantles of angels are hair-line carvings of clouds symbolizing the heavenliness of the Land of Amida.
Fig. 335. Guardian King in the Golden Hall (N.T.)
Hōryū-ji, Yamato
At the four corners of the same dais, stand the Four Guardian Kings (Shiten-nō). They are carved respectively from one block of camphor wood. Their bodies are colored and some parts of their clothes are painted in addition to those that are carved. Some of cut-gold remain also. So we may imagine that they were originally bright and colorful, as we see in later figures of guardian kings. Each of them measures 4 feet and 5 inches in height. They are armored and each stands upon the back of a demon. The work belongs to the style which prevailed in the time of Suiko. The life and movement are not skilfully expressed, but the stroke of the chisel is vigorous as will be seen even in our reproduction. (Fig. 335) They are signed by Yamaguchi-no Oguchi and Kunishi Tokuho and their assistants.
They do not express so much dramatic activity as characterizes the Four Guardian Kings produced in later periods but life and power are expressed in their strenuous forms by the vigorous stroke of the chisel.
The five-storied stupa (Fig. 336) stands on a double stone foundation, with a beautiful and graceful form, although it is more or less injured by a "skirting roof" which was added to the first story in a later age. It measures about 105 feet in height. The exterior is colored with a plain coating of red oxide of lead. The interior also is colored with a plain coating of red oxide of lead.
Up the middle of the interior runs the "core-pillar" on which the whole structure depends. At the center of the first story, there is a dais made of clay, on the four sides of which are clay figures representing four different scenes relating to the life of Buddha; that is, on the north a Nirvana group, on the south a Miroku group, on the east a Yuima group, and on the west the distribution of the Buddha's ashes. They were produced in the year 711 and are rare examples of group sculpture in clay. Some of them are replaced with poor copies recently produced; but about fifty figures of the original remain; and they are enrolled as national treasures. In Fig. 337 we have reproduced one of them, which is excellent in workmanship.
Fig. 336. Five-storied Stupa (N.T.)
Hōryū-ji, Yamato
Fig. 337. Clay Figure in the Stupa (N.T.)
Hōryū-ii, Yamato
In the East Enclosure (Tō-in) where once stood the palatial residence of Crown Prince Shōtoku Taishi, stands an octagonal hall which is called Yumedono or Hall of Dreams. In this Hall of Dreams is enshrined the famous wooden figure of Kwannon in a standing posture, measuring 6 feet 5 inches in height. The figure is one of the best preserved and the most beautiful relics of sculpture that have come down to us from the Suiko Period and represents all the characteristics of the formalism of Korean and continental styles. It is attributed to Prince Shōtoku Taishi and is held to be the holiest statue. The dignified attitude quite overawes us, especially when looked at from the side. (Fig. 338) There is no other image of the Suiko sculpture that strikes us with such spiritual force, compelling reverence and even worship, as this figure of Kwannon. This figure also is carved from one block of wood and is covered with goldfoil. The drapery is close fitting and the ten-ne or "heavenly cloth," hanging down from the forearms, has a peculiarly symmetrical outline; and the calm lines at both sides are especially beautiful. The crown made of perforated bronze is of excellent workmanship. The gem held with both hands in front of the chest has a flame of similar workmanship in pierced bronze. The beautiful scroll lines counteract the hardness of the vertical lines of drapery.
Its jewel-shaped halo of wood is perfectly preserved. It is no doubt the most elaborate and beautiful example of halos produced in Japan. (Fig. 339) In the center of the halo there is a lotus flower; in the middle band is honeysuckle arabesque, and finally at the brim are aspiring flames. They all ascend articulately to heaven, with the spires of a stupa which is carved at the upper part of the halo. The stupa on the halo seems to be a rudimentary trace of the worship of the tomb of the Buddha Gautama among the early Buddhists in India.
Fig. 338. Kwannon in the Hall of Dreams (N.T.)
Hōryū-ji, Yamato
In the northeast of the Eastern Enclosure (Tō-in) stands the Chūgū-ji nunnery. In the Buddhist Hall of the nunnery is enshrined a famous Buddhist figure of Miroku, or Maitreya, which was formerly known as Nyoirin Kwannon. (Fig. 340) The figure is carved from one block of wood. It seems to have been plain woodwork, but there is a trace of gold-foil that once ornamented it. The statue is seated on a high drum-shaped throne, with the right foot over the left knee, in meditative posture with the right elbow on the right knee, middle finger touching the chin. The lacquer-like patina of the surface is now wonderfully charming. The shape of the knotted hair on the head and the lock of hair drooping over the shoulders, show a development from rigid formalism to realistic form. The expression of the face is full of loving-kindness, with a smile around the eyes and the mouth. The lines of drapery are also much more fluent than those of the Tori style; and the expression is highly graceful and very human.
Fig. 339. Wooden Halo of Kwannon
Yumedono, Hōryū-ji, Yamato
The nunnery has also a unique example of textile fabric, illustrating a Paradise, called Tenju-koku, which was embroidered by the court ladies when Crown Prince Shōtoku Taishi died thirteen centuries ago. (See page 62)
Fig. 340. Miroku in the Chugu-ji (N.T.)
Hōryū-ji, Yamato
10. TAIMA-DERA MONASTERY, YAMATO
The Taima-dera monastery stands on the skirts of a hill at a village called Taima, in the province of Yamato, about 30 kilometers south of Nara. (Fig. 341) The monastery was first founded in the seventh century; but the oldest buildings now extant are two stupas erected in the eighth century and the rest were built in the thirteenth. In these sacred buildings there remain a dozen Buddhist figures of highly artistic merit produced in different ages.
Fig. 341. General View of the Taima-dera
Yamato
Fig. 342. West Stupa (N.T.)
Taima-dera, Yamato
The two stupas stand on a hill on the east and the west. Both are three-storied and typical of the Nara architecture in the eighth century. Each measures about 80 feet in height, and is grandly constructed as will be noticed in the west stupa (Fig. 342), and in the details of bracket system at the corner of the eave of the east stupa. (Fig. 343)
The Main Hall of Mandara-dō is the largest building in the monastery, and was rebuilt in about 1243. The interior is divided into inside and outside compartments. The central dais is black lacquered and inlaid with the hōsōge design in mother-of-pearl. On the dais is a shrine which is decorated with lotus flowers in gold lacquer. They belong to the Kamakura Period and are good examples of the Kamakura lacquer work. In the shrine is hung a copy of the famous picture of Taima Mandara.
It is traditionally said that the picture of the original Taima Mandara was made in the eighth century from lotus thread, obtained by Princess Chūjo, as a divine gift for her exemplary devotion and piety. However, it is in a deplorably bad condition and cannot be touched without considerable damage being done to it. So a replica was made of the original in the Bunki Era, that is, the beginning of the sixtee
nth century. This is the one which we see now in the temple. (Fig. 344) The word Mandara (Mandala) signifies the complete assemblage of a Main Buddha and his heavenly attendants.
Fig. 343. Detail of the East Stupa
Taima-dera, Yamato
The replica measures 9 feet in height and 13 feet in breadth. Buddha Amida is enthroned in the middle with two attendant Bodhisattvas, Kwannon and Seishi, sitting respectively on the right and the left. Near by is a group of the minor Bodhisattvas of smaller size, surrounded by a pond in which beautiful lotus flowers grow. (Fig. 345) The general feeling of the color scheme is splendid and gorgeous, the whole surface being almost entirely overlaid with gold leaf.
In the left marginal band are depicted small scenes successively illustrating episodes of the legend of Ajatasatru and Bimbisara, connected with the mercy of Shaka-muni and Amitâbha. In the right marginal band are depicted thirteen symbolical representations, through which adorants may perceive the supernatural beauty of the Paradise of Amida. In the lower marginal band are shown nine different manifestations of Amida, who are ready to deliver all the people who belong to any of the nine grades of life in the terrestrial world.
Fig. 344. Taima Mandara (N.T.)
Taima-dera, Yamato
Fig. 345. Detail of Taima Mandara
Taima-dera, Yamato
The Bothisattvas depicted in the Taima Mandara express through color and form of feminine beauty the inner joy that never fades.
From what we see of the symbolic iconography of Amitabha and his Paradise it will be understood that in the iconographic beatitudes there are three essential qualities, the feminine beauty of humanity, the artistic beauty achieved by culture, and the beauty of nature, all three permeated by the absolute mercy of Amitabha and harmonized into one great whole. These iconographic beatitudes in the Paradise of Amitabha (Amida) are an important source from which emanate the spiritual and material activities of man. In other words, the iconographic beatitudes of the Amida's Paradise emphasize what are good, truthful, and beautiful in the realities of social life.
In conclusion we see that the Paradise of Amida consists of what is desired of the realities of this present life, as well as what is hoped for in the world to come; namely, present desire and future hope, in addition to the legacy of the past.
APPENDIX 1
List Of Museums, Temple Treasuries And Private Collections
This list is divided into three groups, that is, Tokyo, Kyoto and the local districts. Museums, treasuries, and collections in each group are alphabetically arranged.ŌŪ
TOKYO
DAN COLLECTION 團伊能男爵蔵品
Location: Private collection of Baron Ino Dan
Contents: Japanese painting, industrial and peasant arts.
FUKUI COLLECTION 福井菊三郎氏蔵品
Location: Private collection of Mr. Kikusaburo Fukui
Contents: Japanese pottery of different kinds of all ages, and Noh costumes.
HISTRIONIC MUSEUM
• The Tsubouchi Memorial Theater Museum 坪内逍遥記念演劇博物館
Location: Precinct of the Waseda University, 1-6-1 Nishi-Waseda, Shijuku-ku, Tokyo
Contents: Models and color prints relating to theatrical performances.
HOSOKAWA COLLECTION
• Eisei-Bunko Museum 永青文庫
Location: 1-1-1 Mejiro, Bunkyo-ku, Tokyo
Contents: Japanese painting of different ages and Chinese ancient arts.
MAKITA COLLECTION 牧田環氏蔵品
Location: Private collection of Mr. Tamaki Makita
Contents: Japanese painting and porcelain.
MASUDA COLLECTION 益田孝氏蔵品
Location: Private collection of Mr. Takashi Masuda
Contents: Japanese painting, sculpture, and industrial arts of different ages.
MATSUOKA COLLECTION 松岡均平男爵蔵品
Location: Private collection of Baron Kimpei Matsuoka
Contents: Ukiyo-e painting.
MAEDA COLLECTION 前田利爲侯爵蔵品
Location: Komaba Park, 4-3-55 Komaba, Meguro-ku, Tokyo (Private residence of Former Marquis Maeda)
Contents: Japanese painting of different ages and Noh costumes.
MAEYAMA COLLECTION 前山久吉氏像品
Location: Private collection of Mr. Hisakichi Maeyama
Contents: Japanese and Chinese painting, sculpture, and industrial fine arts, mostly Buddhistic.
MEIJI-TENNO MEMORIAL PICTURE GALLERY
• Meiji Memorial Picture Gallery 聖徳記念絵画館
Location: Meiji-Jingu Gaien, 1-1 Kasumigaoka, Shinjuku-ku, Tokyo
Contents: Eighty pictures representing the historical events relating to the Emperor Meiji and Empress Shoken, painted by contemporary eminent painters in Japanese and Western styles.
MITSUI COLLECTION
• Mitsui Memorial Museum 三井記念美術館
Location: 2-1-1, Nihonbashi Muromachi, Chuo-ku, Tokyo
Contents: Japanese paintings and costumes.
NEZU COLLECTION
• Nezu Museum 根津美術館
Location: 6-5-1 Minami-Aoyama, Minato-ku, Tokyo
Contents: Japanese painting, sculpture, and industrial arts. Chinese stone sculpture.
NUMISMATIC MUSEUM
• Currency Museum 貨幣博物館
Location: 1-3-1 Nihombashi Hongoku-cho, Chuo-ku, Tokyo
Contents: Japanese and other Oriental coins of all ages.
ŌKURA ANTIQUE MUSEUM 大倉集古館
Location: 2-10-3 Toranomon, Minato-ku, Tokyo
Contents: Japanese arts and Chinese stone sculpture and minor arts.
ŌYAMA INSTITUTE OF PREHISTORIC INVESTIGATION 大山史前学研究所 (closed)
Contents: Japanese neolithic potteries and stone implements found in different localities.
SHIOBARA COLLECTION 塩原又策氏蔵品
Location: Private collection of Mr. Matasaku Shiobara
Contents: Japanese polychrome porcelain. Kaki-e-mon, Iro-nabeshima, and Ko-kutani; and ancient Chinese bronze.
TOKYO FINE ART SCHOOL MUSEUM
• The University Art Museum 東京芸術大学 大学美術館
Location: Precinct of the Tokyo University of the Art, 12-8 Ueno-Koen, Taito-ku, Tokyo
Contents: Japanese and Chinese painting, sculpture, lacquer ware, and metal works.
YAMADA COLLECTION 山田準次郎氏蔵品
Location: Private collection of Mr. Junjiro Yamada
Contents: Japanese weapons.
YŪSHŪ-KAN MUSEUM 遊就館
Location: 3-1-1 Kudan-kita, Chiyoda-ku, Tokyo
Contents: Japanese arms and armor of all ages.
TOKYO IMPERIAL HOUSEHOLD MUSEUM
• Tokyo National Museum 東京国立博物館
Location: 13-9 Ueno-Koen, Taito-ku, Tokyo
Contents: Fine Art Department, Individual Art Department and Historical Department.
KYOTO
HASHIMOTO COLLECTION
• Hakusasonso Hashimoto Kansetsu Memorial Museum 白沙村荘橋本関雪記念館
Location: 37 Jodoji Ishibashi-cho, Sakyo-ku, Kyoto
Contents: Japanese Buddhist sculpture and Chinese pottery.
ITŌ COLLECTION 伊藤庄兵衛氏蔵品
Location: Private collection of Mr. Shobei Itō
Contents: Buddhist implements, ancient Korean tiles, and Chinese clay figures.
KITANO-TEMMANGU TREASURY 北野天満宮宝物殿
Location: Bakuro-cho, Kamigyo-ku, Kyoto
Contents: Pictorial scrolls illustrating the history of the Kitano Shrine painted by master hands in different ages, and other treasures of the shrine.
KYOTO UNIVERSITY MUSEUM 京都大学総合博物館
Location: Precinct of the Kyoto University, Yoshida Honcho, Sakyo-ku, Kyoto
KYOTO ONSHI MUSEUM OF ART
• Kyoto National Museum 京都国立博物館
Location: 527 Chayamachi, Higas
hiyama-ku, Kyoto
Contents: Archaic arts Japanese, Korean, and Chinese.
SUMITOMO COLLECTION
• Sen-Oku Hakko-Kan 泉屋博古館
Location: 24 Shishigatani, Shimo-Miyamaecho, Sakyo-ku, Kyoto
Contents: Chinese ancient bronze.
YŪRIN-KAN MUSEUM 有隣館
Location: 44 Okazaki Enshoji-cho, Sakyo-ku, Kyoto
Contents: Chinese antiques.
LOCAL DISTRICT
ASANO KWANKO-KWAN 浅野観古館
Location: It was destroyed in the atomic bombing of 1945.
Contents: Painting and industrial arts, mostly of the Yedo Period.
JINGU CHOKO-KAN MUSEUM 徴古館
Location: Near Ise Jingu Shrine, 1754-1 Kodakujimoto-cho, Ise, Mie prefecture
Contents: Historical relics mostly related to the Ise Shrine.
CHUSON-JI SANGOZO TREASURY 中尊寺讃衡蔵
Hakkaku Museum Of Fine Arts
• Hakutsuru Fine Art Museum 白鶴美術館
Location: 6-1-1 Sumiyoshi Yamate, Higashi-Nada-ku, Kobe, Hyogo prefecture
Contents: Buddhist, sculpture, decorative arts, and manuscript-copies of Buddhist sutras of the twelfth century.
HAKONE-JINJA TREASURY 箱根神社宝物殿
Location: Precinct of the Hakone Shrine, 80-1 Hakone-cho Moto-Hakone, Ashigara-gun, Kanagawa prefecture
Contents: Old weapons, sculpture, and painting.
HARA COLLECTION
• Sankei Memorial Museum 三渓記念館
Location: 58-1 Hommoku Sannotani, Naka-ku, Yokohama, Kanagawa prefecture
Contents: Japanese painting, sculpture, and industrial arts.
A History of Japanese Art Page 36
