859 132 70MB
English Pages 359 Year 1964
MARIN COUNTY FREE LIBRARY
1 H.
3 1111 01986 5946
itttonal Arts
BAITERSON lUXJKR
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iraditional Arts 3
of Japan A Complete
BATTERSON BOGER
BY
H.
Here
for the
the
Guide
Illustrated
first
time
a
is
book
compasses
that
all
and ceremonies of Japan, giving fun-
arts, crafts,
damental information and a
clear, descriptive picture
of every category for the interested layman, the expert, and the connoisseur. In 170,000
words of readable
and with
narrative,
369 black-and-white photographs, 26 color reproductions, and 40 line drawnigs. The Traditional Arts oj
Japan shows the steps by which the Japanese
and
artisans created their
works, both
artists
utilitarian
and
decorative.
Supplemented by an introduction to the cultural lientage of Japan, a chronological outline history, a tab!
and
prefectures,
'
•''-al
periods,
nipleic
ail.
indispensable guide to tu.
'
i.
of Japanese
maps of provinces '
"-he
text
is
an
-Mfication aiiu a^j^..
of Japanese works of art aiiu ^. to the thinking, symbolism, and technical processes beliuiu
ciation
'"
md
them.
Chapter by chapter, the book presents the following subjects,
•
among
others:
Meaning and mathematics behind
the
great
Japanese gardens •
How
swords and sword mounts were formed
and decorated •
Making of arms and armor
• Structuring
and symbolism
of
architecture,
domestic and public • Firing
and designing of pottery and porcelain
• Steps in the incense
and
tea
ceremonies
•
Weaving and designing of textiles
•
Making of dolls and
• Design • Firing
their role in Japanese life
and use of fans of enamels
{cominuvd on hack flap)
I
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Boger The traditional art of Japan
8 1978
y
ȴm.
Mafin Cwinty Free Library Civic Center Administration S..n
Building
Rafael, Californis
No
23-221
The
Traditional Arts of Japan
The
Traditional
Arts ofJapan A
Complete
Illustrated
Guide
H. Batterson Boger
DOUBLEDAY
&
COMPANY,
INC.
•
GARDEN
Marin County Free Library Civic Center AdiT.imstration Sr.n
Building
Rafael, California
CITY, N.Y.
•
1964
1
O
1^
LIBRARY OF CONGRESS CATALOG CARD NOJMBER:
,"••
^
>•••'-
'-
•v-
i^ ;3 :>
64-11726.
ALL RIGHTS RESERVED.
BOOK IS FULLY PROTECTED BY COPYRIGHT UNDER THE TEPJvlS OF THE INTERNATIONAL COPYRIGHT UNION. PERMISSION TO USE PORTIONS OF THIS BOOK MUST BE OBTAINED IN WRITING FROM THE PUBLISHER. THIS
DESIGNED BY LIBRA STUDIOS, INC.
PRODUCED BY CHANTICLEER PRESS. INC., NEW YORK. PRINTED BY BRUDER ROSENBAUM, VIENNA, AUSTRIA. DOUBLEDAY & COMPANY, INC. GARDEN CITY, NEW YORK. 1964
Acknowledgments
MUCH
OF THE SUCCESS I may have attained in comwork
piling the material for this
ance accorded
by
art
friends
due
is
to the generous assist-
various stages of my interest in Japanese
me
at
and
associates in the
United
and abroad.
States
number of photographs was selection was made to give this col-
In the course of time a great
gathered, and a careful
wish to record
me by I
my gratitude for the courtesy extended to
various staff
the Metropolitan
members of the photographic
Museum
of Art,
take pleasure in expressing
for the generous assistance
my
service at
me by
staff
Mr.
grateful to
for his helpful criticism
my many Japanese friends and
have so graciously opened to
me
their
given by Mr. Takeo Takamatsu, editor-in-chief of the Japan
eral
who has supplied such beautiful pictures.
Sev-
of the fine photographs of domestic architecture were
given to
me
through the kindness of Mr.
Jiro
Tokyo National Museum. And I am indebted
Redman of the
British
Embassy
to
make
abbot to another for the past
years.
wish to thank Mr. K. Imai of Kyoto, and Yamanaka and for their kindness in
me to use certam illustrations from their collections. the color plates, I am deeply grateful to Mr. John
allowing
As
for
of the Cleveland Museumof Art; Mr. Richard
E. FuUer, director
of the
Seattle
L. Smith, Life magazine;
New York
Art
Museum
;
Miss Dorothy
Mr. and Mrs. Shizuo Nomura,
and Kyoto; Mr. Kazuo Iwata, director of the
Japan National Tourist Association ;andMr. Charles A. Greenfield,
New York.
in
Harada of the
illustrations that selection
assistance
and guidance,
I
gratitude. His suggestions
Tokyo, who,
as a director
importance,
me
years ago. For illustrations
of those to be used has been most
And to Mr. Nagatake Asano, director of the Tokyo National Museum, who was so kind as to read the original manuscript of this work and who so generously offered his difficult.
Mr. H. Vere
use of uncommonly fine line drawings that appeared
many
is due the staff members of Tokyo National Museum, who have given such valuable material assistance and supplied me with so many choice
the
to
of the Asiatic Society of Japan, has graciously permitted
in their journal Transactions
I
down from one
hundred
Floral Art Institute at the
Kyoto, where the Ikenobo method has
My wholehearted appreciation
of special knowledge. I must mention the kind assistance
Travel Bureau,
been handed thirteen
at
;
Services at the Victoria
am most
I
Museum,
have long been indebted to
who
Rokkakudo temple
E. Lee, director
sincere appreciation
and suggested emendations.
stores
owe my deepest appreciation
most
Soame Jenyns, Deputy Keeper of the Department of Oriental
acquaintances
I
A. Pope, director of the Freer Gallery of Art Mr. Sherman
and cooperation given
and Albert Museum, in England.
I
of floral arrangement
New York.
members of the Museum Extension
Antiquities at the British
art
Mr. M. Nishikida of the Ikenobo
to
Company of Osaka and New York,
lection a true aesthetic value. I
of the
trations,
as
which
Finally,
I
was
extend
and
my
deepest expression of
criticism
his supervision
were of the utmost
of the photographic
illus-
are of immeasurable value to the text.
am grateful to Mr. Henry La Farge for his discern-
ing help in the preparation of the manuscript for pubUcation.
Prefiace
THE PURPOSE
of
book
this
promote
to
is
understanding and appreciation of the
a fuller
of Japan.
arts
was
It
developed, and most of the pertinent material was accumu-
during an estabhshed residence in Japan. The writer was
lated,
especially fortunate in having several Japanese collector friends
whose
refined taste enabled
approach and the
him
to cultivate their cultural
aesthetic appreciation necessary to
standing of the subtle beauty of their
The book
well as for the
as
general reader and enquirer seeking to gain a
more
intimate
unique culture that has developed in Japan
insight into the
throughout the centuries.
It
provides a complete introduction
from the earhest
to the arts of Japan, surveying their evolution
times through the period of their greatest development. art
is
meant not only the
every form of
arts
By
of painting and sculpture, but including such aesthetic
expression,
artistic
pastimes as the tea ceremony and flower arrangement, which the Japanese have raised to the dignity of an
given to the popular in the daily
life,
and the many
art.
Emphasis
charm of Japan
the
arts, for
is
found
is
customs, and famihar beliefs of its people,
arts
which play such an important
role in
the subject pact.
is
is
planned
as a
comprehensive guide and
broad in scope, the treatment
is
necessarily
Each chapter presents a particular Japanese
and traces the chief influences which have ment. Such
historical
an appreciation of the
and
affected
its
arts are also
Japan
is
provided. Emphasis
is
so closely connected with religion that
knowledge of the behefs which certain pertinent aspects first
chapter,
which
world. While
ing
like-
little
A
it is
without some
main has followed the
some of the more familiar The fmal chapter is devoted
since
dictates
work
true that contemporary native origin,
its
the
con-
of con-
Western
portraying
much of it, show-
known and
To go
further than the arts of
appreciated as traditionally Japa-
beyond the scope of
this
book, for a definitive
history cannot be written until sufficient time has elapsed to
allow the subject to In less
all
into
fall
proper perspective.
its
have been
their arts the Japanese
satisfied
than technical perfection, whether the
minute
scale or
of heroic proportions. In
branch of Japanese
with nothing
work was on
life
a
that respect each
art merits universal interest.
bolism wliich permeates the
The sym-
and behavior of the Japanese
has been recorded in an enduring
maimer
in their arts.
It is
not a fixed and formal symbolism but rather a fme network associations giving
Japan received the
tions
and
to absorb
this island
garded art
a unique appeal. Although
and guidance in her
art
nation through the centuries has added
own
the aesthetic ideals
created to express native tradi-
of her people. Because the Japa-
artistic sense to assimilate
and nationalize
of Japan displays a
it
initial inspiration
nese possessed the imiate
that
sufficient degree
as a national art
and
as
and adapt,
which they borrowed, the
art
of originahty to be re-
such to take
its
place with the
of other nations in the history of the world.
It is
it reflects.
work beyond
modern times,
evidence of Oriental derivation, follows the precepts
nese, seems
of the
art.
it is
design that are
brief outline of
motifs occurring in Japanese
New York
it
to extend this
of international movements.
of the cultural history is the subject of
also includes
art in the
a rich vocabulary of her
develop-
unique repository of Oriental
formists to international fashions originating in the
form
aesthetic aspects as are necessary for
impossible to obtain an understanding of
the
temporary
from China,
wise placed on the evolution of religious traditions, because art in
There has been no attempt
com-
art
a
periods of indigenous traditions into
of subtle
them. Because the book
of the Shosoin,
culture.
Japanese subjects suggests
art.
designed for the student
is
an under-
to the history
hoped arts
that
tl>is
book may not only increase knowledge
of Japan, but do much to promote an informed
understanding of the people
who
created
it
and thus gave to
the world a great art heritage.
H.
BATTERSON BOGER
Contents
PAGE
CHRONOLOGICAL OUTLINE TABLE OF PROVINCES AND PREFECTURES THE CULTURAL HERITAGE II MOTIFS IN JAPANESE ART
23
PAINTING
27
COLOR PRINTS
51
I
III
IV
V
SCULPTURE VI MASKS
METALWORK VIII ARMS AND ARMOR IX SWORD DECORATION AND MOUNTS X SHINTO AND BUDDHIST ARCHITECTURE VII
DOMESTIC ARCHITECTURE XII LANDSCAPE GARDENING XIII FLORAL ART
XI
CEREMONY XV INCENSE CEREMONY XVI POTTERY AND PORCELAIN XVII LACQUER TOBACCO POUCH AND PIPE CASE, AND HIUCHI-BUKURO XIV
XVIII
INRO, NETSUKE, YATATE,
TEA
XIX
8
lo 13
67 79 91
105
117 129 147 161 173
209 221
227 253
265
TEXTILES
277
XX COSTUME
287
XXI
DOLLS XXII FANS
299
XXIII CLOISONNE ENAMEL XXIV SHOSOIN, THE IMPERIAL REPOSITORY XXV AINU FOLK ART
311
BIBLIOGRAPHY INDEX
339
307
315 333
341
I
chronological Outline
PREHISTORY AND PROTOHISTORY c.
7000 B.C. 660 B.C.
300 B.C. first-fourth century A.D. A.D. 220 c.
Jomon
culture (Neolithic age).
Japanese Empire founded
Yayoi culture (Bronze
607 621 623
645
552-794
Empress Jingo invades kingdom of
c.
670 701
Emperor,
Silla;
beginning of Korean influence.
(552-645)
gift of gilt bronze Buddha to Japanese Emperor. Buddhism introduced. Empress Suiko reigns; affairs of state vested in Prince Shotoku. Construction of Horyuji temple, Nara. Prince Shotoku dies. Sakyaimmi Triad bronze icon by Tori. EarHest example of lacquer in Tamamushi shrine. Taika Reform edict issued to reorganize life and government on Chinese model. Gigaku dance drama introduced from continent. Incense burning introduced by Buddhist priests. First period of Chinese influence in architecture.
King Paikche of Korea sends
HAHUKO PERIOD 672-685 668-672
Jirmiiu, first
Ancient Burial Mounds; Haniwa culture.
ASUKA PERIOD 552 593 -628
by
age).
Emperor
Temmu
(673-685)
of Ise Shinto shrines every twenty Tenjo era. Invention of folding fan. Horyuji destroyed by fire. Taiho code. Guild of Needleworkers and Weavers instituted. reigns. Decrees rebuilding
NARA PERIOD
years.
(710-794)
Strong influence of Chinese T'ang dynasty culture.
710
Empress
Gemmyo
establishes
Nara
as
permanent
capital
and
court. Heijo built;
Amida
TnW bronze icon
cast.
and Chronicles of Japan,
Kojiki
724-749 742 745-752
Emperor Shomu, 701-756, reigns. Shinto and Buddhism assimilated; Konkomyo
749 752 751-52 755 756
794 894 897-1185 early eleventh century
980-101
first
sutra written.
Construction of Todaiji monastery, Nara.
Emperor Shomu
abdicates; his daughter ascends throne as
Empress Koken.
Great Buddha of Nara consecrated.
Construction of Shosoin. Empress Koken institutes festival of Weavers' star. Empress dowager Komyo (Shomu's widow) makes initial Deed of Gift of Imperial Treasures to Shosoin. Bugaku dance drama introduced from continent.
HEIAN PERIOD 794-897
8
books written in Japanese.
712, 720
(794-1185)
Jogan or Konin (Early Heian) period. Heian-kyo capital moved to Kyoto. Suspension of relations with China. Native themes make their appearance in secular painting. Introduction of esoteric Buddhist sects and painting. Fujiwara (Late Heian) period. Spread of Amida Buddha cult; raigo ceremonies.
Amida Nyorai, famous wooden icon Emperor Ichijo reigns; flowering of
statue.
brilliant aristocratic society.
C.
1020 1053
II80
794-1185 tenth-twelfth centuries
Tale ofGenji written by Lady Murasaki Shikibu. Construction of Hoodo, or Phoenix Hall of Byodo in temple; sumptuous lacquer decorations. Great age of scroll-painting; Yamato-e style of painting developed. Animal Scroll by Toba Sojo (1053-1140). Hall of the Great Buddha at Nara destroyed by fure. First
period of nationalization in architecture.
Shinden-zukuri style of domestic architecture developed.
KAMAKURA PERIOD Minamoto Yoritomo civil c. 1
191
1252 1274, 1281 1309 1
185-1573
Zen
wars. Penetration of
founded by
sect
T567
Eisai; tea planted for first time; tea ritual initiated.
Kublai
Khan
attempts conquest of Japan.
Kasuga temple. The No plays written and Second period of Chinese influence in architecture.
Scroll-paintings of
(ASHIKAGA) PERIOD
1576 1584 1573-1591
1596-1615 1598
I 624- I 644
1637 1639
(1573-1615)
Death of Hideyoshi, on expedition
to Korea.
Second period of nationalization in
Tokugawa
potters start kilns in
Kyushu, making
architecture.
(1615-1867)
Edo becomes the Shogun's capital. Beginnings of Japanese porcelain. Ninsei, 1 596-1666. Kan-ei era; luxurious mode of Uving develops. Sotatsu, 1 589-1651, painter active 1630. Beginnings of Kabuki, popular drama. Christian RebelUon at Shimabara. Cessation of intercourse with outside world. Revival of Confucianism. Rise of Ukiyo-e art. Development of the woodcut print. Hishikawa Moronobu, 1618-1694; Ogata Korin, 1658-1716. leyasu,
1
542-1616, appointed Shogun.
Genroku
era; prosperity
Kambun
era; feud
1720 1716-1736
Introduction of the
textiles
and dissemination of culture. between the Machi-yakko and the banner knights of Edo. Development of kambun
with bold designs for
Nanga
dress.
Korin, 1658-1716, painter.
school of hterati painters.
Kyoho
era of affluence and extravagant living. Master printmakers: Suzuki Harunobu, 1725-1770; Kitagawa Utamaro, 1753-1806; Saito Sharaku, active 1794-95; Hokusai, 1760-1849; Ando Hiroshige,
1797-1858.
764- I 772
Meiwa
era.
1830-1844
Tempo
era;
1853
Korean knmigrant
glazed pottery.
1688-1704 1661-1673
I
(1338-1573)
Rise to power of Toyotomi Hideyoshi. Construction of castle at Azuchi. Construction of castle at Osaka. Tensho era, during which karaori (Chinese weave) textiles were introduced from Ming China. Raku pottery ware began to be produced. Kano tradition in painting continued by Kano Eitoku, 1543-1590, and Kano Sanraku, 1559-1635. Keicho era. Kirym silks for warrior banners. Puppet shows developed, to accompaniment o(jojuri chanting.
EDO (TOKUGAWA) PERIOD 1615 1616
masks perfected.
Shogun Ashikaga Yoshimasa. New dependence of Chinese models. "Higashiyama" age. Tea cult formalized by Zen monk Shuko, 1422-1502, who built the Dojinsai tearoom at Silver Pavihon. Incense ceremony founded by Shino Soshin. Lacquer by Michinaga Koami. Development of the new Suiboku (monochrome) style of painting, with Sesshu Toyo, 1420-1 506, its greatest exponent. Tosa school of painting, led by Tosa Mitsunobu (1434-1525). Kano school of painting, founded by Kano Masanobu (1434-1530). Goto Shirobei (1439-1512), master metalworker for sword mounts. Hall of Great Buddha at Nara again destroyed by fire.
first
1573-1867
No
Gingakuji, or Silver Pavilion, built by
MOMOYAMA PERIOD 1582
Kamakura. Reconstruction of monasteries damaged during
Zen Buddhism,
Great Buddha of Kamakura, bronze icon.
MUROMACHI 1479
(1185-1333)
estabhshes capital at
Arrival of
MEIJI
economic reforms.
Commodore
PERIOD
Perry.
(1868-1912)
of Provinces and Prefectures THE EARLY TRADITIONAL DIVISIONS
of the
known
as kutii,
Japanese empire were in the form of regions
or provinces, but during the Meiji period the country to be divided into prefectures designated as
Of
the 46 prefectures there are one
to
to,
do, fu,
came
and
(Tokyo-to),
ketu
one do
(Hokkaido), two/w (Kyoto-fu and Osaka-fu), and 42 ken or rural prefectures. In the following table are listed the
names
of the provinces with the names of the prefectures that approximately correspond to the same geographical regions.
Kawachi
MAP OF THE OLD PROVINCES OF JAPAN. Courtesy of Hideo Kasai, Tokyo
PREFECTURE
PROVINCE
PREFECTURE
PROVINCE
Aki
Hiroshima
Kozuke
Gumma
Awa
Chiba Tokushima
Mikawa
Aichi
Mimasaka
Okayama
Hyogo
Mino
Gifu
Hiroshima
Musashi
Tokyo, Saitama and
Awa Awaji Bingo Bitchu
Bizen
Okayama Okayama
Bungo
Oita
Buzen Chikugo Chiuzen
Fukuoka and Oita Fukuoka Fukuoka
Echigo
Niigata
Mutsu Nagato Noto Oki
Kanagawa Aomori and Iwate Yamaguchi Ishikawa
Shimane
Omi
Shiga
Kagoshima
Echizen
Fukui
Osumi Owari
Etchu
Rikuchu Rikuzen
Iwate and Ishikawa
Harima
Toy a ma Hyogo
Hida
Gifu
Sado
Niigata
Higo
Kumamoto
Sagami
Hitachi
Ibaraki
Sanuki
Kanagawa Kagawa
Aichi
Miyagi and Iwate
Hizen
Saga and Nagasaki
Satsuma
Hoki
Tottori
Settsu
Kagoshima Osaka and Hyogo
Hyuga
Miyazaki
Shima
Mie
Iga
Mie
Shimosa or
Iki
Nagasaki
Inaba
Tottori
Shimotsuke
Tochigi
Ise
Mie
Shinano
Iwaki
Suo
Nagano Yamaguchi
Iwashiro
Fukushima and Miyagi Shimane Fukushima
lyo
Ehime
Izu
Izumi
Iwami
Izumo Kaga
Shimofusa
Chiba and Ibaraki
Suruga
Shizuoka
Taj i ma
Hyogo
Tamba Tango
Kyoto and Hyogo Kyoto
Shizuoka
Tosa
Kochi
Osaka Shimane
To to mi
Shizuoka
Tsushima
Nagasaki
Ishikawa
Ugo
Akita
Uzen Wakasa
Yamagata
Kazusa
Yamanashi Osaka Chiba
Yamashiro
Ku
Wakayama and Mie
Yamato
Kyoto Nara
Kai
Kawachi or Kochi
Fukui
^ [
Ishikawi
MAP SHOWING THE PREFECTURES OF JAPAN. Courtesy of Hideo Kasai, Tokyo
11
I
I
OR OVER
centuries
thirteen
The
of recorded
Cultural Heritage
century, there existed narratives in verse and stories of past
history the arts of Japan have served to
events and the circumstances connected with them. These
transmit her customs, myths, legends, and rehgious behefs,
were carefuUy committed to memory and handed down to
.^L.
besides chronicHng the everyday hfe land. This represents
the history of
art.
and scenic beauty of the
one of the longest
aesthetic traditions in
Architecture, sculpture, and painting are
not the only manifestations of
extraordinary legacy;
this
account must also be taken of the picture prints, besides classified as
many
scrolls
and color
other categories usually rather arbitrarily
"minor" or "decorative":
virtu, such as lacquers, textiles, ceramics,
objects
of use and
metalwork, masks,
miniature carvings, sword mounts. Because of the extra-
posterity reciters,
on
these objects, the arts
regarded
Western
as art
of the
furst
Aside from their high
manship,
distinction
many of these
of subjects and
artistic
quahty and exquisite work-
arts offer
associations.
an inexhaustible repertoire
There are scenes of the daily Hfe battle scenes, episodes
the hves of Chinese sages and poets, folklore, legendary
stories,
Buddhist and Shinto gods and symbohsm, scenes from
these treasured accounts the
piled
by means of Chinese
the Japanese language. as the Kojiki,
in A.D. 712
The
partly also
of their motifs, with derivatives and to the earhest times.
fabulous
art,
records
due
to the antiquity
attributes that reach
The stream of
back
consciousness of this
appealing essentially to the taste of noble and
apphed
to
and are known
the celestial deities presented a jeweled spear to the
all
birth to a land. Standing
upon
commanding them
god
to give
the Floating Bridge of Heaven,
they stirred the cool blue waters of the sea with the spear
was named Onogoro-jima, or
until the land appeared. This
land-which-appeared-of-itself,
meaning Sun Origin. From birth to the eight islands
The
first
ancestress
was
chronicles,
now
this
called
Nihon or Nippon,
land the
which
two
gave
deities
constitute Japan,
called
great-eight-islands, as the Japanese often call
of the Imperial family, according to the Amaterasu-o-mi-kami,
Princess
literally
heaven-shining-great-deity, or the sun goddess, daughter of Izanagi and Izanami,
whose radiance was such
sent to dwell in Heaven.
moon
The next
the
was Susano-o-no-Mikoto, brought
god.
much
that she
was
There she ruled with her brother
from
PREHISTORIC CULTURE
exist
were formed from chaos,
universe. After heaven and earth
warrior patrons, resides in the hfe of its traditions descending prehistoric times.
still
and 720 respectively.
Oyashima, or
is
characters successfully
From com-
chronicles begin with the story of the creation of the
their country.
simphcity that their meanings are apt to remain veiled to the
traditions.
written chronicles were
or Record ofAncient Matters, and the Nihon-Shoki,
of such subtle and suggestive
uninitiated Westerner. This
The
first
often abbreviated to Nihongi, or Chronicles ofJapan, compiled
the theater, mythical anunals, heraldic motifs. These subjects are often treated in a style
charged by the Imperial court to keep a
Izanagi and the goddess Izanami,
order.
and occupations of the people, epic
from
between major and
does not hold in Japan, and these works must be
a class of historians called katari-be, or story-
and pure history of the nation's early
clear
ordinary craftsmanship traditionally lavished by the Japanese
minor
by
who were
child a
bom
fierce
misfortune to the
to Izanagi
and Izanami
and cruel deity
earj:h.
It
who
was because' of
of Susano-o that Amaterasu hid herself in
the
offenses
the
Cave of Heaven, throwing
the
whole world into
darkness as the sun disappeared. literature in Japan before
According to the legend, eighty myriads of deities assem-
the introduction of the Chinese characters early in the fifth
bled before the Cave of Heaven to persuade the sun goddess to
Although there was no written
13
come out and bring together
many
and
Yamato court
merry with singing and dancing
sun goddess in
until the
curiosity opened the door of the cave just a bit
going on. At
that instant
hand and flung
the door
Around
back into the world. They gathered
and recited prayers, and even made
light
offerings
one of the
wide open
to see
deities seized
to
make
what was
her by the
come
the goddess
Silla.
whose envoys were
man of
from
He was
classics.
Shinto, called shimenawa. Amaterasu then
said to
Leaving the Plains of High Heaven, he thrust
apart the many-layered clouds with his to the land of Japan.
sword and descended
Amaterasu entrusted to him three
a mirror, a sword, and a jewel or necklace,
as
objects,
tokens of his
divine mission, with her prophecy that his dynasty should flourish and rule forever.
These are the Three Sacred Treasures
understand
all
the books of
and Chinese
script
were known in Japan prior to
official
introduction of the Chinese written language.
culture, but the descendants
Not
of Wani and other scholars from
Korea and China formed a nucleus of learning, and with the
in the Imperial palace in Tokyo, the sword venerated in the
is
whose
this date,
marked the
only did this make possible a more rapid absorption of Chinese
was evolved. The
the genealogy of the Imperial line,
This event took
the arrival of Wani with his assigmnent at court
aid of the Chinese ideograms, a
early chronicles further record
classics.
sug-
who was
over
place in the year 405, and although both the Chinese language
enshrined at the Daijingu shrine of Ise, the necklace preserved
The
with
come on
at Achiki's
Wani was brought
that constitute the Imperial Regalia of Japan, the mirror being
Atsuta shrine at Nagoya.
to
petitioned to reconmiend a
court and instruct the heir apparent, and gestion a scholar' named
as its first ruler.
men
outstanding literary knowledge to remain at the
re-entering. This has since been used as the Sacred
grandson, Ninigi-no-Mikoto, to descend to the land below
skilled craftsmen
the learned
one of these missions was a Korean named Achiki, a student of the Chinese
Rope of commanded her
and
tribute
Among
each of their missions.
was banished to the Land of Darkness, and
a rope across the entrance of the cave to keep Amaterasu
constantly trying to please the Japanese
by bringing
sovereigns
out and cause the sun to shine again upon the world. Susano-o the gods stretched
the end of the fourth century a.d. the
established friendly relations with Paikche,
the Kojiki (712), although the
lost
method of writing Japanese
work
earhest surviving
written in Japanese
book
first
in Japanese
—^now
—was a chronicle compiled in 620.
prehistoric portion
concludes with the Emperor Jimmu, the great-grandson of Prince Ninigi,
660
B.C.
who founded
the
Empire of Japan
in the year
Emperor Jimmu's dynasty has continued
A
generations until the present time.
one
Archaeological evidence indicates that Japan possessed
of the most advanced Neohthic cultures in the world, espe-
making of weapons,
cially in the
tools,
creating unusually intricate designs
on
and
utensils,
and in
pottery. Prior to the
Christian era her civilization had been fairly
but gradually there developed relations and
homogeneous, traffic
between
Korea and Japan, which probably began even before the century
B.C.,
fled to
Korea because of wars
most of them were
men
first
and there appears to have been a constant flow
of immigrants. These were Koreans, and
had
of learning,
in their
Chinese
own
country, and
skilled artisans, potters,
painters, farmers,
and
who
also
weavers, scribes,
speciahsts skilled in
the raising of silkworms. EHj/gre artisans and specialists appear to have
come over
in fairly large numbers,
element of the early population of Yamato,
around Nara was
ARRIVAL OF BUDDHISM
for 124
called, consisted
and a strong as the
region
of foreigners. These
ented immigrants stimulated the cultural
tal-
development of
further impetus to learning and cultural development
was provided by the introduction of Buddhism
stated that although the rehgion
explain and
worthy and
its
conception of deliverance from
architects,
Buddha and
submit the merits of
new
two powerful
gifts
from
this
The Emperor, upon
the sutras, decided to
rehgion to
his ministers for
factions at court.
On
the one
between
hand were the
Mononobe clan, who were the leading mihtary family, and the Nakatomi
clan, the hereditary liturgists;
rival the
Soga family.
presented
When
on the
other, their
the question
was put
who had been appointed O-omi or
Chieftains, favored
him with
Chief
Buddhism; therefore the Emperor
the sacred image,
which Soga
set
up
in
own house. The opposing faction strongly objected on the
mihtary expeditions to Korea and Japan's poUtical relations
his
with the three kingdoms of the peninsula KokuH, Paikche,
ground
14
These
and nuns, besides
consideration. This decision brought about a conflict
of
:
priests
receiving the image of the
was quickly
development were the early
was most
image carvers, and men learned in medicine,
before them, Soga,
this
difficult to
it
followers a beautiful
calendar-making, music, and divination.
brought from the mainland in the form of Chinese learning
importance in
its
all desires.
Paikche were soon followed by
temple
to apprehend,
excellent, bringing to
common
Of great
of Buddhism was
meaning was hard
Japan to such a degree that the high order of civilization
assimilated.
in the year
when the King of Paikche sent an image of the Buddha, with a number of volumes of the sutras and a message recommending the adoption of this new religion. This message 552,
that the
worship of foreign gods would only bring
down
the wrath of native deities,
who had
been worshipped
progress, as
it
was caused by the anger of the native gods, ordered
thrown
the image to be
into the canal at
Naniwa,
now
in
was
who was learned in
Chinese
successfully re-established
of Soga-no-Umako,
literature, the
with the powerful
new
tire
world.
Buddhism, year 587,
for
emerged
it
when
as the great
new
Yomei,
a behever in the
Shinto,
fell ill
dynasty.
The envoys and with great care
his faith in the
new religion. With
leader having a
by the Emperor,
a great impetus
was given to the progress of Buddhism. Soga-
faith
artists,
movement, and
the result
More holy images and
by
culture adopted
was
age of
numbers of missions
staffs
of these
as to their
staff
official
embassies were
rank and learning, the
of subordinate envoys including
numbering
as
many
as five
hundred
the Japanese
was
in a
new
the important aspects of the
of the
a modification
Chinese administrative system, incorporating most of its categories,
other religious articles sculptors,
whole
One of
single mission.
advancement of all forms of culture, with Buddhism
were brought from Korea, along with
buildings are
craftsmen, founders, carpenters, smiths, doctors, and
diviners, frequently
no-Umako, having reached a position of great power in Japan, placed his resources beliind the
its
this great
administrative institutions that flourished under the T'ang
selected
new
Suiko, and in
China to acquire a knowledge of the cultural and
well as in the native
of devotion to the
as the source.
sent to
as
that
in the
607 by Prince Shotoku in obedience
All through the seventh century great
were
religion in the
this expression
a rapid
most ancient wooden structure
in
time the Emperor
At
law of Buddha
and avowed
was founded
It
Buddhism.
another
the Soga family attained the most powerful
position after a brief civil war.
by the
as indicated
preserved images and other treasures of
proved the merits of
pestilence occurred. These trying times
freedom of style
its
have survived the ravages of
that
command by Empress
to a
During the following decade the fortunes of Buddhism
when
to
architecture
and the elements. The most celebrated are those of the
Japan, besides being the
assistance
who had followed his father as an ardent
the pressure of opposing factions
Temple
Horyuji, near Nara, the oldest existing teniple nucleus in
faith
behever in Buddhism.
waned under
medium was confmed
comparison to the Chinese prototypes,
few splendid monuments
called
Osaka. However, with the succession in 572 of the Emperor Bidatsu,
this
quickly showed unusual development in
of sickness spread throughout the land, and the Emperor, believing
most of the work in
the decoration of temples and images.
since the founding of Japan. Shortly thereafter, an epidemic
bronze
official
from the formation of a court hierarchy based on rank distinguished by
titles
and costumes, to
specific
reform and taxation. Travelers returning
workers, painters, temple carpenters, monks, and other learned
details as to land
men. The building of monasteries and the making of images
from China with detailed accounts ofthe splendors ofthe T'ang
advanced with great
capital at
strides, particularly
Empress Suiko to the throne in 593, when
with the advent of
vested in Prince Regent Shotoku Taishi.
Shotoku Japan.
is
At an
their
Buddhism
in
in the doctrines
of
considered the real founder of early age he
became learned
the faith and in the Chinese classics, and as
made Buddhism
Along with
teachings. tellectual asteries,
a
his propagation
were made
for learning the Chinese script
Chinese literature,
as all the
A
written in Chinese. scholars, artists,
and
continuous stream of
mon-
regulated
settled in Japan, creating the
cultural foundations.
(552-645),
named
Nara, marks the
after the seat
initial stage
by Chinese
the
was
monks,
now
art
a complete system of municipal government. it
had been the custom for the Emperor
new
palace
transferred with each
new
reign,
no
myo was
that the first
in accordance
of the Asuka
seat
established in the province
kyo, which was
the in-
permanent
later called
towns or It
cities
was not untU
new
city
was
with a plan based upon the Chinese
Gem-
laid
out
capital
of
Ch'ang-an, with palaces and mansions erected on a magnificent scale in the Imperial "inner city." itself
was metalwork. Painting showed
great
of Yamato and called Heijo-
Nara. The
apphed
there
site,
of court and government
period was principally sculpture in bronze and wood. In the arts
at the
on some new
the year 710 during the reign of the Empress-Regnant
of the Imperial court near
The
An important fea-
developed, such as had been the case in China.
of refmement and greatness of
culture.
and regulations, which
Taika Reform edict issued in the year
usually in one of the Imperial domains. Because the capital
Asuka period
Buddhism and
a code of laws
time of accession to erect a
most important nucleus of Japan's
The beginning of
Japanese art with the introduction of fluence exerted
priests,
by
Until this time
and studying
from Korea
efforts
ture of the Taika edict was the provision for a capital to be
Buddhist sutras or scriptures were
specialized craftsmen
on which
and to complete the great
645, and the Taiho code completed in 701.
of Buddhist
and religious houses of charity. Buddhism provided
new medium
to carry out reforms
finally resulted in the
of the moral and in-
advantages of Buddhism, he built temples,
scale
effected, inspired
to create even greater things for Japan.
work of compiling
Regent he not only
basis
countrymen
were
During the second quarter of the seventh century
the religion of the court, but also issued a
code and organized the government on the
Ch'ang-an and of the stupendous
the most magnificent undertakings
of state were
affairs
httle
was
also
on
a
grand
scale,
The
plan of the city
symmetrically arranged and
15
i
^ii£^
Example of the kzsumi incidents in the life
technique,
from the
of Tenjin-Sama,
to
KitAnoTemmnn-guEngi,
whose
Kitano shrine
spirit the
NARRATIVE SCROLLS
by Nobuzane Fujiwara, 1176-1268, a picture is
dedicated.
above with the roof omitted, permitting an unobstructed picture of the interior.
Scroll-painting, called e-maki, or makimono, which received its
inspiration
from
of illus-
literature, originated in the idea
trating historical accounts, stories, ratives.
A makimono
is
illustrating
scroll
Kitano shrine. Kyoto.
poems, and popular nar-
a horizontal hand-scroll having pic-
is
The term
numogatari-e, or story-picture,
given to scroll-paintings of pictures alternating with text,
thus serving as a visual realization of the literature.
most famous extant examples of this gat ari scroll
of the great
literary
style
is
One of the
the Genji
who was active
tures of successive scenes arranged in chronological sequence.
The work is
There are two kinds of makimono, one having continuous or
during the middle of the twelfth century. Actually
successive illustrations,
and the other having individual pic-
tures alternating with portions is
text.
The
rolling
to fifty
this
scrolls
famous novel written by Lady Murasaki
century.
The
it
consists
with excerpts from the fifty-four chapters of in the eleventh
story portrays the elegant and romantic atmos-
to facilitate
phere of the Heian court life and the dramatic passages through the seasons of the year of the courtship and sorrows of Prince
It is
to left like the text. to the realistic,
paintings:
affixed to a rod at
Ranging
one end
in treatment
from the
poetical
many different themes are represented in scroll-
religion,
romances, children's
events, popular customs,
great
of paper
scroll
from ten
attributed to Fujiwara Takayoshi,
and unrolling, and the pictures are viewed from right
feet in length.
A
of a
generally about twelve inches deep and
of two
Mono-
romance of the Tale ofGoiji.
number
stories,
famous views, and
historical
historic places.
of Japanese scroll-paintings are executed in a
Genji,
who
is
deeply in love with Murasaki-No-Ue. All of
these scenes are pictorial device
viewed obliquely from above o( fukinuki
In contrast to the rich gatari scroll,
which
and
in the usual
yatai.
brilliant colors
are in perfect
of the Genji Mono-
harmony with
its
delicate
peculiar perspective called fukinuki yatai, or roofless houses.
brushwork, many scroll-paintings are in black and white.
This unique style of illustration gives an oblique view from
outstanding example of the
32
latter
is
An
the Caricature of Birds and
Right:
A
painting
Zcii
hy
1420-1506:
Sesshu,
Daruma
(Dharma) and His Disciple Eka (Hui-K'o). Dhartna, an Indian Buddhist
priest,
the reputed founder
is
of
the
Zen
sect.
Sainenji
temple, Aichi prefecture.
Quail, hy Tosa Mitsuoki, i6iy-i6gi.
Tokyo National Museum.
P Beasts, or
Animals
at Play, a
nique of independent
line. It
man-priest, the abbot
Toba
+t
•^"
'«--'-
notable achievement in the techis
generally attributed to a noble-
Sojo, 1053
1
140.
I^i
this scroll are
depicted animated and spirited rabbits, foxes, monkeys, and frogs frolicking at a picnic. There are four of these
and witty
scrolls,
of human beings. the activities of
amusing
believed to represent a satire on the behavior It is
surmised to be a pictorial caricature of
members of the upper
doubtedly recognized by the
Although many of the
were
artist's
classes,
who were un-
contemporaries.
scroll-paintings
of the Heian and
religious in subject, the principal usage
was
for the illustration of literature. Creative writing in Japan
was
later periods
closely associated
produced
scroll literature
and
much of it was
solely for that purpose. Picture-scroll art reached
zenith in the
Right:
with
Kamakura period
Kakemono,
Mincho, 1352- 1 43 1
in the :
(1185-1333), which
Suihoku
style, attributed to
is
Kitsuzan
Hermitage by the Mountain Brook,
paper. Konchi-in monastery, Kyoto.
its
noted
ink on
'^.
Detail from a makimono by Sesshu, 1420-1^06: Landscape,
for a
its
great
number and variety of makimono. These portray
wide range of subjects and present
feudal
life in
medieval times.
and the
lives
A
a graphic illustration
number of
of important
priests
Shiiito
and holy men. Most
of the famous temples and shrines have preserved among treasures a
makimono which
the rehgious trate
life
records
its
stories
and
battle scenes,
beautifully embellished sutras or scriptures. living
and fashions
is
on paper. Collection of Motomichi Mori,
Yaniaguchi.
but harmonious colors, in contrast to paintings done with
weaker colors or
in ink
monochrome.
In
many of the
paintings with illustrated narratives the transitions
scroll-
from one
scene to another and the passage of time are described with characters written in a beautiful, often very expressive callig-
raphy inserted between the
which naturally contain the
pictures. shifting
Sometimes the
stories
of scenes and the passage
which
of time resort
to a device technically called kasumi,
peculiar to the
Yamato-e style of painting. The literal meaning
The mode of
a purely Japanese
manifestation called Yamato-e, as distinguished
light color
scrolls illus-
from popular literary works.
in the picture scrolls
and
and many are
in dress are colorfully depicted in these
priceless records, as are the scenes
The technique used
their
sacred beginning or
of its founder. Other Kamakura
romantic military
of
religious scrolls
famous Buddhist temples and
depict the history of shrines
i)ik
from
the var-
o( kasumi
means a
is
mist or light fog; but in scroll-painting, kasumi
a special treatment
of space between pictures to signify
change of location or passage of time.
of several long
streaks, or
it
may
It
consists
of a pattern
be a well-balanced semi-
circular form.
The kasumi
ious styles of Chinese origin.
is
design
is
taken from the natural atmospheric
formations which are so typical of Japan's moisture-laden
cli-
mate, with long horizontal sweeps of dense mist cutting across
THE "YAMATO-E" STYLE
the sky.
A beautiful example o{ kasumi in the Japanese country-
side occurs at twilight in the springtime,
Yamato-e,
literally
Japanese painting,
is
the most distinctive
Japanese style of painting, without counterpart in any other art.
The
earliest
known mention of the word
text in the fourth year
Almost
all
style, in
which human
Yamato-e
is
in a
of Chotoku, corresponding to a.d. 999.
scroll-paintings
were executed
figures, houses, trees,
in the
Yamato-e
and other objects
are outlined with hair-thin lines and filled in with bright
34
form of white Scenery of
by
this
nature
the artists of the
screens.
reflects a feeling
Occasionally the kasumi device
quillity.
when it is seen in
streaks lying heavily at the foot
Yamato-e
the
of a mountain.
of solitude and tranis
seen in other
school, such as
works
on folding
The Yamato-e painters received their inspiration from
the things closely associated with the everyday lives of the Japanese.
A n ^
«^
•t.5>
-If
11^
*
i % t
>.^
4-
•''•
*.
-T
^
-
^
,
*
.
t-
'-;:. -
••'
f-
^^« «-/..
* «
/T.^
^^ *;
•"
1
"i'
"-
>;•
i*.
fi
.'
n
*-
•>
A
o
O O'O
•-
kakemono by Kano Masanohu, 1434-1530. The
Mao-shu, a Chinese Confucian in color
scholar,
subject
is
Chou
viewing lotus flowers. Painted
on paper. Collection of Tomijiro Nakumura, Tokyo.
Kano
hy
Motonohu,
were originally mounted on fusuma
and
birds;
ink and light
Keiun-in Monastery, Kyoto.
•n-
THE ZEN INFLUENCE In the
Kamakura period
Japan, and
among
its
the
THE SUIBOKU STYLE
Zen
sect
of Buddhism arose
in
prosperity and progress was especially significant
the warrior
class.
The
Zen upon Japan
influence of
and her people has been so pervasive that
it is
actually a fun-
damental part of her culture. The word Zen means meditation,
and Zen
differs
from other Buddhist
sects in
not relying upon
Suiboku painting gives an
entirely different value to the
meaning of line. In Suiboku painting
line
is
an
essential ele-
ment, marked by great individuality. In contrast to the simple
contour
lines
of the Yamato-e
style,
which may or may not
enclose color, the line in Suiboku varies with the slow or
rapid strokes of the brush.
The
line thus
becomes the
essential
formal doctrines or the worship of icons. Instead, followers of
element of expression, with infmite variations in the tone of
Zen
are supposed to erdighten themselves
black taking the place of color.
tion
and meditation in penetrating the meaning of the universe.
by
intuitive cogni-
Suiboku
art
Because images of Buddhist divinities did not form an all-im-
harmony in
portant part of Zen teaching, their religious art consists chiefly
in accordance
of
chinso, or portraits
painting
is
of great
priests.
Another form of Zen
the doshaku-ga, or a painting illustrating the deeds
of famous Zen
priests
or portraying certain natural scenes or
subjects associated with the pursuit
of enlightenment. With
the spread of Zen in Japan there appeared a
nese paintings of the
Sung and Yuan
which was adapted by Zen outlook and
taste.
artists
demand
These painters usually
own
this
bamboo, and
the beginning of the as suiboku,
new
Suiboku did not follow any prescribed conventions of composition, the artists
were able to convey
their spiritual thoughts
and present a visual conception of the unity of the individual with
all
nature.
The inherent Japanese sensitivity
From
developed in
of the fourteenth century Suiboku
by
the
fusuma by Kano
art
to the beauty
was greatly stimulated
work of Kitsuzan Mincho, who was
the head priest of
the Tofukuji monastery in Kyoto. Landscape lar subject,
and
at
about
this
became
a
popu-
time poetic inscriptions were
beginning to make their appearance on the hanging picture scroll,
of sixteen
black,
preciation as well as spiritual enlightenment. In the latter part
some
Muromachi period (1338-15 73), known
set
by
with the teachings of Zen Buddhism. Since
the spirit that permeates everything, heightened aesthetic ap-
or black painting.
Landscape and Flowers, four of a Tenkyu-in monastery, Kyoto.
a spiritual
colors
of
specialized,
style
all
particular
religious or secular subjects.
dependence on Chinese models, a
who saw
of nature, coupled with Zen teachings about the universe and
producing only certain kinds of flowers, others devoting themselves to trees,
artists,
black and white and described
Chi-
for
dynasties, the style
to their
The development of Japanese
was due to the Zen
or kakemono.
Eitoku, 1543-1^^0; painted in ink on paper.
The
as
where
origin in China,
its
the fourth century.
It is
a vertical scroll, often
on
kakemono, or hanging
traditional Japanese
with
edges to frame the painting.
heavy paper to over to give
narrow
stiffen
of
strips
on
The whole
and to
is
roll
it
The
its
folded
attached
two
several
has a-rod, usually tipped
A
up.
poem
shi-ga-jiku
The
fifteenth centuries.
of the painting or complimentary remarks about the it
was the custom
frequently and replace or occasion,
to change the
designed to hold
it.
that single night
of each year.
Special preparations are
mono
having pine
made
in every household,
time are hung in the tokonoma. For the
throughout the year which
symboUc
and kake-
trees or other pictures characteristic
call for a
subject, large houses
have a few hun4red hanging
many
kakemono
of this
occasions
depicting a
with numerous rooms often
scrolls stored in the
godown.
SHUBUN, SESSHU
artist
In the early part
of the
fifteenth century
painting received a great impetus
Suiboku landscape
from the work of Tensho
or
kakemono
with one appropriate to the season
it
was rolled up and placed
it
union on
was fashionable among Zen
around the fourteenth and
work. Since
a joyous
The most important occasion in Japan is the New Year Festival, which is celebrated on the first three days of the year.
or verse
written characters frequently comprise a poetical description
his
Way, have
particular kind of
on the upper part of the
inscribed in calligraphic characters
painting proper.
is
which hang down
called shi-ga-jiku, or shi-jiku, has a
kakemono
mounted
backed with
in turn
this fold are
silk called fiitai,
with ivory, which serves to
priests
records as early
or paper
of silk brocade around
The bottom of the kakemono
inches.
silk
The top of the kakemono
it.
strength,
it
strips
m
mentioned
it is
a painting
had
scroll,
The box was then
many
or store house, along with the
box
in a
especially
stored in the
other
godown,
kakemono and
household possessions.
The kakemono
is
hung
the tokonoma, where
enjoyed. are
its
in a special place in the house,
appropriate times for changing the
The
caUed
*^-,.:
beauty can be most appreciated and
on ceremonial occasions and with
kakemono
new
the advent of the
seasons of the year. Especially important occasions for the
kakemono
display of symbolic
Herb
Early
March, the
Festival in January, the
the Iris Festival in
Chrysanthemum
which has grown
Iris,
a wealth
days are the
festival
Peach-Blossom
May, the
Festival in
are the Peach-Blossom,
and
are the go-sckkii, or Five Sea-
These popular family
sons' Offerings.
Festival in
Star Festival in July,
and
September. The most popular
and
around each of
Star festivals,
of interesting
traditions, legends,
The Peach-Blossom is popularly known as Dolls', Festival, when ceremonial dolls in traditional and
stories.
or Girls',
ancient costume are displayed. Since peach blossoms
sym-
bolize happiness in marriage, pictures are chosen that are re-
presentative of feminine charms
depicting
The
young
girls
and beauty,
kakemono
especially those
in classical literature.
or Boys' Festival,
Iris Festival,
playing a
famed
is
appropriate for dis-
depicting the deeds of a traditional Chi-
nese or Japanese hero or other epic subject taken from classical literature or history. larly
known
as
night of the seventh places
where
occasions and
38
two
Star Festival,
month by
7. It is
owes
lovely
which
is
more popu-
the lunar calendar, but in
the Gregorian calendar
the night of July
that
The
Tanabata, was originally fixed for the seventh
its
is
used
it is
most
celebrated
on
the most romantic of all the annual
inception to an ancient popular behef
stars, set far
apart
on
either side
of the Milky
^fcX^..^^^|
Shubun. As a
priest in the
Shokokuji, a
Shubun studied painting under same temple. He
raised the
Zen temple
in
Kyoto,
Josetsu, another priest in the
Suiboku
highly developed form and was the
of painting to
style
its
was perfected
of this Chinese school
Yamaguchi
to be appointed as official painter to the
Shogun. Active from
his life.
about 141 5 to 1460, he
as
is
regarded
as
founder of
this school.
extant paintings are traditionally attributed to Shubun,
well as
some
large folding screens.
The
principles
Zen
painting and a graphic illustration of the
vision of the
universe are reflected in the great works of Sesshu, a pupil of Shubun. Sesshu, 1420- 1506,
was born
province,
now Okayama prefecture, and at
to Kyoto,
where he became a
He
is
priest in the
of Zen in
who was in Bitchu
an early age went
Shokokuji temple.
considered to be the greatest master of the Suiboku
school,
under whose leadership
Plum Tree and
this
black-ink type of painting
Birds, set of four
went
to
return about a year later he went to the Unkokuji temple in
first
Many
into a truly Japanese style. In 1467 he
China, where he studied landscape painting, and upon his
prefecture,
where he remained most of the
rest
of
While studying in China he achieved great proficiency
in landscape painting
and was determined to make the natural
With
scenery of China his master.
his ability to
understand
the elements of this Suiboku style in China, and with his
appreciation of nature as seen through the eyes of a
he became the foremost black line in Sesshu's
artist
work
which he interpreted both
is
Zen priest,
of the Japanese landscape. The
the expression of great talent, in
line
and color in various tone de-
The works of Sesshu include many subjects numerous extant examples which bear his sig-
grees of black.
and there are
nature or are attributed to him. His landscapes of the four
fusuma by Kano Samaku, 1559-1635;
color on paper.
Teiikyu-iii monastery,
Kyot 39
jH^**
m^
Fishing with Cormorants, one of a pair
of six-panel screens
by
Kano Tan-yu, 1602-1674;
.K
Hideyoshi
expedition to Korea in 1598. Rikei became a naturalized citizen
and took the Japanese name of Koraizayemon, under
which name the family has continued wares for eleven generations. Hagi
mostly tea
of the
utensils
produce pottery
Hagi ware, were
and have been greatly admired by devotees
who
ceremony,
tea
to
yaki, or
place
Raku
pottery
..••j^
Hagi
first,
second, and Karatsu third. Hagi tea bowls are considered to
have a most
grain pottery usually with
is
Raku
second only to
delicate feel in the hands,
The body of Hagi ware
ware.
a thick crudely
monochrome
formed fme-
The
glazes.
early
productions were generally covered with a milk-white glaze
and a transparent yellow-green glaze a later shiro hagi,
glaze.
From
this
and rather beautiful glaze
called
White Hagi, or
milk-white
Other glazes were
1640. Victoria and Albert
Museum.
done in a swift manner,
were executed
bowls.
ido
developed in imitation of Korean
later
wares, such as the brush-marked ware with
that
chocolate-colored pottery body covered
c.
developed, and also another glaze of loquat color
resembling that found on the original Korean
strokes
Tea bowl of Hagi ware with with a pale greenish glaze,
its
wide brush
drawn
also scantily
in iron oxide under the glaze,
designs
AWATA
and mishima
decoration, as well as various glazes having light-green and
gray colors.
In the Awataguchi district of Kyoto,
was noted
for
swordsmiths, are
its
ceramic wares in
much
the
same manner
did in the seventeenth century.
AWAJI
produced pottery
which
The
in ancient times
many kilns still producing as their predecessors
early Idlns at
articles for the tea
Awataguchi
ceremony. Awata
yaki,
or Awata ware, has a white clay body and the glaze is generally
The pottery wares of Awaji are synonymous with and also Mimpei ware. The picturesque island of Awaji
referred to as is
only a few miles distant from the city of Kobe
at the eastern
end of the Inland Sea and, according to Japanese mythology, was one of the first islands created by the ancestral deities of Japan.
The ware was
Mimpei, who was
furst
produced around 1831 by Kashu
greatly interested in ceramic art. This
has a smooth brownish-white
body covered with
ware
a creamy-
a deep a
cream color or occasionally
network of very fme
crackle.
An interesting
having worked influence
ceramic
at
Awataguchi
artists
such
as
by
beautiful
monochrome
Of
beautifully mottled to resemble tor-
glaze,
toise shell.
which
is
special interest
The articles made particularly for
soft
were executed in various
some Awaji relief.
is
the Awaji or
the tea
ceremony
body, while the wares for domestic use have a
dense hard body of fme texture.
238
is
the
for a short time, exerted great
latter
produced wares for the
glazes,
Mimpei
low
ware
Chinese Imperial yellow, turquoise blue, apple green,
and a blackish brown.
have a
distinction in this
of Awata are members of the Kinkozan family
Imperial family.
ductions are characterized
with
in rich
on the pottery of Awata. The most prominent
ware
Many Awaji pro-
is
use of underglaze iron-brown and imderglaze blue. Ninsei,
and the Taizan family; the
sometimes finely crackled.
decoration
enamel colors comprising red, green, and light blue, sometimes with gold.
colored glaze that varies occasionally to a light buff. Awajiglazes are
a light buff covered
The
The
designs
colors, occasionally
pieces contain a
on some
pieces
with gold, and
molded decoration done in
BANKO In the second half of the eighteenth century a wealthy
merchant and amateur ceramist named
mon began to make pottery wares after
Numanami Gozayethe
manner of Ninsei
and Kenzan. He lived at Kuwana, where travelers embarked on a boat to cross Ise risk the several
Bay
to visit the
famous shrines rather than
dangerous rivers on the way.
Kuwana was
one of the
also
of
prints
that
Most of the
title.
highway
the Tokaido
on
fifty-three stages
by Hiroshige in his famous
depicted
of wood-block
series
productions of
earliest
Gozayemon's kiln were Raku-type wares for the tea ceremony. His
work was
who
greatly adinired
him
requested
was appointed
move
to
by
potter in
official
is
said to
have found
his
to carry
on
later a potter
and
such
as
famille rose.
named Mori
of the Banko kiln from a
The Gozayemon wares
the pottery.
he
died
had not been any successor
as there
included fme
and Chinese
imitations of Delft faience of Holland verte
Gozayemon
formula for making enamel
colors. Yusetsu purchased the seal
grandson of Gozayemon,
now Tokyo, where
1785.
around 1800, and about thirty years Yusetsu
Tokugawa Shogun,
the
to Edo,
famillc
There were other Banko productions
brownish-glazed wares, underglaze blue ware, and a
soft pottery
ware having
designs executed in red.
a cream-colored crackled glaze
The Banko
Tokyo
kiln in
with
is still
in
existence.
BIZEN Okayama
Bizen ware, made in first
prefecture,
was one of the
of the early Sue wares to acquire individual characteristics.
Bizen
is
distinctive for
its
very high-fired clay body which
closely resembles bronze, both to the eye
and to the touch. The
wares which date from the thirteenth century were originally
produced for household and articles as jugs
masters,
who
and seed
them
use
ritual
jars that are
use and include such
highly prized by the tea
Some
for holding water or flowers.
Bizen wares produced for the tea ceremony are frequently called
Imbe, which
a
is
more
thin
and
delicate
ware
first
made
about the end of the sixteenth century by members of the clan or family of that
name. In addition to the unglazed
bronze-colored bizen yahi, there bizen
made from
Above:
is
an unusual type called ao
a grayish-green clay
Banko-ware
which was
candlestick with a design
in overglaze colored enamels.
Edo
greatly
of chrysanthemums
period, early nineteenth century.
Private collection, Tokyo.
Below:
Flower holder ofAwaji ware having aflat extended mouth
in a separate piece
and two small handles
in the
form of elephants'
heads. Cream-colored body with crackled glaze, painted in colors with gilding.
Made
teenth century. Victoria
by Kashin Sanpei in Awaji,
enamel
late
nine-
and Albert Museum.
239
prized during the
Edo period.
All the wares
seventeenth and eighteenth centuries are
made during
known
the
Old Bizen
as
Bizen wares have always been highly valued by the Japanese,
by the
especially
tea devotees
or ko bizen. In the seventeenth century the hidasuhi type of
effect
Bizen appeared with the beautiful
splashed with drops of water.
highly valued for use as tea
ware each piece salt
is
partly
scarlet
marks which are
in straw
furing, the
of the body touched by the wet straw develop
streaks
vessel
when
lightly
dampened with
water from the sea and placed in the kOn. In the
parts
enjoy the moist color
of hidasuki
utensils. In the firing
wrapped
so
who
produced on an unglazed Bizen
scarlet
EIRAKU AND KAIRAKU-EN ,#
and markings. In the seventeenth century the pro-
Around
the middle of the sixteenth century Nishimura
ductions of the bronze-colored Bizen ware included numerous
Soin, the son of a samurai called Zengoro,
figure subjects executed in a nTost pleasing manner, including
potter at the Kasuga shrine at Nara.
mythological personages, gods, animals, birds, and
fishes.
Old
unglazed as a
articles
used
at
was the
official
He produced the various
the shrine for ritual offerings as well
type of earthenware charcoal brazier called a/wro.
the direction of a famous tea master
Rikyu he made
who was
Under
a pupil of
a particular type oifuro having a deep black
sheen or luster which was used especially for the tea ceremony.
To
each generation of Zengoro descendants was transmitted
the secret of making this type o£furo.
of
this line
famous
One of the most noted
was Zengoro Hozen, 179 5-1855, who became
for his imitations
of Ming porcelains. In the beginning
of the second quarter of the nineteenth century, while working
Kyoto, he was invited to go to the Tokugawa
at his kiln in
castle at
Mito, the seat of the Lord of Kishu, where he
a kihi in the
famous garden known
as
Kairaku-en.
set
up
Hozen
is
celebrated for his remarkably beautiful wares in imitation of
Ming
three-color wares, underglaze blue-and-white
and kinran-de porcelain having
after Shonzui,
with gold brocade designs
after the
ware
ground
a red
Chinese manner. Hozen's
productions coinmonly referred to by the Japanese
as
Kairaku-
en ware comprise colored glazes which completely cover the
ware
in green, yellow,
and purple, and occasionally white.
Sometimes turquoise blue
ware a
colors. In this
is
used in place of one of the three
slight ridge outlines the designs
separates
one glaze from the other, and
skillfully
blended on each piece.
pieces after the style
He
all
also
and
these colors are
produced many
of Ninsei's enameled pottery. The name
is the Japanese name for the Ming Emperor Yung Lo, was given to Hozen, written on a silver seal by the Tokugawa Lord of Kishu in appreciation of his work in the style of Ming porcelain. After that aU the successive potters of this Zengoro line have used the name of Eiraku along with
Eiraku, which
their artist
son,
Bizen stoneware figure ofHotei, one of the shichifukujin or seven gods of good fortune. life.
He
sacred
is
gem
He is a lover ofchildren and a symbol ofa happy
seen here in his happy role with a child at his side, the in his right
hand and
children or the sacred treasures.
his bag in
About 1800.
which he puts playful British
Museum.
Zengoro
line,
their individual pieces.
succeeded to his father's
work and
a rich coral-red
fmely executed decoration in gold.
He
is
also
this rich
excelled in
ground with
famous
finely executed porcelain tea bowls, rice bowls,
having
Hozen's
in 1824 in the twelfth generation of the
making gilded porcelain having
silver,
for his
and dishes
red ground with exquisite designs in gold or
frequently combined with underglaze blue-and-white
decoration.
240
pseudonyms on
Wazen, born
The ceramic wares bearing the Eiraku seal through
howl with a design of flowering
Kairakii-cii-ware pottery tea grasses.
Edo
period, first half nineteenth century.
Tokyo National
Tea bowl wade by Niusei
Tokusawa
gold.
many
these
generations are
at the present
numerous and of
time the
artist
potter
great variety,
known
as Eiraku,
Hozen, or Nishunura Zengoro, the sixteenth generation of the line,
producing wares of the
is
traditional style style
middle of the seventeenth century.
and a design of round
fans in red and light-green overglaze enamel colors with silver and
Museum.
and
in the
Pottery body covered with a black overglaze
of his
of the faniDy
own
finest
quahty both in the
as well as in a
modern
Japanese
Collection,
utensils for use in the tea
and
delicately
beautifully
worked
ceremony, including finely shaped
tea jars, tea bowls,
and water
jars,
and
modeled incense burners in the form of birds and
sea shells. Ninsei's first
Omuro
Tokyo.
wares were
made
kHns in the
at the
of Kyoto, where he produced
district
articles similar
to those of other kiln centers, such as the primitive types so
creation.
much
in
demand.
He
learned the secret of enamel colors and
him is usually credited the creation of a school of beautifully executed overglaze pottery. The influence of Ninsei's work to
NINSEI
was firmly infused
One of the most
celebrated
ramic history of Japan active
dates
is
names
associated
with the ce-
Ninsei, a painter and potter of Kyoto
around the middle of the seventeenth century. The of his birth and death are usually given
as
but these have not been confirmed. Ninsei's significant influence
1596-1666,
work had
upon the wares of Kyoto, with
characteristic style reflecting his
achievements
as
an
a
their artist-
potter. His real name was Nonomura Seiyemon and his artist name of Ninsei was derived from the seal with which his work is impressed, bearing the characters nin and sei, the latter taken from his own name. The character nin was bestowed upon him by Prince Ninnaji, who was the traditional superior
of the Ninnaji temple in Kyoto, formerly palace, near
which Ninsei had
accomplished the Tosa
artist
who had
and Kano
schools.
set
up
known
as
a kiln. Ninsei
Omuro was an
studied under masters of both
His pieces were principally
the term
Kyo is
Ninsei's
ware
from
in the qualities
of Kyoto ware, for which
often used as a broad description.
fme and hard, and
is
said to
The body of
have been made
a paste called shigaraki clay. His glazes usually
very fme network of crackle and have a glazes preferred
by Ninsei were
soft
show
a
warm effect. The
a lustrous black, a translucent
milk-white, a pearl gray, and especially one of raven-black
produced by laying green glaze over sometimes sprinkled with tiny inspired
by
enamel
richness of effect, with
minute
detail
colors, especially in the depiction
and flowers. In Ninsei ware the teristic
flecks
which was
of gold, a technique
by Japanese gold-lacquer ware. His designs
characterized exquisite
a black glaze
are
and
of plants
traditional Japanese charac-
of balancing motifs against bare, undecorated
areas
is
beautifully exemplified. In later life Ninsei traveled through-
out Japan visiting innumerable kihis and devoting to teaching other potters.
much time
Often while visiting a kiln he would 241
practice his
own
art,
which accounts
for Ninsei
many
considered characteristic of so
ware being
locations about the
country. Because of his widespread fame during his Ufetime, his
work was
imitated
by
potters almost everywhere,
sometimes badly.
Kenzan's work. The designs most frequently found include
autumn flowers,
a
few cherry blossoms, bamboo
blossoms, a stalk or
two of rice, and water
years he retired to a small village near
where he produced some of disciple
KENZAN
his best
that
predominating
of Kyoto,
ration. Typical
is its
known
of Japanese pottery, in particular
as
is
of Ninsei continued the name of Kenzan.
the
is
work of Ogata
Ogata Kenzan,
still
being copied by
a
especially appealing
Shinsho, 1662- 1743,
KYOTO WARE
poet and potter of Kyoto.
of Japanese
civilization
worked
year 794,
picturesquely nestled
various kilns in Kyoto, where he produced articles
mostly for the tea ceremony in an entirely
new
style
of ce-
ramic decoration. His designs are applied in quick strokes of the brush directly
is
local potters.
He was a younger brother of the famous painter Ogata Korin, who was also celebrated for exquisite lacquer work. Kenzan at
called Iriya,
work. Kenzan was a
remarkable freedom of shape and deco-
of this freedom, which
to Japanese taste,
usually
trait
plants. In his later
Tokyo
of Ninsei, and because he did not have an imme-
diate successor, a son
Kenzan's free and distinctive style
A
leaves gently
touched with snow, three blades of grass, a branch with plum
on the
soft clay
body of Raku-type ware
The ancient capital city of Kyoto-, which has been the center
tains.
is
Teeming with
and culture from
historical
great center of Buddhism
of old Japan
lingers.
is
a
Though
its
founding in the
among surrounding moun-
and
religious traditions, this
unique city in which the
spirit
often the scene of fighting and
and other similar pottery. Both bold and sketchy in a most
conspiracies of powerful feudal houses, the city has always
unconventional manner, Kenzan's designs are more easily
preserved
appreciated as painting than as ceramic decoration. Sometimes
from
as
an additional touch he would include a piece of poetry
with the design. Kenzan's designs have continued to exert a strong influence
on Kyoto wares
as
well as on wares in other
parts
of the country until the present day. The color technique,
with
its
superb combinations,
is
one of the unusual features of
Kyoto-ware porcelain bowl by Dohachi, 1783-1855. Design of cherry trees and maple trees. Edo period. Tokyo National Museum.
its
It
has also played an important role
in art and literature and for a long time has been a center
famous for ceramic artists and kyoto yaki,
potters.
The terms Kyoto ware,
and kyo yaki are synonymous, and are applied
to
a great variety of wares produced in private kilns in and
aroimd the
capital. In particular
they refer to those pottery
Pottery ivriting screen depicting a mountain, pine
tree,
and house
roughly sketched with quick brush strokes by Kenzan. Metropolitan
242
ancient prestige and cultural elegance emanating
the Imperial court.
Museum of Art.
Gift of
Howard
c.
1740.
Mansfield, 1936.
wares decorated with overglaze
by Ninsei
enariiel colors as
in the seventeenth century,
and Seto-type wares. Kyoto wares are made of different kinds
and blends of clay because the
were exhausted
at
many
it
a variety
of
local deposits
had to be brought from
products bear the
name
kiyomizu yaki.
The wares
called
Old
Kiyomizu or ko kiyomizu are chiefly imitations and adaptations of Chinese enameled porcelains: the underglaze blue-andwhite, celadon, and three-color ware of Ae
Ming and Ch'ing
Kiyomizu was a pottery having a creamy-
dynasties. This early
wares of Kyoto are
white clay body and a cream-colored glaze which might or
according to the style or design of certain individual
might not be crackled. There were probably more than ten
The
distant places.
classified artists
an early date and
developed
and the glazed Raku-
Among
or potters.
characteristic
the outstanding ceramic artists of
kilns located in this area in the latter half
of the seventeenth
Kyoto, besides Ninsei and Kenzan, previously discussed, are
century,
making articles for the tea ceremony. In the eighteenth
many who flourished from the late eighteenth century through
century,
when
the
nineteenth
century,
including
Aoki-
Okuda-Eisen,
began
to
there
was
a rage for Chinese ware, these kilns
produce enameled pottery, and in the beginning of
was added. At the present
Mokubei, Takahashi-Dohachi, Nin'ami-Dohachi, Eiraku-
the nineteenth century porcelain
Hozen, Eiraku-Wazen, and Makuzu-Chozo. Several small
time Kiyomizu ware includes both pottery and porcelain.
same
private kilns have been continuously producing the
wares since the sixteenth and seventeenth centuries and are still
among
being operated by family descendants. Included
the old family potters
working
at their private kilns are
Rokubei, Chikusen, Eiraku, Kawai, and
Among the
Settsu.
Ming and Ch'ing
On
a cliff near the
of the
city
summit of Mount Otowayama,
district
many
number of Buddhist
mountain, which
is
in the
of Kyoto, stands the famous Kiyomizu
temple, and preserved in the cincts are a
still
buildings within
masterpieces.
its
Around
prethis
popularly called Kiyomizu, and in the
below known
as
Kiyomizu-zaka, are kiln
sites
whose
operating
Rokubei and
who came
to
Miura Chikusen, the fourth generation
to
is
noted for
his exquisite imitations
of
underglaze blue-and-white, which are con-
sidered the fmest of this type of work produced
the present time.
eastern part
district are
Chikusen. Rokubei, who is the fifth generation, is the descend-
operate the family kiln,
KIYOMIZU
Kiyomizu
ant of Shimizu Rokubei, 1740-1799, a potter
Kyoto from
Seifu.
outstanding artist-potters of Kyoto
private family kilns in the
The
style
anywhere
of wares produced in
at
this district
underwent changes with the passing of time, from the very earliest
tea-ceremony
utensils to
enameled pottery
as intro-
duced by Ninsei and the imitations of Chinese wares as ko kiyomizu.
The
later
Kiyomizu wares
known
reflect the artistic
ceramic traditions of Kyoto and are essentially Japanese in their color decoration.
Shonzui-style octagonal bowl with cover, in under-
glaze blue-and-white, by
Kawamoto Hansuke: Edo
period,
century.
early
nineteenth
Tokyo National
Museum. 243
SHONZUI
IMARI
is named after Gorodayu Go Shonzui, a who traveled to China in the year 15 13 to study the art of making and decorating porcelain. Upon his return to Japan
island
Shonzui ware
potter
he
settled at Arita in
Hizen province, where he produced
porcelain wares of underglaze blue-and-white.
have brought back quantities of china
known
clay.
He
is
said to
Shonzui design,
by oblique wavy bands
as kara-kusa, is characterized
of underglaze blue alternating with white bands. The designs Oil
the blue bands are in reserve and consist chiefly of brocade
and imbricated
patterns.
These bands are generally used in
combination with landscapes, and designs in the Chinese manner.
also
A
with flower and plant
favorite style
of Shonzui
decoration consists of geometrical patterns, especially in the
form of linked circles or to Shonzui
disks.
and bearing
Many extant examples ascribed
his seal are
of excellent form and
beautifully decorated with such patterns,
borrowed from
Chinese designs of the late Ming period. These Shonzui designs
with various pattern combinations are purely Japanese in feeling as rice
and have
a
unique charm
bowls and water
when appUed to such articles
Edo period,
eighteenth century.
Saga prefecture, bear the generic
The many
yaki.
Takasu Collection, Tokyo.
name of Imari ware
kilns in this area include Hirado,
now
or imari
Okochi,
Nabeshima, Kakiemon, and those located in Arita. Collectively theSe ceramics are called Arita ware, but during the
Tokugawa
Shogunate the wares produced commercially in the Arita were exported to other parts of Japan
city
of
from the port
tov\m of Imari and have been popularly called hnari ware.
The English term Old Imari, which refers to the
ware dating from the
on and does not
signify the early
quality
known in Europe,
well
early eighteenth century
when
china clay of fme
was discovered in Izumiyama, the Korean potters who
settled in first
is
ware of Arita. At the begin-
ning of the seventeenth century,
Hizen province were able
time
after the
to
make
porcelain for the
aforementioned Shonzui. These porcelain
wares have a fme hard white body decorated in underglaze blue-and-white.
The
naturally influenced
Imari
from
dish.
style
and technique of decoration was
by the blue-and-white for these potters
Design of coiiuentionalized
silk brocade patterns.
National Museum.
244
in the northern part of the
of Kyushu, principally in Hizen province, which is
Yi dynasty of Korea,
jars.
hnari dish having a design of horse-chestnuts in ovcrglaze colored enamels.
The ceramic wares produced
Edo
porcelains of the
were
skilled in
birds
and flowers copied
making
period, eighteenth century.
Tokyo
If}iari dish.
men
Design of Dutch ships and Dutch-
in eighteenth-century costume.
Kato
eighteenth century.
such porcelain in their native country. After a short time the Cliinese blue-and-white porcelain of the
to exert tions is
its
influence
Ming
and fmaUy replaced the original produc-
of the Yi-dynasty
style. In
Japanese the term sometsuke
applied to blue-and-white wares, while gosu
Ming
dynasty began
is
applied to the
blue-and-white wares of China or imitations. Most of
the blue-and-white wares
were for
daily use
and included
rice bowls, plates, sake bottles, candlesticks, shoyu oil pots,
chopstick holders, and flower holders.
numerous and included
all
The
designs
were
kinds of Chinese and Japanese
subjects such as flowers, plants, grasses, trees, birds, animals, fishes, celestial subjects, landscapes,
and seascapes
(Plate 14).
Blue-and-white wares have always appealed to the Japanese aesthetic sense
of purity and elegance, and they have always
been favored for daily
at
Arita
by Kakiemon and Tokuemon. The
wares, but
style inspired
it
by the designs and
fashion in brocade textiles. this characteristic style
The
colors
late
of the prevaUing
developed expression of
fully
became known
as imari tiishiki-de,
Tokugawa period
Imari Brocade, and aU through the
or
these
Arita wares remained in great favor and typified the Japanese taste for
merchant
enameled porcelains, particularly among the rich class,
which leaned toward elaborate designs and
richness of color.
The
designs
surface, leaving almost
on Imari ware cover the
no ground. They
pleasing and ingenious
manner upon
bowls
and well-balanced
it
in a symmetrical
was greatly admired and imitated
Worcester, Chelsea, and Delft.
ARITA PORCELAIN
early Arita
soon developed into a purely Japanese
was exported by Dutch and English
use.
Tokyo.
was influenced by
porcelain decorated in overglaze colors
Ming
Edo period,
Collection,
Its
are
entire
composed
in a
the surface of plates and pattern. Imari
traders to Europe, at
ware
where
such places as Meissen,
colored enamels include
semi-opaque purple, transparent sapphire blue, dull yellow, bluish-green, underglaze blue and, in the older pieces, a rather
In the middle of the seventeenth century the art of makmg
porcelain with overglaze enamel decoration
was developed
dull rich vermilion.
Many
pieces of early Imari
have designs
depicting the manners and customs of the times, showing
245
Imari wine
bottle
with a design in overglaze enamels of
the seven sages in a century.
Amamiya
figures of Japanese
wood-block
One of bowls
is
six large
bamboo grove. Edo
century.
similar to those in genre
prints.
the
most
bottle vase in
overglaze colored enamels with
a design of flowers and birds.
Tokyo.
Collection,
men and women
Kakiemoti
period, seventeenth
Nakajima
Collection,
attractive designs
found on early Imari
round medaUions of a beautiful warm, duU red or
period, seventeenth
with an abundance of colors lavishly emphasized by too gold, resulting in a complete loss of
the yoraku or necklace motif. This usually consists of
Edo
Tokyo.
gance.
its
much
original refined ele-
As the domestic and export demand
increased, even
during the early part of the eighteenth century, imari nishiki-de
became
a standardized style
and potters of the Arita
district
vermilion connected with delicate conventionalized pendant
not only produced their wares in their homes and fired them
flowers or arabesque designs in enamel colors. Appearing
at a large
the inner side wall of the bowl, the design
same elaborate manner on the as
outside.
produced on the early wares with
The its
is
on
repeated in the
imari yoraku design
elegant composition
community
were
also
ceramic
by the
Many
many
pieces of this
ware were made with elaborate designs
of eighteenth-century Dutch costume.
246
The
nishiki-de
ships
and figures in Dutch
became overelaborate and gaudy.
town of color
painters,
where
draw and
who specialized only in painting common workers were employed to
artists
figure subjects, while
and
but there also sprang up in Arita
workers specialized in overglaze enamel decoration. There
and rich colors has always been greatly favored in Japan. The Dutch traders, on the other hand, were particularly attracted beautifully decorated imari nishiki-de porcelains,
kiln,
a place called Akae-machi, or
paint designs allotted to
of the
later
export market and, as such,
of the early Imari and
had appealed
them on a production basis.
Imari wares were especially
made
for the
lost the original beautiful quality
also lost the
warm rich elegance which
to the Japanese taste.
KAKIEMON
Kakiemon ware of the 1680,
The
beautifully decorated porcelain
Nangawara
kiln
known
the famous Japanese potter early history
the
at
as
called
Takahara Goroshichi,
his birth
596-1666.
to
and purity which
have been from Izumiyama, thus belonging to
prominent in the
glaze has a warmth and richness and is pleasing to the touch. The colored enamels are lustrous and exquisitely combined (Plate 13). The hues occurring most frequently arc an iron
and death are unknown but usually are
of
said to
from about 1640
Nabeshima, the feudal lord of Hizen province. The white
who was most
dates
is
earlier period,
clay of high quality
name from
its
of Arita ware, Sakaida Kizoemon. The exact
given
1
ware made
Kakienion received
as
was made from a
He was the pupil of a famous Arita potter who had retired to a Buddhist
red, a pure
and transparent blue-green,
aubergine, light blue,
monastery because of the turbulent times. They worked to-
The iron red is rather light in tone, with an unusual richness which is complemented by the
gether during the early years of the Kan-ei era (1624- 1644)
beautiful glaze
producing blue-and-white porcelain of superb quality, but
Chinese origin, such
little is
knovwi of their later
association.
Sometime during
this
grayish yellow, and black.
lion.
on the body. Many of the motifs were of phoenix, the dragon, and the fu
as the
But Kakiemon's
designs represent true Japanese elegance
same period Sakaida Kizoemon began experimenting in the
in their simplicity, with motifs delicately balanced against
technique of making colored enamel glazes, a secret that was
large areas of bare space. His designs of flowers, plants, rocks,
him by a rich Arita merchant named Tokuemon. While Tokuemon was visiting Nagasaki, the only port open
grasses,
given to
met
to foreign ships, he
purchased
Japan. Success did not failed to
whom
he
and most of the
in
was
come easily,
produce the desired
from
since the early experiments
result,
and Kizoemon was to try
many different methods before he finally perfected the proper formulas. He fmally succeeded in producing a porcelain ornament
in the
form of persimmon with such
perfect color that
He presented it to the feudal lord of the Nabeshima family, who was so amazed with its beauty it
resembled the real
that he
from
Above:
kaki,
in the
meaning persimmon.
Nakao
Collection,
Collection,
in
glaze of the
background
Kakiemon ware
traders to Europe,
that
It
was the
was taken by Dutch and English
where it was
greatly
admired and
and much copied in the eighteenth century
at
collected,
Meissen, Chel-
Bow, Worcester, and ChantiUy. The second period of Kakiemon, from 1680
sea,
represented glaze
ware
Imari style
by is
;
to 1720,
is
a complete change in style. This transparent-
characterized
but although
second period,
by
nishiki-de decoration in the
this is the principal feature
much was
still
of the
produced in the original
birds.
Edo period,
Tokyo.
Kakiemon wine ewer. Design of plum Edo period, eighteenth
overglaze enamels.
warm opaque body
enhance the exquisite composition.
left free to
early
were ingeniously drawn
shape of an open flower. Decorated
enamels with a design offlowers and
eighteenth century.
in
word
Kakiemon bowl
in overglaze
Right:
fruit.
bestowed upon Kizoemon the name of Kakiemon,
the Japanese
branches, and trees
manner with a distinctive combination of colors,
which was then unknown
a Chinese potter
this secret process,
plum
a naturahstic
trees
and bamboo
century.
Takasu
Tokyo.
247
Kakiemon
with phim
dish,
eighteenth century.
tree
and deer design. Edo period,
Nahcshinia
Tokyo National Museum.
dish.
Design of wisteria brandies
glaze hlue-and-white. Edo period,
in
eighteenth
under-
century.
Tokyo National Museum.
Kakiemon
style.
The demands of the
rich
merchant
class
and
of the feudal lord of Saga, head of the House of Nabe-
kilns
the popular taste of the time were responsible for this departure
shima, whose castle was at the
from
in the northern part
the earher charming and elegant
intricate designs
work
in favor
of the
and striking colors of Imari. The designs
included aU of the typical Imari work, with a limited use of figure subjects forming part of the decoration. feature
of this kakiemon
nishiki-de decoration
compared
textile patterns
Kyushu
to Imari, in
quality
which the
and colorful design combinations. The
the end of the
first
quarter of the eighteenth century the
Daimyo of Saga, who was interested in ceramic art, appointed his
most able potters to produce porcelain wares of the highest
quality
and elegance for
wares, which are
and for
his personal use
commonly known
as
gifts.
Kakiemon kilns have operated continuously for three himdred
made
called (Plate 12).
generation.
blue-and-white and celadons of great refmement, but iro
Okochi
kiln, or
Okawachi kiln
is
as it is
especially noted for
its
elegance. These wares
interruption until the Meiji Restoration, after
248
known
as
it is
the
of the Okochi Idln
were
produced under the patronage of the Nabeshima lords without
A distinctive porcelain included in the classification of Arita is
sometimes
The kilns of Nabeshima produced underglaze
nabeshima, or enameled Nabeshima,
that
NABESHIMA
at the
These
Nabeshima, were
years and are at present under the direction of the twelfth
ware
for
the closing years of the sixteenth century Lord Nabeshima,
whole surface of the ware was covered both inside and outside with
part of
hundred years and produced many great daimyo. In
Daimyo of Saga, returned from the expedition to Korea with a great number of potters who set up kilns in his domains. At
Kakiemon style. This is a distinguishing
nishiki-de as
Nabeshima family ruled the northern several
that the center
esque figure subjects, while the outside surface had a design
of kakiemon
town of Saga in Hizen province of Kyushu. The powerful
island
A characteristic
is
portion was usually plain, or contained beautiful and pictur-
in the original
of the
Nabeshima.
It
was produced in the private
they were
which time
made commercially. The Nabeshima wares were
made of high-quahty, pure-white
clay
and most of the
Naheshima
plate with design of a camellia in full bloom
by a bamboo fence, eighteenth century.
enamels.
in colored
Edo period mid-
Yamanaka and Company,
New
Nabeshima
York
and Osaka.
enamels.
were
articles
plates for daily use
presentation purposes.
Only
of the feudal lords and for
the fmest pieces
these uses, while those that
were not
were
carefully
drawn with an
outline of
were
high-temperature kiln. Colored enamels were applied over the glaze and fired in a low-temperature kihi. In the earlier
which can be described
plates,
very shallow bowls or
as
have a high and prominent foot rim. Nabeshima
designs possess great elegance, usually in a distinctive
asym-
metrical composition in subtle balance. These beautiful and graceful designs of flowers, plants, trees and, occasionally, birds
were most
designs
and waves of overglaze
Tokyo National Museum.
selected for
entirely perfect
The potting is remarkable for its elegance and exactness, and deep
The
eighteenth century.
underglaze blue; then the glaze was applied and fured in a
destroyed.
the plates,
dish with design oj peonies
Edo period,
were inspired by nature and depicted
Nabeshima manner. Their elegance
is
in a distinctive
due to the precision
with which the design has been adapted to the curved
of the dishes and essential to the
to the avoidance
composition.
sides
of anything not absolutely
Much of the
surface space
was
Nabeshima
pieces this technique
executed with great care and
were
on
laid
unnoticed.
A
skill
of color application was so that the
enamel colors
so exactly that the underglaze blue outline characteristic feature
of Nabeshima
plates
is
is
the
very high foot rim with a "comb" pattern, which was not kilns. The comb pattern was row of teeth being dravm in perfect
allowed to be imitated by other in underglaze blue, the
regularity with very fine brush outlines and filled in with cobalt blue.
On
the underside or outside of the deep plates appears
the characteristic
money
Nabeshima arrangement of the Chinese
or coin motif, or other traditional Chinese motifs,
left
undecorated. Occasionally landscapes were designed in
although occasionally the peach and peony designs are seen.
the
manner of the Kano school of painting, and sometimes
These carefully drawn designs in underglaze blue divide the
designs of fences
Many by
were used and executed
in a zigzag
manner.
asymmetrical but well-balanced designs were inspired
Nabeshima
is
noted for
its brilliant
enamel
to a rich iron red, a soft fresh green,
The Nabeshima wares with
their essentially Japanese designs
executed with such elegance exemplify the exquisite aristo-
the beautiful silk fabrics called yuzen.
hmited
space on the outside methodically into three equal sections.
colors, usually
and a light yellow.
cratic taste
of the Nabesliima lords and are prized for
their
richly enameled beauty.
249
HIRADO
feudal lords until the Meiji Restpration in 1868, kilns
The
small island of Hirado, located a
few
niiles off the coast
when
the
began to operate for the public market. The principal
forms of Hirado porcelains were
plates, tea
modeled small
bowls, sake cups,
of the old Hizen province, has been an active ceramic center
sake bottles, and beautifully
since the beginning of the seventeenth century. In the year
human subjects, birds, and flowers, all skillfully executed, with many examples of special elegance and elaborate work-
1598
when
the feudal lord of Hirado returned
from the
Korean expedition, he brought back many Korean
who
set
up
kilns in his island possession
of porcelain wares did not eighteenth century,
found kilns
at
when
start until
;
potters
at the
outlines
and edges are inclined
blue
is
rather
weak and
to be fuzzy. Like
made only
KUTANI
Mikawachi
and are characterized by a hard pure-white body with
ware, the Hirado pieces were
manship.
around the middle of the
Amakusa. These wares were made
The
of animals,
but the production
china clay of the finest quaUty was
underglaze-blue decoration.
figures
its
Nabeshima
for the use
of the
Near the'Yamashiro Spa not
far
from the
coast
of the Sea
of Japan in the remote mountain village of Kutani, or Nine Valleys, are the old Kutani kiln sites
which date from around
the middle of the seventeenth century.
Kutani
bottle
in
the
It
was here
that the
shape of a double gourd
decorated with design of lions and peonies in over-
glaze enamels. Edo period, seventeenth century.
Tokyo National Museum.
250
Hirado plate made
at the
Mikawachi
decoration of the Buddhist motifs,
and
period about
emblem
Underglaze-hlue
kiln.
orchids in a soft blue on white ground. i
ko kutani, or
Kutani wine ewer. Design of plum
o/ju-i
ivithin a circle
century.
tree.
Edo
period, seventeenth
Tokyo National Museum.
Edo
j^o. Author s collection.
Old Kutani, enameled
porcelain wares
were
produced. Although practically
unknown
these wares have always been
most highly prized by the
Japanese for their
outside of Japan,
magnificence of decoration, which
thoroughly Japanese (Plate
ii). In
is
comparison with the refine-
ment and elegance of the enameled porcelains of Nabeshima and Kakiemon, ko kutani ware possesses an unusual quality of of color, and vigor of design which gives
freshness, intensity
warmth of feeling. With the discovery of china
a great
this vicinity in the
Daimyo of Kaga
poor-quality ware which satisfied the local needs for daily use.
The
kilns
were
re-established in the early years
teenth century, and their later wares copied are
knovm
as shin kutani
(New
articles.
is
kutani,
making porcelain
in
This extensive production was
highly organized system and
middle of the seventeenth century, the
from the various
potters
and Chinese
artisans.
from
remarkable for an endless variety of
made
possible
a
kutani
is
and
artists
kiln sites in Japan as well as
The body of ko
by
comparable to the
efificifncy
Imperial kilns of China, and an assemblage of good clay for
kutani
Kutani) or simply as Kutani.
The relatively short period of production o{ko about 1660 to 1700,
of the nine-
from ko
Korean
coarse and the
Maeda Toshiharu, head of the feudal house of Maeda, estabhshed kibs at Kutani. The earhest
glaze impure, covering the vessel in a thick and uneven
wares being unsatisfactory, he sent Goto
dark and the green resembling the deep blue-green of sea
province,
best potters, to visit the kilns in
Kyushu
one of
Saijiro,
his
to study the technique
of making and decorating porcelain. Ten years passed before Saijiro returned to Kutani,
whether he
around 1660.
visited the Arita
It
not certain
is
kibs or traveled
China to
manner. The enamel colors are rich and
water.
The term
thick, the red
akae kutani refers to those pieces in
the red and green are supplemented
by
being
which
purple, yellow, over-
glaze blue, and occasionally gold and silver.
Ao
kutani,
or
study the Imperial kilns in Ching-te-Chen, but the knowl-
Green Kutani, which has no red enamel, has yellow, green, and purple enamels. Some of the designs were inspired by the
edge that
Chinese
Saijiro acquired, together
to
with the enthusiasm and
fmancial aid of this powerful feudal lord, resulted in the perfection Its
of the enameled porcelain ware knovwi
production continued until
1700,
Saijiro's
and the making of this original
as ko kutani.
death a few years after kutani yaki
came
to an
end. For the next hundred years or so the kihis produced a
late
Ming and
early Ch'ing enameled porcelains;
others are of purely Japanese origin.
The
Japanese examples
range in style from Imari and Kakiemon to the style of Kyoto pottery painting and the
Kano
school of painting.
designs are bold and free, executed with a quick
Ko
kutani
and sure
brush stroke. The colors are harmoniously combined and the
251
Kutani plate scape
Oj
etttieagottal
shape with land-
and flower-and-bird panels
enamels. Signed. century.
Edo
in
colored
period, late seventeenth
Yamanaka and Company,
New
York
and Osaka.
designs create an over-all effect of colorful rustic charm. typical ko kutani composition consisted
A
of dividing the plate
this
phase of ko kutani the use of cobalt blue came to an end
and the red enamel color disappeared, which seems to indicate
rim into symmetrically arranged compartments of geometric
that these materials
shapes or diaper patterns, with the principal design in the
and were
center of the plate.
Kano
The
school of painting
Japanese subjects taken life
executed in the manner of the
especially beautiful,
with its purely
from nature and from
of the country, including human
plants, trees, landscapes,
252
style is
and
seascapes.
the everyday
figures, birds, flowers,
Around
the middle of
now
had
originally been
exhausted.
Green Kutani, or ao
Due
kutani,
brought from China
to this shortage of pigments.
was developed with
over-all
designs in three colors, purple, green, and yellow, outlined
with black. Ko kutani and ao kutani wares, with
charm of color and rusticity.
design, have the richness
their native
of unaffected
XVII Lacquer
rHE
DEVELOPMENT of the
art
of lacquer in
Japan begins with the introduction of Bud-
a far-reaching effect
on the lacquer
art
of Japan. The Code of
Taiho, or Great Treasure, was promulgated in 701, with the
other arts was the great force that
Great Council of State as the supreme organ of govermnent,
stimulated the progress of culture. Preserved in the Treasure
and the Department of Religion holding equal rank. Various
dhism, wliich
as in all the
Kondo
Hall or
Horyuji
at
Golden Beetle Miniature of Japanese lacquer work.
is
the Tamamushi-no-zushi, or
Slirine, the earliest extant It
example
was originally a precious sanctuary
belonging to the Empress Suiko, whose son, Prince Shotoku Taishi,
from of a
was the
actual founder of
Asuka period (552-645),
the
shrine,
Buddhism in Japan. Dating it is
square and in the
form
complete with roof and doors, and mounted on a
name originated from the fact that the crossbeams,
pedestal.
Its
corners,
and edges were originally profusely
inlaid
with the
multicolored wings of the insect tainaniushi or jewel beetle,
ministries
were
and within the Ministry of the
established
among
Treasury was organized
others an Office of the Guild
of Lacquer Workers. Included in the terms of this code were the introduction of a
new
new
system of land tenure, and a
system of taxation by which
com-
or other
textiles, silk, rice,
modities locally produced were payable in fixed amounts in lieu
of labor.
The Taika Reform
declared that under the
land allotment the arable
were
fields, principally
among
to be distributed
the
new
system of
wet
rice fields,
the cultivators, with the size
an exquisite metal edging of honeysuckle design. The
determined by the number of members in a household. In
jewel-beetle wings have long since disappeared, leaving only
addition to the grants of land, each household was given a plot
set in
the metal appliques.
The
shrine
and
its
pedestal are black
lacquered and covered with Buddhist narrative scenes painted in mitsiidaso, a kind
and Nara
periods.
the paintings
of oil pigment used
The
chiefly in the
Asuka
yellow, vermilion, and green used in
were applied
as part
of ground on which
it
was mandatory
was necessary
demand due to the growing The Nara period by the pervading influence of Bud-
supply of lacquer, to meet the
popularity and prosperity of Buddhism.
of the lacquer process.
(710-794)
BEGINNINGS OF JAPANESE LACQUER
is
characterized
learned
of Japan was based upon methods
from the Chinese. The
of the Sui dynasty in China
first official
left
envoy to the court
Japan in the year 607,
and
with the accession of the T'ang dynasty in 618, Japanese missions increased in
in
number. These missions included
many fields, such as who studied the
artists,
specialists
carpenters, founders, craftsmen,
culture
and
arts as practiced
and
by the
Chinese in those times. In the year 645 the Emperor issued an edict
known
as the
all fields
of art and
stimidated the building of great temples and monasteries. interior architecture
early lacquer art
It
government to provide for an ample
for the
dhism, which caused such rapid progress in
The
to cultivate both
lacquer trees and mulberry trees (the latter for silkworms).
Taika Reform, which was based on the
land-ownership laws of the Sui and T'ang dynasties and had
The
and furnishings of these great Buddhist
buildings required large quantities of lacquer for the embellish-
ment of altars, shrines, pillars, and various religious accessories. Although the principal method for making lacquer ware from of
early times
wood
China. This was a favorite
had been
bamboo,
or
known
method
dhist images.
with hempen
a
The
for
to apply the lacquer
new as the
process
cloth, to
which
article
dry-lacquer technique and was
making various
utensils as well as
process consisted of covering a
and when the lacquer
on an
was introduced from
coats of lacquer
dried, the
Bud-
model form
were apphed,
form was removed. Another 253
technique introduced from China during the Nara period
dropper or mizu-sashi, and compartments for holding the
was
brushes and the inkstick or
called hyomon, or sheet design. This consisted
of cutting
thin sheets of gold or silver into designs and laying
them on
sunti.
Cosmetic
kits
were made
a lacquered surface, and then applying additional coats of
decorated with the most exquisite lacquer work. These
lacquer.
nificent boxes
As the Japanese
and craftsmen gained more know-
artists
articles as a
work and developed its
such a degree that
black,
of the word.
comb,
became a
actually
aesthetic quaUties to
fine art in the truest sense
were equipped with various
mirror together with
a box a
its
rouge brush, a mascara brush,
During the Heian period (794-1185) lacquer not only reached
tweezers. There also
a high level of technical proficiency and artistic
ing the Buddhist sutras or scriptures, and
skill,
but also
acquired a truly Japanese character. This development was
due both to the
taste
of the nobihty and to the continual
progress of Buddhism, which created a great articles for
demand for fine
personal use and for the adornment of reUgious
who
property.
Around
from 980
to lOii, the brUhant society at the Imperial court
the time of
included a group of talented
Murasaki Shikibu,
who
articles
kits,
reigned
women, among whom was Lady The
scroU-paintings illustrating
of Genji, with the beautiful interior furnishings
of the houses vividly portrayed, cosmetic
Ichijo,
wrote the famous novel Genji
Monogatari, or Tale of Genji. this great story
Emperor
also record the lacquer
inkstone boxes, fan boxes, and other de luxe
used by courtiers and their
objects for personal use
were
ladies.
exquisite
These lacquer
works of art, usually
of black or red lacquer, though green or gold was sometimes used.
The
tative
of the
finest artistic
stone
box or
suzuri-bako
artist
expended
designs painted with gold lacquer
his best
were represen-
accomphshment. The Japanese ink-
was one of the work.
writer's equipment, comprising
It is
articles
a flat
on which the
box
to hold the
an inkstone or suzuri, a water
mag-
articles
container, boxes for tooth
powder, boxes for incense,
for
toilet
They contained such
beautifully decorated with lacquer.
ledge of lacquer processes, they far surpassed the Chinese
it
in
various forms containing tiny drawers and compartments
a silver
bowl, a
silver scissors,
were handsome lacquer boxes
many
and
for hold-
other articles
for househ(5ld use.
Lacquer was lavishly used for the decoration of the
Buddhist temples that were being built
famous of these
edifices
at that time.
of the Heian period
the
is
Phoenix Hall, attached to the Byodoin temple
many
The most Hoodo or near
at Uji,
Kyoto, on the bank of the Uji River in the mountains. Originally
a
villa
of the Prince Minister Fujiwara-no-
Michinaga, 966-1024,
it
was converted Phoenix Hall
1052. Built in 1053, the
into a monastery in is
one of the
examples of rehgious architecture of the Fujiwara period.
It
ahghting on the ground.
of Chinese origin, in the
Its
magnificent interior
sumptuous lacquer decorations with
quer
Many
work
finest
Heian or
was designed to represent the mytho-
logical phoenix, or ho-o,
pearl.
late
inlays
is
act
of
noted for
of mother-of-
other fme examples of this great period of lac-
are extant in the
famous buildings of Kyoto, the
center of culture and the seat of the Imperial court
year 794.
from the The closing years of the Heian period, which brought
with them the decline of the Fujiwara family and
tween various
clans,
saw the
fall
and
final defeat
strife
be-
of the great
Sutra box in gold lacquer showing a design of clouds, falling rain, and vegetation. Late Heian period, eleventh century. Tokyo National
shallow water flowing through submerged wheels (detail). Late
Museum.
Heian period, eleventh or twelfth century. Tokyo National Museum.
254
Gold-lacquer cosmetic box with nacre inlay having a design of
Lacquer
sake
bottles:
of Hotel
figure
lacquered
green,
red,
a page
Kosho,
A
Right:
century.
Carved
Left:
a
in
drunken
and black; carved
of honor
in
thirteenth
wood the
wood
condition,
figure
of
house of a
daimyo, wearing ceremonial dress and holding a gourd bottle, ivith
decorated in colored lacquers
gold hiramakie
Victoria
;
late eighteenth century.
and Albert Museum.
Taira family by Minanioto Yoritomo,
who
rose to the
supreme power in 1185.
Here they began the production of black-and-red lacquer
Despite the establishment of his headquarters at Kamakura,
Kyoto remained artistic
the capital and retained
its
cultural
and
ascendency. Yoritomo showed a keen interest in religion
and respected cultivation,
cultural learning ;
and although he had limited
he spent large sums on the restoration of temples,
monasteries, and shrines.
The Kamakura period, during which
the feudal system reached great heights, produced luxurious residences
processes
and a profusion of fme works of art. The technical
of lacquer work were greatly developed,
in the inlaying pearl.
A
known as
moved to the Negoro-Dera, a monastery in the same province.
of lacquer with gold,
negoro-nuri or negoro lacquer.
domestic use, and the
name
negoro has
become
a
general term appHed to plain black-and-red lacquer utensils.
Another name connected with lacquer work of this period kamakura-bori,
in
which is
a rustic style
which rough designs were
furst
carved in high relief and
then lacquered in black and red.
The
early designs for
kamakuri-bori lacquer consisted chiefly of
peonies, diaper patterns,
and
is
of carving and lacquering
plum
blossoms,
a cloud pattern.
especially
and mother-of-
silver,
of Kamakura lacquer ware
particular variety
vessels for
It first
appeared
is
LACQUER
IN
THE MUROMACHI PERIOD
at the
from the
•Tliroughthe beginning of the Muromachi period (1338-
great Shingon-sect monastery
on Koyasan in the Kii Peninsula
1573) lacquer continued to flourish along with the other arts
Gold-lacquered sutra box with
lotus-floii>er design
end of the thirteenth century,
Heian
period, twelfth century.
at
which time
priests
(detail).
Tokyo National Museum.
Late
Cosmetic box
in gold lacquer
and mother-of-pearl inlay with a
design^of deer in an autumn field twelfth or thirteenth century.
(detail).
Kamakura
period,
Tokyo National Museum.
255
Lacquered cabinet ('kodansuj
Left:
The front
eucjosing five drawers.
maple
trees;
on one side are cherry
with fruit; on the other, cherry end, morning-glories. In silver
with a hinged door
fitted
trees in
trees in
blossom and orange trees
blossom and maple; on the
and gold lacquer on black and
inlay touched with gold lacquer; each panel
is
of conventional' ornament of gold and inlaid Sixteenth century. Victoria and Albert
shell
framed by a border
Metal
shell.
fittings.
Museum.
Inkstone box in gold lacquer showing a full
Right:
and
decorated with deer, birds,
is
moon
rising
from behind a mountain. Muromachi period, sixteenth century.
Tokyo National Museum.
despite the strife
and intrigue of the age. The Shogun Ashikaga
who was
Yoshiniasa,
addicted to a hfe of luxury, was largely
responsible for the great developments in art, and especially in lacquer.
Well versed
in literature
serious attention to the tea
and
Yoshiniasa gave
art,
and the incense ceremonies,
previously noted, and as a patron of the arts maintained artists
of
distinction.
yama Age. Among the
many
Because so
appeared in those days,
many
masterpieces of art
art historians call this era the
the foremost lacquer
as
artists
Higashi-
employed by
Shogun Yoshiniasa was Michinaga Koanii, who
distin-
guished himself in the lacquer technique called taka-makie, or relief lacquer.
According to records of the Koanii family, he
new approach
to lacquer decoration
by employing
the works of famous painters, such as Soami,
Noami, Kano
created a
Motonobu, and Tosa Mitsunobu, lacquer the
artist in
as designs.
the service of Yoshimasa in the latter part of
Muromachi period was Igarashi
other
artists
were responsible
or
silver,
of lacquer
at
nashi-ji,
The
current
256
of
and
literature
of the Sung and Yuan dynasties
Trade with China grew in
also greatly appreciated.
volume and travelers made more frequent trips, both countries being eager to exchange their products. Chinese lacquer ware
was highly prized and among the imported
articles
found
made
all
the various techniques and forms
The type of Chinese Japanese was the
lacquer are revealed guri,
which
is
lacquer
tsui-shiu, in
by
most highly favored by the
which
several layers
carving. In Japan this
the Japanese
word
for carving.
at
Murakami,
of colored
work is
It is
copies of this famous Chinese carved lacquer
made
could be
in China.
called
claimed that
ware were
first
a city at the foot of the mountains in a
magnificent section of the rock-bound coast on the Japan Sea,
and to the present day, Murakami
lacquer ware.
While
the Japanese
is
noted for
lacquer wares, they were in turn sending their articles to
carved
its
were importing Chinese
own
China, where they were highly treasured.
It
lacquer
was the
Japanese gold lacquer decoration that was most favored
Chinese, and
it is
recorded that China sent lacquer
by
the
artists to
Japan to study the various techniques. Although Japan learned
work
far
beyond the Chinese conception.
delicate nature after the style adapted
dynasties of
China
was great
in the
of Muromachi and, among the
of use in the
mode of
were
about lacquering from China, she developed magnificent
passion for things Chinese
intellectual circles
for objects
consists
pear.
from paintings of the Simg and Yuan 1 6).
of the taka-
which
used on the lacquer ware of this period were
of a most refuied and
(Plate
These and several
various depths sprinkled with gold
resembhng the skin of a
Many designs
Shinsai.
for the perfection
makie decoration and the beautiful several coats
Another famous
things, the art
tea
ceremony.
MOMOYAMA LACQUER
tea masters,
Due in part
to the then
elegance that found enjoyment in exotic
In the opening years of the
Monroyama period
(1573-1615)
the dehcate and rather complicated designs of Chinese inspira-
Lacquer writing box
in the
in
The
inside,
and
tray,
which fits
form of a koto. The cover has a dragon
gold and silver takamakie and hiramakie.
and brocade pattern
shows a landscape
the clouds, rice paddies, stream,
ivith
and maple
moon
gold takamakie on nashi-ji ground. The frame
in
in pewter,
tree in the is
wind
are
in nashi-ji
with inkstone and brass water dropper in shape of a fan. Late
Museum.
seventeenth century. Victoria and Albert
chrysanthemums
tion began to lose their appeal, the rising warrior class of this
elegant in manner. Favorite motifs included
time favoring the more simplified and striking designs purely
and paulownia leaves and flowers strewn about or incorpo-
Japanese in treatment. After the gradual collapse of Ashikaga
rated in the principal pictorial composition. Frequent use of
rule
and the short career of Nobunaga
as
the rule of the entire country was assumed
supreme war
by Hideyoshi. The
age in which Nobunaga and Hideyoshi flourished terized by,
among
lord,
charac-
is
other things, great progress in the realm
of art. Hideyoshi's residences were profusely decorated by the foremost
artists
of the time. The famous Kodaiji temple in
by Hideyoshi's widow
Kyoto was
built in 1606
of her
husband, and although
late
repeated
fures,
memory
has been ravaged
by
the mortuary chapel has survived in a splendid
of preservation with
state
it
in
its
beautiful decorations
of taka-
of the
characteristic feature
Momoyama
period,
which
named after Hideyoshi's palace, was the diminishing interest in the austere principles of Zen Buddhism. A new warrior is
appeared with the redistribution of feudal manors, and
class
practice.
A
great exponent of the gold lacquer
dynamic quality of Momoyama
so forcefully expressed the art
was Hon-ami Koetsu, 1558-1637, the foremost
this era.
common
work which artist
His simple yet forceful designs in taka-makie
of
reflect
his great ability as a painter, lacquer artist, ceramic designer,
and
skilled calligrapher.
tributed a great
many
Koetsu and pieces
his
contemporaries con-
of lacquer which compare
favorably with the fmest aesthetic accomplishments in any field
of
art.
During
the time of Hideyoshi, Japan reached a
high level of prosperity which created a favorable climate for
makie or raised lacquer.
A
both gold and silver lacquer in the same work was a
the temper of the Japanese
was such
that they enjoyed gran-
flourishing activity in the
world of
art.
Upon
the death of
Hideyoshi in 1598 the country was again thrown into a
of warfare, which
Tokugawa
state
lasted for the next several years, imtil
leyasu succeeded in subduing the rival famihes
and became supreme
ruler
of Japan.
deur and splendor. Both in the fme and applied arts the delicate
forms and rich colors reflected a feeling of vigor. Skilled artisans
and
artists
were retained by the new daimyo
as part
of their households, for the decoration of their great residences
and
castles
Even lines
with works of
art in this
sensitive
its
The precise and complicated designs
of the Muromachi became
clear
The
fme
brush strokes was replaced by brilliance of
color and striking designs.
IN THE
EDO
age of gold and color.
the lacquer art of the preceding period with
and
DEVELOPMENT OF LACQUER PERIOD
and simplified and extremely
as
siege
and
fall
of Osaka
castle in the
year 161 5, wliich
we have seen marks the beginning of the Edo or Tokugawa
period, brought
no
cessation
of artistic
creativity.
The domi-
nance of the Tokugawa family over Japan, which lasted
until
257
1
867,
is
the period in
which the feudal system reached
its full
A
form.
particular lacquer technique called togidashi
maturity. As a result of the so-called Christian Rebellion of
the distinguishing features of the
Shimabara in 1637, the cessation of intercourse with the outworld closed the ports to foreign ships. A few Dutch and
who
side
Chinese were
allowed to
remain in Nagasaki and a limited
number of trading ships amiuaUy called at the port to exchange goods. From a cultural standpoint the stoppage of overseas travel
and trade was a
serious handicap, but as the country
progressed under the pohcy of isolation, the Japanese raised their artistic resources to
greater heights.
still
patronized Chinese learning.
promoted
and
with
its
practical
The study of this philosophy
wisdom, and the
teacliings
demand
ware. There was a large style,
is
a dehcate inlay
the early part of the eighteenth century the deco-
work in lacquer began to assume an indigenous style. The painter Ogata Kor in, 1658-1716, a follower of Hon-ami Koetsu, produced some of the most original lacquer work of Tokugawa
period, typically Japanese in design, color, and
He
expression.
rose to
fame in the Genroku era (1688-1704),
most prosperous time under the Tokugawa rule, when luxury and extravagance reached a climax. Korin was one of the
Japan's greatest painters,
them on a smooth polished surface. This magnificent
to reveal
work was developed
to
finished quality of ex-
its
and the name of Masanari
cellence in the eighteenth century,
was inherited by many generations of distinguished
The development of the
art
by the devotees of the
noted in previous chapters,
followers.
of lacquer was greatly stimu-
tea
and incense ceremonies. As
many
utensils for use in these
Tokugawa work. The
elegance of the
designs, executed
and in his lacquer work he combined
bamboo, folding
blades of grass,
fans, sheaves is
charming small lacquer medicine boxes
the
of grain, and
work on
called uiro,
were popular among the samurai and merchant
class
When
the Meiji period
lacquer in
its
but with the
traditional
was ushered
form went
are well
distinguished (Plates 17
and
known, such
Hanzan, Ritsuo, Kyui, and the
as
members of the famihes of Koma and Koami 18). Of great importance to the art of Japan was
the estabhshment, in the beginning of the
of a famous school of lacquer for
more than
three
generation and this
school at
hundred
Koma
its
in Edo,
artists
years.
Tokugawa which
period,
flourished
The Koami of the
eighth
new govermnent
firmly estabhshed and an up-
surge of prosperity, the art was revived standing lacquerists.
by
Among them may
Shosai, Ikeda Taishin,
a
number of out-
be cited Shirayama
Ogawa Shomin, Kawanobe
Itcho,
was apprenticed
One of the most Yamamoto
period was
latter part
Shunsho,
who was
its
Their
members work was
with a
258
seal
Tokugawa
active in
Kyoto
of the seventeenth century, and whose
famed is
known and most widely collected article of work. The decorative lacquer work on inro
Japanese lacquer
reached
its
height in the seventeenth and eighteenth centuries
with the great demand by the merchants for ornaments which
would
vie with the ornamental sword-guards or tsuha of the
daimyo and samurai.
THE USES OF LACQUER
tionally
distinctive Japanese articles
made
in lacquer. Typical
soup bowl with
its
cover,
which is
is
and
said to
the soup, and the lacquered sake cups.
utensils
were
tradi-
the Japanese lacquered
improve the
taste
of
Used at weddings, these
of three, and are in the form
on by
selected descendants for ten genera-
sake cups or sakazuki were in
famed Kagikawa school founded by
of extremely shallow bowls graduating in diameter from two
Kagikawa Kujiro, who inaugurated
by
is
of inro lacquer. The inro
also the
carried
There was
greatest masters
Koma
probably the best
Many celebrated lacquer artists of the
tions.
one of the
and
to
of the
eleven generations.
work was
as
of
Kito-ye were the respective heads of
inception. In 1636 lemitsu, the third
Tokugawa Shoguns, appointed Koma as Court Lacquerer, a post which was held by the Koma family of lacquerers for
during the
this
in, the ancient art
Kwansei when he was only eleven years of age, and
names
of
into a temporary decline,
sober effects quite in keeping with his style of painting. There
of the Edo period whose
the
which
period of feudal rule.
Sliibata Zeshin. Zeshin, 1807- 1891,
artists
with
beautifid colors in a purely Japanese manner, include wistaria,
a sculptural treatment and a sparing use of gold to produce
were many great lacquer
down
then fmaUy rubbed
is
chrysanthemums. Especially beautiful
rative
the
which
mastery of the various lacquer techniques stamp the fmished
of shell in black lacquer.
Around
colors,
on lacquer
for lacquer in the Chinese
and the somada technique, which
and
ceremonies were of lacquer. The exquisite workmanship and
sages,
in particular the carved red-and-black lacquer called
chinhinbori,
coats of lacquer in
silver
was
of the
responsible for the Chinese influence in the designs
to 1736. Togidashi
gold or
lated
one of
many
of building up a design with
lacquer
is
Masanari,
Kyoto from about 1716
consists
There was a
strong revival of Confucianism, and the ruling class
flourished at
work of Shiomi
continuously for signed with the
traditions
handed down
over two hundred
name of the
years.
school together
of jar-shaped contour, which varied widely in
its
to three inches
They
from
are placed one
sets
the smallest one to the largest of the
on top of the other upon
set.
a square lac-
quered stand specially made to hold them. At a wedding the bride and bridegroom observe the ceremony o( san-san-kudo,
A
set
of lacquer boxes having a cover showing a river landscape with
trees,
takamakie enriched with kirikane on a ground o/nashi-ji. The Victoria and Albert Museum.
etc.,
in
mountains, a mill, a country house, boats, a cottage, temples,
three
Tokugawa
crests are inlaid in gold.
Lacquer century.
of
writing
Early eighteenth century.
box.
The cover on
rocks,
rushes,
Early
eighteenth
the right has a design
and a stream
in
gold
takamakie, enriched with kirikane
tfith
two mandarin ducks of various
on a
black ground.
The frame on
colors
the
left
is
decorated with a motif of waves and clouds in gold togidashi, containing
an oval ink-
stone and silver crane-shaped water dropper
enriched with gold.
Victoria
and Albert
Museum.
259
meaning three
threes are nine,
when
they sip three times out
by which they pledge their marriage vows. According to Japanese behef three means different sake cups,
of three
good
kick,
and san-san-kudo therefore
An
happy union.
wish for a
attractive article for personal use
name given
kodansu, the
signifies the
the
is
to a lacquered rectangular cabinet
with two small cupboard doors enclosing a nest of drawers. average height
Its
fifteen inches,
with
and
about thirteen inches,
is its
but also serves
width about
depth about twelve inches. The kodansu,
fmely lacquered interior portions and
its
hasps and lock plate,
is
its
chased brass
not only a beautiful decorative object
as a dressing case for jewelry, handkerchiefs,
and other small
of personal
articles
reserved for feminine use It is
its
is
the
use.
kimono
Another object
tray or midaro kago.
very large lacquered tray characterized by deep
a
the fmest quahty black lacquer with the
made of
generally
sides,
family crest or mon executed in gold in the center.
kimono
tray
is
placed
two-panel screen
was
is
on
The
the tatami or matted floor, and a
generally placed in front of
it.
The
a dressing-room accessory for a Japanese lady to
tall
tray
drop her
of various types are important household
living, lacquer trays accessories. Kasaiic,
given to a
meaning one over the
upon the other
stacked
The
arrangement.
to
tr^ Qt ozen.
form
is
furnished with a
This custom
made is
sits
on the
inns.
The
about one square foot in
and cake and and
is
trays are either flat
tatami floor, Japanese fashion.
Ozen
the different courses, the ozen size.
observed in some
made in various sizes for most commonly used being are
A
very small ozen
is
also for sake. Essentially the ozen
used for is
a very
generally lacquered black, deep red, or dull
orange monochrome. At a regular Japanese dinner, a guest frequently provided with
When
a
short straight legs, at a convenient height
'of individual trays is still
homes and
plain tray
is
Traditionally the Japanese used individual dining
for the diner as he
tea
lid. It is
and serves many purposes, one of which
mounted on very
Japanese
name one
that
a block-like or box-like
trays rather than a large dining table.
or
the
is
generally comprises three and
kasane
occasionally five trays and in various sizes
other,
of lacquered trays so designed
tier
two
side trays besides the
these lacquer trays are placed
upon the
is
main one.
tatami floor
kimono and other clothing into, which could then be removed
before each guest with the various small porcelain dishes and
by
bowls, they present an attractive and colorful
a servant.
An important article for use in the home and in the tea and incense ceremonies
was the lacquered incense box
called a
kobako or kogu, which was one of the choice pieces on which the artist lavished his fmest work.
Lacquered cabinet consisting of one large and six small drawers within
two folding
carved
wood,
green, red,
In
doors.
lacquered
black,
and yellow. Details
finished in guri (carv.ed lacquer).
The
front
dragons,
is
birds,
with
decorated
and clouds
in
panels with borders of peaches; the lower drawer, with peaches
on geometric ground, framed by key-pattern inside
black
border.
of doors carved
The
in intaglio
with flowers in vases and other motifs on
black ground; gourd
plants on fronts of drawers. Gilt
metal
fittings.
century.
Museum. 260
Late eighteenth
Victoria
and
Albert
Due
to the Japanese
way of
effect in the
elegant simplicity of the Japanese room.
Among
the
quer were the paper called
many
other articles traditionally
shikishi bako, a
shikishi,
box
made
in lac-
for small square pieces
which were used
for writing
of
poems; the
Tray for smoking
Left: in
trees in the distance.
Edo
Black-lacquer ground with a design
set.
gold hiraniakie depicting
men towing
a boat upstream and pine
Tokyo
period, early nineteenth century.
National Museum.
Below: of its
Lacquer document box showing the exquisite work of one
sides
of pavilions with court nobles, a lake and garden,
Border of conventional flowers and
scrolls
etc.
gold and silver
in
hiraniakie enriched with gold and silver foil on black ground. Mideighteenth century. Victoria
box in which
bento bako, a picnic
tabako bon or
tebako or large deep
box or
to carry food
and drink; the
smoking box for the ash tray and charcoal; the
dispatch
box for holding paper;
box used
for the delivery
the hasami bako, a lacquered traveling
the fubako, a letter
of letters by hand
box or
chest for clothes,
which was carried at the end of a pole resting over the shoulder of a
carrier; the cha bako or
natsume or lacquer
box
box for tea-ceremony
for holding
powdered
utensils; the
the cha-ire
tea,
carriages
and Albert Museum.
was embeUished with
work of superb
quality,
and the
rich
and elaborate lacquer
draft animal,
some proportions, was covered with highly ornate vehicles,
as
they were for the special use of the
Emperor, the Shogun, and
their
immediate
made of fme
lacquer work.
It
projected sufficiently at either end to allow
the exception
of some of the
interior appointments
in the palaces
and great mansions of the nobles and feudal lords in early times, almost
all articles
However, some of the
of lacquer ware were small in
vehicles
employed from ancient times
until the Meiji Restoration are magnificent art
size.
examples of the
of lacquer. These conveyances were ox-drawn carriages
used only by people of the highest rank, and the norimono (palanquin)
which served
to carry aristocrats
high position. The ox-carriages were of great
and
officers
size
of
with two
huge wooden wheels; they were adorned with curtains of the fmest
bamboo
cords and
craftsmanship suspended in front, and thick
tassels
of plaited
silk.
The whole of these
great ox-
The
resembled a miniature Japanese
or five swords.
were decorated with red-and-black lacquer
families.
palanquin or norimono was usually very ornate, often being
house slung by
With
of brilhantly
colored sUks. Great care and expense was lavished upon these
or tea jar; and the katana kake, or rack for holding either three
that
an ox of hand-
a caparison
its
shoulders of carriers.
roof-ridge
The only
from
a massive pole it
to rest
which
on the
other form of conveyance was
the kago, an open palanquin, of V-shaped construction in cross-section,
shoulders of
which was slung from
two
porters.
The
kago,
a pole that rested
on the
which was the humblest
of the vehicles considered appropriate for the upper
classes, is
occasionally depicted in Japanese color prints. These three vehicles represented the
when
manner of travel
until the year 1870,
a Japanese invented the jinrikisha, the use
of which
eventually spread through the whole of the Far East. Nevertheless, the still
magnificence of the lacquered ox-carriages can
be appreciated
when these pieces are
used to represent the
Shogun's retinue in the procession of the Jidai Matsuri, the aimual festival of the Heian shrine at Kyoto. During the Edo
261
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