VIS 21B - Japanese Art

Jar, Rope-Pattern Earthenware, Early Jomon Period

This is an earthenware jar that has low relief or raised lines that cover the vessel. The raised lines are done with a rope which is why it is called rope-pattern. These jars were used as water and food containers. People would also use these jars to cook and boil water (some jars had flat bottoms for this purpose). These jars are an example of utilitarian or functional pieces.

Flame-Style Storage Vessel, Middle Jomon Period

This is a storage vessel that has a mix of low and high relief 3D patterns that cover the entire vessel. The motifs that cover this vessel are designed to look like flames, fire, and water. The design reflects the life of the island nation. The design of the vessel is not very functional and is more decorative. Scholars believe the vessel was most likely used in both daily life and rituals and ceremonies.

Dogu, Jomon Period

This is a figurine known has a Dogu. The shape and design of the figurine reflects the human body with an animal mask as the head. The mask or head has cat-like features with two slits for eyes. On the mask and shoulders of the figurine we see cut in lines and dots. These cut in lines and dots imply animal fur which was worn by hunters when hunting and fishing. What’s interesting about this Dogu is that it has a hand gesture (left hand on chest) that is associated with the female body or a pregnant women.

Dotaku, Bronze, Yayoi Period

This is a bronze bell known has a Dotaku. The shape of the bell is as follows: Wide tapering body and a very thin handle on top. The handle, because it is so thin, is actually symbolic because you can’t hang it on anything. The surface of the bell is smooth and flat with cut in lines. There are 6 symmetrical square that form a grid with different motifs in each square. The motifs include animals, abstract humans, and architecture. The purpose of these bells is not musical because they are the same thickness across the body of the bell, so they were most likely used in rituals.

Haniwa Warrior in Armor, Earthenware, 3rd-6th Century

This a 3D sculpture called a Haniwa. This Haniwa in particular is of a warrior in armor, with low relief elements such as the armor itself, helmet, and designs on the breastplate. The Haniwa is very human like with simple facial features (holes for eyes and mouth and a small/triangular nose; the Haniwa is not life size. The Haniwa serves both a functional and decorative purpose: The bottom of the Haniwa is a clay cylinder that is used to hold soil and are place on top of man-made tombs. The tops of the Haniwas are usually small 3D sculptures. In addition to this, people thought these Haniwas protect the tombs.

Haniwa Horse, Earthenware, 3rd-6th Century

This a 3D sculpture called a Haniwa. This Haniwa in particular is of a horse, with low and high relief elements such as the saddle and reins. The horse is very realistic, however, not life size. The Haniwa serves both a functional and decorative purpose: The bottom of the Haniwa is a clay cylinder that is used to hold soil and are place on top of man-made tombs. The tops of the Haniwas are usually small 3D sculptures. In addition to this, people thought these Haniwas protect the tombs.

Ise Shrine, Shinto Period

The style of the Ise Shrine is very complicated with the main floor raised from the ground, heavy columns, and a thatched roof. The Ise Shrines are small in size because they are not meant to be entered; pay respects from the outside or entrance. The main hall is surrounded by smaller storage buildings, bridges, and gates. The Ise Shrine is built in honor of the Shinto gods which means “ways of the gods” which are supernatural beings that are unseen and benevolent spirits. The Shinto gods could be waterfalls, trees, or mountains (which is why the Ise Shrine is built out of wood, which has to be rebuilt every 20 years to maintain structure and integrity of the wood). The Ise Shrine itself is an anionic representation of the Shinto gods.

Horyu-ji (Golden Hall and 5 Story Pagoda), Asuka Period

This is the Horyu-ji or Temple of the Exalted Dharma. This temple follows the Chinese 6th Dynasty style of architecture: Structure on top of a stone platform, tile roof supported by a bracket system. There are three major buildings: The Kondo, 5 Story Pagoda, and the Chumon. The Kondo (Golden Hall) is square shaped with four entrances and two stories on top of a stone platform. The Golden Hall is the main worshiping hall with Buddhist sculptures. The 5 story Pagoda is used to store Buddhist monk relics which comes from the concept of Indian stupas (the spire on the pagoda, which spans the whole pagoda resembles the central axis of the stupas). The pagoda also follows the Chinese 6th Dynasty style.

Shaka Triad, Gilt Bronze, Golden Hall, Asuka Period

Inside the Golden Hall is a bronze sculpture of the Shaka Triad: The Buddha and two Bodhisattvas. We still see the typical Buddhist iconography. The Buddha and Bodhisattvas are done in the elongated style: Rectangular face and slender body. We still see the same visual hierarchy: The Buddha is the central and largest figure flanked by the two Bodhisattvas. Behind the Buddha and Bodhisattvas is a very detailed and impressive halo, with various motifs and patterns. The iconic Shaka Triad was made for frontal worship (ritual and ceremonial function).

Tamamushi Shrine (Tiger Jataka Panel), Laquer on Wood, Asuka Period

The Tamamushi Shrine is modeled after wooden temples. It has low relief patterns and motifs on the base of the shrine. It is painted with lacquer and shows scenes from the Jataka Tales. For example, one of the panels shows the Tiger Jataka which tells the tale of how the Buddha saved two tigers from starvation by throwing himself off a cliff and the tigers drank his blood and survived. There are also landscape elements that are not realistic by symbolic of the story. The Buddha is drawn in the elongated style.

Kondo (Golden Hall), Toshodai-ji, Nara Period

This is a Kondo Golden Hall that are used for worship in the Buddhist religion. This Golden Hall is only 1 story and is rectangular shaped or horizontal in form. This Golden Hall follows the Chinese 6th Dynasty style: Stone platform, very high tiled roof, and wide eaves that are supported by the 3 step bracket structure. This Golden Hall is dedicated to Priest Ganjin. Priest Ganjin was an important Buddhist mink who had lost his sight but still well respected.

Shoso-in, Nara Period

The Shoso-in is an imperial storehouse and is a horizontal or rectangular wooden building. The style of this building is a combination of the Japanese and Chinese style. For example, the building is raised on wooden post to keep the inside dry, but it still has the typical tiled roof with wide eaves. An interesting feature of this building is that it has triangular shaped post that interlock that create a well structured building. The combination of the two styles create a mix of form and function.

Biwa (Lute), Shoso-in, Nara Period

This is a Biwa or lute which is a musical instrument. It is painted leather and plectrum guard. The Biwa is painted with a landscape painting on the body of the instrument. The style of the landscape is monumental style landscape. The landscape also shows exotic image of foreigners. The presence of landscape painting shows a shift in interest for the Japanese people as they take more interest in their surroundings and beautiful environment.

Standing Medicine Buddha, Jingo-Ji, Heian Period

This is a 3D wooden sculpture of the Medicine Buddha known as Yaskushi Buddha. We know this is the iconic image of the Yaskushi Buddha because the Yaskushi Buddha always hols a medicine bottle in his left hand. We still see the typical Buddhist iconography: 3 wrinkles on the neck and elongated ears. The style of the Buddha is different from the Elongated style because of the chubby face, serious expression, and wide/fleshy body. The standing posture allows us to see the decorative and formal lines of the robe. This wooden sculpture was carved with “Ichiboku zukuri” which means it was carevd form a single block of wood.

Shingon School Buddhism, Ryokai Mandaras (Diamond World and Womb World), Heian Period

The Ryokai Mandaras are a pair of paintings that were used to help the common people learn about the Buddhist universe through a series of images because most people couldn’t read. The composition of the Mandaras are square shaped with radial balance (concentric layers that build from the center) with images of the Buddha and Bodhisattvas. The Diamond World Mandara represents wisdom with complicated Buddhist iconography; we see the Great Buddha at the center of the composition. The Womb World Mandaras represent compassion with the major Buddha at the center surrounded by many Buddhas. This mandara is very detailed and symmetrical. The style of the figures are drawn in the Chinese Tang style: Iron wire lines, downcast eyes, and straight noses. The Shingon School of Buddhism taught Esoteric Buddhism and the Mandaras serve a didactic purpose.

The Tale of Genji, Handscroll, Heian Period

This is a handscroll painting known as a Emaki painting developed in Japan. Emaki paintings are characterized by the Bird’s eye perspective which depict interior scenes looking down; no roof. Diagonal lines, that move back into space, create a sense of depth (the high angle shows the intensity of the scene). The composition is horizontal that use curtains to divide the composition. The figures are drawn with iron wire lines: Small noses, thin frames, and no facial expressions/emotion (Hikime kagibana). The Emaki paintings are very colorful and are built up with Tsukuri-e which is where you outline using ink and use pigment on top in layers. This Emaki painting is based on the novel Tale of Genji that follows Genji’s love life in court.

Origin of the Temple on Mount Shigi, Handscroll, Heian Period

This is another example of an Emaki painting titled Origin of the Temple on Mount Shigi. Emaki paintings are characterized by the Bird’s eye perspective which depict interior scenes looking down; no roof. Diagonal lines, that move back into space, create a sense of depth (the high angle shows the intensity of the scene); the depiction of architecture is very realistic. In this Emaki painting we see dramatic facial expressions and body language. Unlike the previous Emaki painting there is hardly any color and the figures are theatrical.The theme of this Emaki painting is religious and depicts a Buddhist legend: A Buddhist monk sent a golden bowl to a farmer everyday to be filled with food, one day the farmer refused so the monk used the golden bowl to make his house fly away.

Phoenix Hall and Amida Buddha, 11th Century

Phoenix Hall is an example of a Pure Land Buddhism temple. Pure Land Buddhist believe that after you die, if you had good karma, you would get to enter the Western paradise, where you would be welcomed by the Amida Buddha. Phoenix Hall is done in the traditional Chinese style: Tile roof, stone platform, wide eaves, and bracket system. Phoenix Hall is surrounded by water; the shape of the hall forms a phoenix (on top of the hall is a statue of a phoenix). Inside the hall is a 3D statue of the Amida Buddha who is in charge of welcoming people to the Western Paradise. We still see the typical Buddhist iconography, except the Buddha is done in the Chinese Tang style (wide and fleshy face). This wooden Buddha was made using multiple blocks of wood. Above the Buddha is a mandala that shows the Buddhist universe. The Phoenix hall is aniconic, but the Amida Buddha statue is iconic; both serve a religious purpose.

Descent of Amida with Divine Attendants, triptych, 12th Century

This is called a Raigo painting which shows the Amdia Buddha welcoming viewers to the Western Paradise. There is a visual hierarchy: The Amdia Buddha is the largest and most central image and is flanked by 2 Bodhisattvas. The style of the figures is the Chinese Tang style: Outlined with iron wire lines and pigment on top. The overlapping figures and landscape elements create a sense of depth. We see images of maple trees which shows an appreciation for their land. We also see the iconic image of the Kannon Bodhisattva holding the lotus throne; the Kannon Bodhisattva always has a headdress with the Buddha image and represents compassion.

Golden Pavilion, 14th Century

A powerful general converted the Golden Pavilion into a Buddhist temple. The temple is now associated with Pure Land Buddhism due to the phoenix on top of the temple and iconic image of the Amdia Buddha on the second floor. The style of the structure is Japanese: The main floor is supported by raised wooden post with bell shaped windows inspired by the Chinese Tang style. What’s interesting about this structure is that the exterior wall is covered with gold leaf paint, giving it its name. There is also a water pond in front of the Pavilion with small islands.

Garden of Daisenin, Muromachi Period

The Garden of Daisenin is an example of a dry landscape associated with Zen Buddhism. Dry landscapes are small, man-made gardens in houses or courtyards. They are meant to be personal and private. The arrangement of elements in the landscapes are meant to reflect nature, like the ocean or mountains. Zen Buddhist use various rocks, trees, sand, or bushes to create the landscapes. Zen Buddhist mediate by facing the landscapes in a seated posture or rearrange the landscape to concentrate the mind. This is how Zen Buddhist believe one gains enlightenment: Through meditation and concentrating the mind through thoughtful actions.

Garden of Ryoanji, Momoyama Period

The Garden of Ryoanji is an example of a dry landscape associated with Zen Buddhism. Dry landscapes are small, man-made gardens in houses or courtyards. They are meant to be personal and private. The arrangement of stones in this landscape are meant to reflect the Japanese islands and landscapes (different colored and textured stones). The entire courtyard is covered in sandstone which symbolizes the ocean. Zen Buddhist rearrange the sandstone every morning as part of their meditation. Dry landscapes are used to concentrate the mind to gain enlightenment.

Catching Catfish with a Gourd, Hanging Scroll, Muromachi Period

This is an example of a Ko’an which is combination of a short essay and visual component or image. The composition is a short essay on top and a visual dialogue that matches the short essay on the bottom. This specific Ko’an depicts a man standing on a river bank using a small gourd to catch a catfish. The style of the figures and landscape are in the Southern Song Style: One corner composition and atmospheric perspective. The brush work include broken, angular lines for the figure and trees; ink wash for the landscape. Ko’ans are part of the Zen Buddhist practice which disregard logical answers to the prompts provided by Zen Buddhist masters.

Sesshu Toyo Landscape, Haboku Hanging Scroll, 1495

Sesshu Toyo is a 3rd generation Zen Buddhist artist who developed the Haboku technique. His landscapes combine two new brush sty

Himeji Castle (Castle of the White Swans), Hyogo

Kano Eitoku, Cypress Trees, Momoyama Period

Hasegawa Tohaku, Pine Wood, 16th Century

Tawaraya Sotatsu, Deer Scroll, Momoyama Period

Irises, Color with Gold Leaf on Paper, 1701

Ogata Korin, Red and White Plum Blossoms, 1710 Century

Suzuki Harunobu, Night Pilgrimage, Edo Period

Katsushika Hokusai, Great Wave, Edo Period