ピ 日 ヴ 本 ァ 古 美 術
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CRANES AND PINES Momoyama period, early 17th century _ Six-panel folding screen; ink, colors and gold leaf on paper _ 173 by 375 cm
Three cranes perch on a pair of pine trees
in the temple Chishakuin. The incorporation of
in this bold composition on gold leaf. Painted
white pigment to articulate the curving surfaces
against a background of shimmering gold leaf
of the green ground, and the scaly bark of the
and anchored at the left corner on an undulating
pine trees also resemble the treatment of these
green ground, the screen exhibits the strong
motifs in paintings by Kano Eitoku (1543-1590)
tension between naturalistic representation and
and his followers in panel paintings in Myōhōin.
abstraction characteristic of large-scale painting
A painter of one of these schools probably
of the Momoyama period (1573-1615).
produced Cranes and Pines, although further
As is the case with other East Asian paintings of birds and flowers, avian and floral subjects in
study is needed for a more definite attribution. Red-crowned
or
Japanese
cranes
(Grus
Japanese painting often appear to have served
japonensis) were once common throughout
as metaphors for aspects of human affairs. Red-
northeast Asia, but by the beginning of the 20th
crowned or Japanese cranes (Grus japonensis) and
century they were believed to be extinct in Japan
pine trees are motifs with auspicious meanings in
until a small resident population was discovered
East Asian art, with the crane signifying longevity
in Eastern Hokkaidō. When the present screen
and marital fidelity and the pine tree symbolizing
was painted red-crowned cranes were probably
resilience. Such symbols and meanings imbue
seen only rarely in central Japan, a probability
this screen painting with an overwhelmingly
that may explain two inaccuracies common in
positive aura, and suggest that it was created to
their representation. Red-crowned cranes neither
commemorate a marriage, the birth of a child,
perch nor nest in trees, preferring secluded
or other important life event. Images of cranes,
marshes and rivers as their habitat. Their tail
turtles, pine trees and other felicitous subjects are
feathers are also white: the black plumage here
sometimes referred to in Japanese as “kisshōga”,
is actually part of their wing feathers, which
literally “auspicious pictures,” characteristically
when folded appear to extend as tail feathers.
displayed in the New Year.
That painters in Japan continued to depict
The screen, in all likelihood the remaining
red-crowned cranes long after they were rare
half of a pair, is unsigned and bears no artist’s
in the main islands is but one indication of the
seal. The broadly spreading, pattern-like clumps
continuing cultural importance of these beautiful
of pine needles, together with the scale and
birds as a subject of painting in East Asia.
manner in which the larger pine tree stretches outside the picture frame, may point to a follower
Matthew McKelway
of Hasegawa Tōhaku (1539-1610), particularly in
Professor of Japanese Art History, Columbia University
the similarities of these motifs to those in Pines and Hibiscus, a group of sliding panel paintings
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FIELD OF PINKS AND RISING MOON Momoyama period, early 17th century _ Six-panel folding screen; ink, colors, gold leaf and silver on paper _ 166 by 360 cm
A field of wild pinks (nadeshiko; Dianthus superbus) blooms under a rising moon in this
known screen paintings of this subject.
six-panel folding screen. The anonymous artist
While it is difficult to establish a date or
arranged the flowers, a relative of the carnation,
attribution for the present work, several features
in dense, rhythmical clusters in three horizontal
and similarities to other extant screen paintings
registers in the lower half of the screen, above
allow us to place the production of Field of Pinks
which clouds of gold leaf merge with the gilded
to the early 17 th century. Varieties of autumn
sky. Interspersed between the layers of flowers
flowers appear regularly on folding screens
are passages where flecks of silver foil, now
from late medieval and early modern Japan,
tarnished with age, represent the ground bathed
but representations of pinks as a single motif
in the soft moonlight. Tiny pine trees on the green
on folding screens are relatively uncommon. A
hillside from which the moon emerges add a
comparable example in the Idemitsu Museum
dramatic element of spatial distance to this work.
of Arts, for example, pairs pinks in one screen
Autumn flowers such as pinks, bush clover,
with poppies in the other. A related work in
and eulalia were celebrated in poetry and
the Museum of Fine Arts, Boston, depicts only
painting from the nascence of these cultural
poppies, and is associated on stylistic grounds
forms in Japan. Pinks, also called tokonatsu,
with the painter Tawaraya Sōtatsu (d. ca. 1641).
appear in poems from as early as the 8 -century
Barley
Man’yōshū anthology of poetry, and extant
Institute of Art), a single screen painting dated to
paintings, such as the Illustrated Scrolls of the
the early 17th century, depicts ripened grain and
Tale of Genji, prominently feature such autumn
also incorporates sprinkled flecks of silver foil
flora. Both extant folding screen paintings
for the ground. In contrast to each of these other
from the Muromachi period (1336-1573) and
works, in which the uniform floral motifs are
depictions of them in narrative handscrolls
painted directly over an evenly sheathed surface
feature combinations of autumn flowers and the
of gold leaf, the present work features round-
moon, itself a motif with specifically autumnal
edged gold clouds that are layered between the
poetic associations. By the time the present
banks of flowers and between the flowers and
work was completed, autumn flora and the moon
the distant hills. The arrangement of gold clouds
were firmly established motifs in the repertoire
contributes to a subtle modulation of pictorial
of yamato-e folding screen and mural paintings
space found in earlier works but not present in
depicting native subject matter. Extant screen
the Idemitsu, Boston, and Minneapolis paintings.
paintings representing wild pinks as a single
The greater concern with pictorial space in Field
subject date only from the Edo period in the
of Pinks points to an earlier phase of yamato-e
mid- to late seventeenth century. The present
screen paintings.
th
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background, may be the earliest work among the
Field
(Burke
Collection,
Minneapolis
work, with its combination of wild pinks and
The evolution of screen paintings that depict
hills partially concealing a rising moon in the
flowers or plants as the central motif, such as
the so-called “Musashino screens” is not well
905) plays on the homophonous associations of
understood. Judging from the evolution of
the flower, in which “toko” can be a pun for “bed”:
the theme of iris flowers on such well-known examples as the Iris Screens by Ogata Kōrin
Not even dust
(1658-1716) in the collections of the Nezu
May touch them, I feel,
and Metropolitan museums, however, such
Since they’ve bloomed,
floral compositions may have originated as
Where my love and I bed down
narrative paintings with human figures, or as
On pink coverlets of flowers.
an illustration of a poem, and then evolved as
(trans. Thomas McAuley)
decorative, single-motif floral compositions. Musashino screens depicting a field of autumn
Wild pinks thus allude to human relations not
grasses and flowers concealing a full moon at
immediately apparent in the present screen’s
the foot of the majestic Mount Fuji are assumed
blossoming field. This flexibility of meaning is
to be an illustration of a poem, or a decorative
particularly well suited to the function of screen
variation of Chapter 12 of the Tales of Ise (Ise
paintings as decorative objects to be displayed
monogatari), a tenth-century novella.
on particular occasions appropriate to the
Like other floral subjects in Japanese art wild
season, and attests to their enduring powers of
pinks suggest multiple levels of signification. A
expression.
pair of poems in the chapter of the Tale of Genji named for the flower, “Tokonatsu,” pivots on the
Matthew McKelway
wild pink as a metaphor for feminine beauty, an
Professor of Japanese Art History, Columbia University
association that continues to the present day.
Miyeko Murase
A poem in the Kokinshū anthology of poetry (ca.
Professor Emerita, Japanese Art History, Columbia University
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RAKUCHŪ RAKUGAI ZU Views of Kyoto _ Edo period, mid 17th century _ Pair of six-panel folding screens; ink, colors, and gold on paper _ Each 121 by 282 cm
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Folding screens depicting the ancient capital
Nijō Castle was such a grand event, requiring
city of Kyoto and its surroundings (rakuchū
years of planning and the reconstruction of
rakugai zu) are among the most popular genres
portions of the castle, that it continued to be
of Japanese painting. The broad surfaces of
depicted long after the event occurred.
folding screens (byōbu) were ideally suited to the
While processions in the right and left
panoramic cityscape, as they afforded artists
screens provide a thematic fulcrum around
opportunities both to present sweeping vistas of
which other motifs are organized, in the present
the capital and to focus on details of everyday
pair the many famous places and pursuits of the
life in the city. Kyoto screens first appear in
capital’s citizens provide the most fascinating
documents in the early sixteenth century, and
details. Two Kabuki theaters, for example,
upwards of two hundred known examples survive
appear on the east bank of the Kamo River at
from the sixteenth and seventeenth century,
Shijō; of these the southern theater, Minami-za,
when production of these works reached its peak.
continues to stage performances in the same
The present pair of screens can be securely
location. On the street in front of the temple
dated to the mid-seventeenth century on the
Seiganji, shown just below the Kabuki theaters
basis of their style and composition and the
and slightly to the left, several priests carry a
various monuments and activities depicted
banner with an image of a bell to raise funds
in the unfolding views of the city. The screens
for their temple. Well-known landmarks such as
belong to a general type or sub-genre of Kyoto
the Great Buddha Hall (destroyed by lightning
screens that pair views of Kyoto’s eastern
in 1798) and the long Sanjūsangendō appear in
hills in one screen with views of its western
the first two panels of the right screen, but the
sections and suburbs in the other. Typically the
artist devoted considerable attention also to the
procession of the mid-summer Gion Festival
gate of the temple Higashi Honganji near the
appears in the eastern, or right screen, while
lower edge of the first panel. In the left screen
another procession approaching Nijō Castle
we find landmarks such as Kitano Shrine in the
appears in the western, or left screen. In the
first panel from right, the Golden Pavilion with
present example the grand procession of the
an enormous phoenix ornament on its roof just
Emperor GoMizuno’o (1596-1680) to Nijō Castle
above Kitano Shrine, Nijō Castle in the center,
in 1626 is depicted in lavish detail, beginning
Nishi Honganji at the bottom of the sixth panel,
with mounted imperial officials and five oxcarts
and the temples and shrines of Arashiyama in
in the left screen, and extending to the sixth
the upper portions of the fifth and sixth panels.
panel of the right screen, where the emperor’s
From their beginnings Kyoto screens always
palanquin is shown about to depart from the
featured seasonal motifs and the present pair
Imperial Palace. Emperor GoMizuno’o’s visit to
features blossoming cherry trees in the right
screen and scarlet maple leaves in the left
visitors surely sought after Kyoto screens as
screen, emphasizing spring and fall, the best
luxury souvenirs of their urban adventures. That
times of the year to visit Kyoto.
some twenty other examples of Kyoto screens,
Kyoto
screens
were
produced
in
large
quantities in the Edo period, especially in the 17
including examples in the collections of Bukkyō
th
University, the Okayama Prefectural Museum,
century, when national unification and peace
and the Chiba Prefectural Museum, share the
under the Tokugawa shoguns’ regime allowed
same overall composition as the present screens
urban economies to flourish as never before.
attests to the circulation of compositional
The shogunate’s policy of “alternate attendance”
templates among a diversity of painting studios.
(sankin kōtai) required regional warlords allegiant
Although the compositions are similar, individual
to the Tokugawa to divide their time between
works have their own unique details, ensuring the
Edo, the administrative capital, and their home
endless fascination with which Kyoto screens
domains, ensuring a near-constant flow of
continue to captivate their viewers.
people, products, and information throughout the realm. Many people passed through Kyoto,
Matthew McKelway
which retained its aura as the center of religious
Professor of Japanese Art History, Columbia University
faith, tourism, and art production, and the city’s
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JIUN ONKŌ
(1718 - 1804)
Daruma: “I do not know” Ink on paper, 104.5 by 25 cm Sealed “Shaku Onko in” _ Provenance: Tohara Ideo collection, Osaka _ Exhibited: “Schrift und Bild”, Stedelijk Museum Amsterdam and Staatliche Kunsthalle, Baden-Baden, 1963
This painting represents the first Zen patriarch, often referred to as Daruma in Japanese but more properly called by his Sanskrit name Bodhidharma. Between the fifth and sixth century Daruma is believed to have moved from India to China, where, through meditation, he finally came to understand the Buddhist law (dharma). This is why his portrait often can be seen alongside Zen calligraphies, representing the continuous struggle to learn the Buddhist teachings. This painting belongs to that tradition but Jiun, thanks to his unique flaked style, transformed the silhouette of the patriarch in an abstract form: with only two strokes, the artist portrays the monk in meditation while, above, two characters stand out: “I do not know” (Fushiki). The concept is short, direct and powerful. It refers to a dialogue between Daruma and Emperor Wu of the Liang Dynasty and captures the essence of Zen Buddhism: as reported in “Hekiganroku” (published in 1300), the emperor met the monk in the year 520 and asked him what he had obtained for supporting Buddhism; when Daruma replied “absolutely nothing” the emperor, irritated, inquired what was then the foundation of Buddhism and the answer was “a great void and no holiness”; more and more annoyed, he finally asked “who do you think you are?” and Bodhidharma responded: “I do not know”. After this dialogue Bodhidharma was no more welcome at court and took refuge in a cave at the Shaolin temple on Mount Song, where he sat in meditation for nine years. The painting represents this first development status of Chinese Zen tradition: Bodhidharma who sits still and quiet in front of a white wall. Jiun Onkō (Jiun Sonja) is considered one of the greatest Japanese Zen calligraphers. Born in Osaka, he joined the cloister at the age of thirteen and studied Confucianism, Shingon esoteric buddhism and Soto Zen. He was an excellent scholar, learning Sanskrit and studying the ancient Buddhist manuscripts and the basic teachings of Buddhism. Jiun was one of the reformers of the Edo period Zen and founded a religious movement in order to bring Buddhism back to its origins (“True Dharma”).
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B O D H I S AT T VA A wood sculpture of a standing Bosatsu with coloured pigments and gold decoration; crystal inlays and metal fittings. _ Nanbokuchō Period, 14th century _ Heigh: 50 cm
The figure is carved in a standing position,
of instruments. The most important sculptural
wearing long draped robes and adorned with a
Raigō group is at Byōdoin temple in Kyoto and
necklace and bracelets of applied metal. The
one of its Bodhisattva holds a small drum in his
round face shows pendulous ear lobes and an
hand instead of having it laced at the shoulder
open mouth, with inlaid crystal eyes and jewel
as common for larger drums; we can assume
to the forehead.
the same instrument was held in the right hand
This standing figure combines both tension
of our sculpture. This figure shows also an
and elegance in a soft, feminine figure. The
interesting and rare feature: his mouth is open
fluid, deeply undercut modelling of the drapery
with exposed teeth and tongue; the Bodhisattva
follows the sculptural style developed in Nara
is singing while playing his instrument. A similar
in the thirteenth century by sculptors of the
iconography can be seen in the Raigō triptych at
Kei school, who specialised in naturalistic
Kōyasan, where the fifteen playing Bodhisattva
images with dynamic poses accentuated by the
are painted with parted lips, while all others have
treatment of the garments. This imposing figure,
the mouth closed.
however, features a more decorative approach and a heavy, solemn face, which suggest that it was carved in the fourteenth century. Originally holding something in his right hand, possibly a small hourglass-shaped drum, this Bodhisattva was probably part of a large Raigō group. Paintings and, more rarely, groups of sculptures of this subject show Buddha Amida descending from the Pure Land Paradise to a dying person, whose soul will then be brought back to Paradise; twenty-five Bodhisattvas accompany Amida and they play a wide range
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MIZUSASHI A Ko-Bizen fresh water jar named “Matsugane” _ Momoyama period, 16th century _ 16 by 15 by 14.5 cm
The mizusashi is the largest utensil of the
also inscribed and signed the mizusashi’s box
tea ceremony; it contains the fresh cold water
together with his pupil Sōmi Fukatsu, while
used to prepare the tea and to wash the tea-
another box is signed by Hōunsai (born 1923),
bowl and the bamboo tools afterwards. During
15 th master of the school. The interior is richly
the Muromachi period (1336-1573) Chinese
decorated in hidasuki.
vessels were used for this task but at the
The production of Bizen pottery (Bizen-yaki)
beginning of the Momoyama period (1573-1615)
started by the late Kamakura period (13 th-14 th
Bizen and Shigaraki wares were already more
century), taking its name from the place where
popular. These developed from items created
it was made, Inbe, in Bizen province (now
for daily use, such as seed containers and food
Okayama prefecture). Bizen-yaki ceramics are
vessels; only later the production was refined to
characterised by a high iron content and are
match the sophisticated taste of tea ceremony
hence recognisable by their almost metallic
practitioners, with new shapes and elaborate
hardness and their red-brownish color. The
glaze treatments.
natural glazed effect and the eventual markings
This powerful mizusashi is characterised by a
on the surface are consequences of the action
strong asymmetrical decoration; it exudes a raw
of ashes during the firing process in the kiln; the
energy that is inescapable, naturally drawing
result is an impressive variety of wares, each
viewers in closer to ponder the dynamics of
with different shape and surface effects.
its creation. The body is naturally ash-glazed
This Ko-Bizen mizusashi reflects the taste of
(shizen-yu) on one side, while the rest is left in
wabi-sabi aesthetics. Its beauty is discreet and
plain clay with some light effects of koge (burn
derives from its natural imperfections. Shin’ichi
area) and hidasuki (reddish marks obtained
Hisamatsu (1889-1980), Zen master and former
placing rice straws on the clay). The glazed side,
professor of Religious Studies at the Kyoto
the one to be shown to guests during the tea
University, classified Japanese aesthetics into
ceremony, is decorated with a unique pattern, as
seven concepts, which can all be found on this
a result of a natural glazing caused by the ashes
mizusashi: asymmetry and irregularity (fukinsei);
in the kiln: as more wood is burned, ash builds
simplicity and absence of ostentations (kanso);
up to the face of the pot and fuses with the clay
naturalness and absence of pretence (shizen);
body, creating a glaze with stunning effects.
depth and inscrutable aspect of things which
The intense and intricated design has inspired
remain
the name Matsugane (Pine root), inscribed in red
(yūgen); freedom from habit and conventional
lacquer on the mizusashi by Gengensai (1810-
(datsuzoku); tranquillity and energised calm
master and prominent figure in the
(seijaku); austerity and elegant simplicity (kokō).
77), 11
th
Urasenke school of tea ceremony. Gengensai
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unintelligible
to
the
human
mind
MUKĹŒZUKE A green glazed stoneware Oribe footed square serving dish decorated with iron wash grape leaves and geometric patterns _ Momoyama to Edo period, early 17th century _ 20 by 18 by 5.7 cm
With a tactile surface texture decorated with
Originated in the late 16 th century, Mino
an asymmetrical design painted between green-
ceramics are high-fired wares produced in Seto
glazed areas, this dish is a typical example of
and Mino areas of Gifu Prefecture and are strictly
Green Oribe (ao-oribe) ware. The glaze fired to a
related to the tea ceremony. Out of the four
vivid color flows down to the side walls pooling
Mino styles, the most popular has been named
in rich, deep green lakes at the bottom on two
after the tea master and gentleman samurai
opposite corners and the white strip in between
Furuta Oribe (1544-1615), a preeminent figure
is decorated in brown iron wash with grape
of tea ceremony culture. Oribe-ware is easily
branches and leaves, together with a design of
recognisable by the flamboyant decoration:
concentric squares. The exterior sides of the
this style represented a shift in taste at that
dish show a stylised drawing of fences.
time and denotes the constant quest by tea
A square dish is probably the best medium
practitioners to find new assemblages to
to enjoy Orybe-style decorations as pictorial
intrigue and surprise their guests. Furuta was
art. Showing naturalistic design combined to a
not directly involved in the production of these
geometric pattern, this plate seems made more
ceramics, but the style developed during the
for show than for serving food. In fact, dishes of
time he lived, in his native province of Mino, was
this size and shape were used for serving fish
certainly influenced by his taste.
during the traditional kaiseki meal on chanoyu gatherings; ceramic ware with a painted interior would create a certain sense of drama for tea ceremony participants, intriguing the viewers as the the decoration would be gradually revealed as the food was eaten.
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HEISHI A turned and assembled wood kuro-Negoro ritual sake vessel with urushi-e design of cranes and bamboo _ Muromachi period, 15th century _ Height: 38 cm _ Provenance: Manno collection, Osaka
From the ancient times up until the Heian
is a technique that allowed adornment to enrich
Period, sake was brewed mainly as an offering
ritual items for special occasions or for a
to the gods and served in Shinto shrines in
demanding patron as an alternative to the flat
unglazed earthenware vessels. From Kamakura
cinnabar-red of the Negoro-ware, at that time not
period onwards, large size wooden vessels
yet worn by daily use. The technique of painting
(heishi) became popular and banquets were
with lacquer was brought from China and then
held for ceremonies and festivals, where people
developed following the traditional Japanese
took turns drinking sake from the same bottle.
aesthetic, essentially becoming one with Negoro
The shape of these vessels was inspired by
lacquerware. Even if red Negoro items with
the Chinese ceramic wine bottles from the
black decorations are found, the background is
Song dynasty and the surface was generally
generally black (kuro-Negoro) and the design is
lacquered in red over a black ground, with a style
either in red or silver lacquer.
now named after the Buddhist monastery where this technique was developed, Negoro-ji. The construction of this heishi is consistent with that of Negoro ones: the wood core is composed of two parts and the spout is carved separately and inserted in the top. The shape is very elegant and the proportions well balanced, with a sinuous design that lightens the imposing size. When Negoro-ware reached its highest popularity in the late medieval period, other decorations were developed as variations to the main style. Among them, urushi-e (or e-Negoro)
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YU TŌ A turned and assembled wood negoro ewer for hot water _ Momoyama period, 16th century _ Height: 36.8 cm _ Literature: “Negoro: Efflorescence of Medieval Japanese Lacquerware”, Miho Museum, 2013, cat. 259
Negoro
lacquer
wares
were
produced
in Negoro-ji, the head temple of the Shinai
Ewers for hot water were produced in a great
Shingon sect of Buddhism. During medieval
variety of forms, depending on how they were
times, Negoro utensils were used in shrines
used. As noted by the curators of the exhibition
and temples related to Negoro-ji for everyday
held in 2013 at the Miho Museum in Shigaraki,
use and for ritual purposes. A very important
those with pronounced Chinese-style design like
part of enjoying Negoro ware is what Japanese
the present one, known as juttoku, were highly
call “wabi” aesthetic: these utensils are never
prized; in fact, the custom of tea drinking was
adorned with excessive decoration that would
imported from China during the Kamakura period
compromise their functionality, while signs of
and the most precious items used during the tea
wear and even flaws can be appreciated by
ceremony came from China or were made in the
people of refined taste. In fact, the cinnabar
Chinese style.
red layers of lacquer on these wares are intended to gradually wear away with use, revealing the black undercoat, as evidence
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that the pieces have lived a long life.
INRŌ A lacquer six case container decorated in hiramaki-e and togidashi with a waterfall _ Edo period, early 19th century _ Height: 9 cm _ Signed: Shōryūsai
The two faces of the inrō are decorated with
the 18 th and 19 th century. His subjects are
the same subject, a waterfall behind flourishing
generally naturalistic and his techniques include
branches, representing two different seasons:
togidashi on black roiro ground and takamaki-e on
spring, with the cherry blossoms, and autumn,
nashiji. He received the titles Hōgen and Hōin in
with the maple leaves. The waterfall on the
the late 18 th century.
background is made in togidashi maki-e, a
Consisting of a stack of tiny, nested boxes,
complex technique in which the design seems
inrō were originally used to carry identity seals
inserted into the lacquer background. The trees
and medicines, suspended from the kimono
are lacquered in hiramaki-e, added on top of the
sash (obi). Invented due to the lack of pockets
togidashi decoration, with the result of a vivid
on traditional Japanese robes, from the late 18 th
perspective effect. The inrō comes with a box-
century they evolved to fancy accessorises of
shaped netsuke (hako-netsuke) decorated with
high art and immense craftsmanship.
the same maple tree branch. Shōryūsai, sometimes called also Shōritsusai or Tatsuei, flourished as an inrō artist between
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KŌGŌ A lacquer incense box decorated in gold hiramaki-e with a fine shinobugusa pattern; pewter rim _ Edo period, 18th century _ 5.5 by 8.9 by 3.1 cm _ Provenance: Charles A. Greenfield collection _ Exhibited: New York, 1980, The Metropolitan Museum of Art _ Literature: “The Charles A Greenfield collection of Japanese lacquer”, Eskenazi Ltd., London: 1990, cat. 19 A. J. Pekarik, “Japanese Lacquer, 16001900”, The Metropolitan Museum of Art, New York: 1980, cat.19, fig. 31
This exquisite kōgō is shaped as a letter
love: the word “shinobu”, in fact, has also a verb
folded to form a knot. The tradition of tying
meaning of “to long for” or “to endure”. Being an
love letters in this shape around a tree branch
autumn plant, this pattern inspires also a sense
derives from the Genji Monogatari. The fern
of romantic sadness.
pattern (shinobugusa), here executed in an extremely intricate design, is a reference to this tradition and together a symbol of eternal
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BAMEN A lacquered papier-mâché chamfron formed and decorated as a dragon’s head _ Momoyama period, 17th century _ 48 by 30 by 28 cm
Dragons and Clouds by Tawaraya Sotatsu, early 17th century; detail (Freer Gallery of Art)
Bamen are masks for a horse armor that
during that period. The profusion of gold is typical
cover the animal’s forehead above the eyes;
of the taste of the Momoyama period and the
made of papier-mâché or boiled leather, they were
absence of large lacquered parts and decorative
generally modelled to represent a dragon’s head.
features gives to this bamen a strength that can
Horse masks of this kind first appeared during
not be seen on later examples.
the seventeenth century and were mainly used in military parades; this bamen is one the earliest known and its iconography can be immediately associated with depictions of dragons common
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KOBOSHI KABUTO A russet iron samurai helmet with small standing rivets _ Edo period, 17th-18th century _ Signed: Jōshū jū Saotome Iechika
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A russet iron (tetsu sabiji) sixty-two plate
of armor from this time, including masterpieces
kabuto, each mounted with twenty-five small
from the Tokugawa clan. There have probably
tapered standing rivets (ko-boshi) of decreasing
been two or three different makers who signed
size; the front plate, larger than the others, is
Iechika, but ko-boshi helmets of the best quality,
fitted with two lines of rivets, while the rear one
like this one, show some common features and
is left empty, for a total of 1.550 rivets. The bowl
must have been made by the same smith: the
is furnished with high quality metal ornaments:
rivets are perfectly aligned and their shape is
the borders on visor and fukigaeshi show a rare
elongated, tapering only at the point and hence
pattern in gold and shakudo nanako, used also on
looking like a bullet; their position, especially on
the first stage of the tehen-no-kanamono on the
the rear of the helmet, is not centred on the plate
helmet’s top. The bowl’s interior is completely
but closer to the back suji.
covered in gold foil and the thehen is lined
The Saotome school takes its name from the
to hide the kanamono brackets, indicators of
village in the Hitachi province where it originated.
how important the original owner must have
According
been. The typical “Saotome-byo” is visible under
important antique manuscript about Japanese
this lining, an extra rivet which is almost an
armor, it was founded by Ietada, a samurai at
additional signature of the Saotome armorers.
the service of the Tagaya clan who started this
The five-stage shikoro (neck protection) is in
activity after he became a ronin. The Tagaya clan
orange-laced kiritsuke-kozane, slightly curved on
were stripped of their 60,000 koku holdings after
the shoulder (hineno shape) and is fitted with
the Sekigahara battle due to their defection to
large lacquered fukigaeshi.
the Uesugi clan, so it is probably after 1600 that
to
the
Meiko
Zukan,
the
most
Iechika is generally indicated as the fourth
Ietada founded the Saotome school, even if it is
generation of the Saotome family and is
unclear how he managed to learn such skill in
considered one of the best helmet makers of the
manufacturing helmets. The school remained
Edo period; ranked as “Jo Jo I” level, his kabuto
active until the end of the 18 th century, producing
can be found in some of the most important suits
some of the finest samurai helmets.
OKINA SŌMEN A full face russet iron samurai armor’s mask formed and decorated to resemble the face of an old man _ Edo period, 18th century
Armor for the face - mengu - developed
a gentle old man, with three long wrinkles on
towards the end of the Muromachi Period (1336-
the forehead (miage-shiwa) and thick white hair
1573) with the double role of protection and a
eyebrows. A bat-shaped embossing under the
fastening point for the kabuto ropes through
eyebrows emphasises the eyelids and creates
hooks or rings. However, masks that completely
a sunken-eye effect which underlines the age of
cover the face were never common, as not
the represented face. The facial expression is
very practical, and their spread was restricted
overall very rich and powerful. The quality of this
to high-ranking samurai who could wear them
mask is extremely high: the plate is heavy and
for official occasions as an indication of their
thick and the craftsmanship is superb, with crisp
social status. For this reason original sōmen
and precise embossing work.
are very rare and almost invariably of excellent
The mask is inscribed under the chin
quality. A modular construction - generally in
“Hiroshima (no) jū Ryōei saku”, but the style
three parts as in this case - allowed to fasten
suggests an attribution to a smith from the
the kabuto properly, adding the upper part only
Myōchin family, that produced the best sōmen
when necessary.
of the Edo period, often characterised by thick
The expression of this mask derives from
eyebrows and a powerful expression, with
the Noh theatre character of Okina (old man),
wrinkles that defined the force of the warrior
considered particularly sacred as an omen for
who wore it.
longevity and prosperity. It shows features of
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HOTOKE-DŌ GUSOKU Samurai armor bearing the kamon of the Inaba family _ Edo period, 18th century _ Kabuto bachi signed “Masuda Myōchin Minbu Ki no Munesada Saku” and dated February 1757
This magnificent suit of armor, in a revival
reference to the great armor of the Kamakura
style, is entirely made of hon-kozane plates
period is the use of two large rectangular plates
(individual scales); the cuirass is decorated in
of different shapes to protect the toggle fasteners
maki-e lacquer with a figure of Raijin - the god
on the cuirass, sendan no ita and kyūbi no ita,
of Thunder - creating a storm beating his drums
while the rare haidate (thigh guard) of hōdō type,
among clouds. All elements of the armor bear
which includes hanging sections that replicate
the kamon with the character 三 (three) of the
the style of the kusazuri (tassets), are a typical
Inaba clan and are furnished with gilt metal
feature of the best suits from the Edo period.
engraved kanamono. Interiors are lacquered in gold, a sign of a very high level provenance.
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The armor comes with a wide series of accessories: it includes two pairs of suneate
Rich armors modelled on those made during
(shin guards), one heavier and one very light, as
the medieval times became popular with wealthy
well as a nodowa (throat guard), a pair of bear-
samurai from the mid eighteen century. As the
fur kutsu (shoes), a saihai (commander’s baton),
political situation of Japan became stable, the
two jinbaori (surcoats) a hakama (pants) and
practical requirements of the “modern” armor
many other original clothes.
(tosei gusoku) became less necessary, while
The Inaba family originated in 16 th century
a fashion for the ancient rich style grew as a
Mino Province; during the Edo period, as
distinctive sign of wealth and power.
hereditary vassals of the Tokugawa, the clan was
The kabuto (helmet) is made in the style of
classified fudai and its members were appointed
a Kamakura period ō-boshi sujibachi kabuto, with
daimyō of large and strategic provinces; they
an eighteen plates rounded bowl showing large
also covered various important administrative,
protruding rivets. The exquisite parcel gilt wood
political and military roles.
maedate is shaped as a shachihoko, a mythical
Myochin Munesada, who signed and dated
creature with the head of a tiger and the body of
the kabuto, is reported to be the son and pupil of
a carp, often used as protection against fire. The
Muneakira; his signed works are very rare, apart
shikoro (neck guard) is covered with a rare red
from some tsuba, and it is likely that most of his
and white horsehair adornment. Another evident
production bears his master’s name.
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K ATA N A An important Soden-Bizen katana by Osafune Nagamori Unsigned _ Nanbokuchō period, circa 1360 _ NBTHK Jūyō Tōken
Nagasa (lenght): 69.5 cm Motohaba (bottom width): 2.9 cm Sakihaba (top width): 2.1 cm Sori (curvature): 1.8 cm Sugata (configuration): shinogi-zukuri, tori-zori, iori-mune, enlongated chū-kissaki (3.9 cm) Kitae (forging pattern): itame mixed with mokume, plenty of small jinie and chikei, pale utsuri Hamon (tempering pattern): wider on the upper half; koshi-no-hirata mixed with
Bizen swords made during the Nanbokuchō period
are
called
Soden-Bizen.
Chogi
the sugata is wide and powerful, the sori is
and
shallow and the kasane is thick, with scarce hira-
Kanemitsu, both included in the list of the
niku. The steel tends to be soft and finished in
Masamune Juttetsu (ten famous students of
itame-hada mixed with mokume and the tight and
Masamune), are considered the best Bizen
dense grain with nie forming chikei is considered
swordsmiths of this era; swords by Chogi and
a very difficult feature to obtain on Bizen’s soft
his five students (Chogi II, Nagatsuna, Nagamori,
steel. Sometimes utsuri can be seen, very pale
Nagasuke and Nagatsuna) are documented
on this sword, but it is uncommon. The hamon,
between 1324 and 1375. Works by Nagamori
generally o-midare mixed with chōji-midare,
are the rarest; he was a contemporary of Chogi
is wide and gorgeous, mostly in nioi deki, as
and worked in a similar style, being very well
common for Bizen, but with profuse nie as well.
respected by his master. Nagamori made tachi
Inside the ha there are many ashi and yo and on
(mostly now shortened to katana, like in this case,
works with rich nie like this one, these activities
and hence unsigned), tanto and naginata blades.
form sunagashi, inazuma and kinsuji. The bōshi is
Surviving katana are very rare and this one is
long and powerful, as typical of the works from
considered one of the best of his production.
the Nanbokuchō period.
Among Soden-Bizen smiths, the works by
The blade comes with a good Higo koshirae;
Chogi and his students show some distinct
the tsuba is certified NBTHK hozon tosogu as
features inherited from the Soshu tradition and
Nishigaki.
almost all of them can be found on this sword:
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fukushiki-o-gunome and chōji gunome; ashi, yō mixed with tobiyaki, fine yubashiri, ko-nie, bright nioiguchi with kinsuji and sunagashi Bōshi (point): midare-komi, maruku-asaku (round, shallow) kaeru; yubashiri on ura side Horimono (engraving): bo-hi on both sides Nakago (tang): o-suriage, kiri yasurime; two mekugi-ana and a partial one on the nakagojiri Origami (certificate): the blade comes with a Jūyō tōken (Important sword) certificate issued by the Nihon Bijutsu Tōken Hozon Kyōkai (Session nr. 59)
MAIO MOTOKO (1948 -)
A thirteen-panels screen decorated with paper, fabric, gold flakes, oxidised iron and pigments on paper _ 183 by 513 cm
The screen is composed of thirteen panels of
appreciated in three dimensions. The graduating
graduating size (21.5 to 57.5 cm) decorated on
width of the panels gives the opportunity to
both sides. On one side the design represents
create different shapes and transform spaces;
a bamboo forest, with parallel stems made of
instead of just splitting a room, as the traditional
applied papier-mâchÊ, while the back shows
folding screen does, the contrasting decorations
an abstract composition with a silver irregular
play here together and show two faces of the
band on a cobalt blue background of antique
same world. Folding screens like this one seem to
fabrics and paper.
be a new invention, revealing that the traditional
This screen perfectly shows Maio’s ability
arts of Japan have continued unbroken into the
in mastering materials in order to create
modern period, where they thrive in new and
tactile surfaces and strong compositions. The
exciting ways.
traditional Japanese painting medium of the folding screen is here re-thought as a sculptural support, becoming at the same time a decorative flat surface and a work of art that can be
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Concept & Graphic layout | Haikudesign.it Printing | Trevisostampa.it