Jomon and Yayoi Sensibilities

In Early Japanese art

California State University Long Beach Early Japanese Art Dr. Kendal Brown By James R. Walker April 2002

Early in Japanese history two aesthetic sensibilities emerged. Representative of two distinct periods, Jomon, 10,000 300 B.C.E. and Yayoi, 300 B.C.E. 300 C.E. Japanese scholars argue that each period developed a style diametrically opposed to the other. Labeled Dionysian, the native Jomon preference is characterized by passion, organicity, irrationality, asymmetry, curvilinearity, spontaneity, corpulence and worldliness. Dominated by a sensual perception of life the inclination of this position forsakes order and logic in favor of whimsical and sometimes chaotic celebration of carnal reality. Conversely, a cerebral, human-made, rational, symmetrical, rectilinear, organized and calculated temperament marks the later Yayoi period and is described as Apollonian. This imported approach stresses mind over physicality and delves into the world of logic rather than sensuality. Elements of each can be identified in Japanese art of later periods sometimes one style as the only principal theme and sometimes decidedly mixed. Using these aesthetic concepts as paradigmatic templates, I will explore six pieces: the dancing apsara, a wooden sculpture; the Choju jinbutsu giga scrolls; the Yumedono Kannon, a wooden sculpture; the Ryokai Mandalas, color-on-silk; Hachiman in the Guise of a Monk, a wooden sculpture and finally the Amida raigo triptych, color-on-silk. Let us begin with the dancing apsara. Situated along the banks of the Uji river is the Pureland temple Byodoin. Inside the temple complex is the beautiful Hoodo or Phoenix Hall, within which delicately carved figures of heavenly beings, monks and musicians, all Amidas host, are affixed to the wall surrounding the Amida Buddha. In the Heian period, 794-1184 C.E., carved by Jocho circa 1053 C.E., these small sculptures exemplify his style with the intention of imparting a sense of a blithe and ethereal demeanor. The subject of the figures is the joyous raigo or Amida Buddhas arrival to take the dieing believer to the western paradise. They sit or stand on cloud forms; some playing musical instruments, some dancing. One such figure, the dancing apsara, is particularly lively and graceful.

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One foot is raised as she balances on the other foot in a contrapposto pose. The spontaneity of her S-curve posture while she stands upon the wind-blown cloud suggests a frozen moment in time. The curvilinear asymmetric carving infers lighthearted caprice as this celestial nymph enacts whimsical feelings. The spirit of Dionysianism embodies unfettered ecstatic revelry and a complete abandon of inhibitions, forethought, and intellect. To immerse oneself into impulsive passionate expression of life is the vehicle by which one may obtain union with the ephemeral or spiritual. The dancing apsara can be seen, in this light, as joyously and unselfconsciously practicing Dionysian rapture as she keeps time with the music of the minstrels. All anxiety abated, the soul becomes light and levity replaces gravity. Embracing this ideal, she keeps rhythm while floating upon a cloud which itself depicts movement and the ethereal. The achievement of enlightenment through tariki, by means of anothers strength, and by relinquishing rationality and embracing festive physical expression is clearly a strong theme communicated by Jochos delightful wooden carvings. Pureland Buddhism encourages its faithful to regard raigo with a Dionysian perspective. Know as Jomon, the native values of the Japanese aesthetic are often demonstrated in the art of this sect of Buddhism. The levity imbued in these sculptures can also be seen in the Choju jinbutsu giga scrolls. Also in the Heian period the ink monochrome scrolls called Choju jinbutsu giga approaches the Jomon imagination through irreverent humor in a story that is capriciously obtuse. Regarded as okashi, boisterously funny, and oko-e, droll and ludicrous, these emaki or picture scrolls, epitomize Jomon values which give rise to lightheartedness, vivacity and casualness. Human activities are caricaturized by animate whimsical creatures such as frogs, foxes, monkeys and rabbits. More like a comic strip, the scrolls contain no text. Language, being a

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rational product of higher cognition, might lend well to an Apollonian consciousness. Its absence here, however, in concert with the impulsive and silly antics of the animals resounds a distinct Dionysian realization. The satirical and sometimes supercilious pictorial narrative makes a bold yet subtle criticism of the culture in a unique utilization of the Dionysian temperament. Scenes fashion priests as monkeys, Buddha as a frog, back flipping rabbits, dancing frogs, as well as other animals, all intended as a spoof on humans and their daily activities. All playful and untroubled, these ridiculous motifs create mental imbalance in a make-believe world comprised, in the main, of nonsense and irrationality. This scroll is rife with emotional content and imparts to the viewer the same disposition. Not only is the representation of humans and their activities revealed in Dionysian fashion but the execution of the work is distinctly Dionysian as well. The calligraphic execution of the scrolls reveals spontaneity of brushwork. The curvilinear outlines are alternately thick and thin describing an organic candor not present in the Yayoi model. The lines are not balanced; the stories are related in an out-of-balance manner; the actors in this illogical fantasy world are fantastic and fairytale-like; all of these elements espouse unmistakably a Jomon tenor. While it may be argued that the implicit intent of the visual narrative is a logical and planned, and hence makes an Apollonian, statement regarding the societal incongruities of that time, the aesthetic vehicle used is categorically Dionysian. There are other works in which the Yayoi conception is made abundantly manifest. In the Asuka period, 552-645 C.E., at the Horyuji temple complex in the Yumedono, Hall of Dreams, is a gilt wooden statue superlative in its calculated execution. Not directly attributable to Tori Bushi, a famous sculptor of the day, but firmly within his abstract style, the Yumedono Kannon, the Bodhisattva of Compassion, illustrates Yayoi elegance. The ichiboku, single block

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carving, imposes flat and symmetrical drapery as the consummate Apollonian character. Unquestionably, mental precision was exerted in the planning and synchronicity of the undulations of the figures robe. Ostensibly mathematical, the precisely placed, rigid and forced expression of the folds in the garment suggests well thought-out preconceived and deliberate rhythm. In full measure of the Yayoi preference, the figure stands rigid in the columnar style indicative of the architectonic approach. The sinozation translates into the elongated and attenuated corpus signifying an emphasis on the nobler thoughts of humanity. The body, de-corporealized, emphasizes ideals in place of physical expression. The representation of a merry and sensuous celebration of religious principles is replaced with restrained physicality, and a sense of propriety and decorum, which encourages sober meditation on spiritual ideology thus portraying a logically grounded and cerebral disposition. Completely tangential to organic candor, the face and hands are smooth with refined abstraction. In keeping with the tenor of the well-known Kudara Kannon, this Kannon appears, in spite of the mustache, androgynous. Unmistakably, the intent is to direct the viewers mind to things other than the world of the senses and instead to resolute introspection. It may be asserted that the curvilinear lines in the halo and crown and the gentle falling curves of the flaring Christmas tree-like robe do not harmonize with the Japanese Yayoi sentiment. However, upon closer inspection one cannot deny the sophistication of exact and precise placement of these symmetrical and well-aligned refined details. This piece, with its reserved physical expression and methodical almost geometric elements, inspires reverent contemplation of higher spiritual concepts and is a striking salutation of Apollonian merit. The Yayoi perception is realized to an even greater degree in a set of mandala images housed at the Toji temple complex on Mt. Koya.

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The Shingon sect of Buddhism treasures the two Ryokai Mandalas (manda - essence, la - to attain) as an exquisite representation of two worlds. Created in the Heian period these color-on-silk hanging scrolls portray the complex concepts of the Womb World (Taizokai) and the Diamond World (Kongokai). Brought back from China by Kukaiknown posthumously as Kobo Daishi Shingon doctrine teaches believers to exert prodigious effort in the contemplation of the truths described by the paintings as they concentrate their gaze upon the highly organized composition. Through meditating on the meanings of the images the worshiper learns to re-create in the minds eye and internalize the concepts they symbolize. Highly abstract, this method of enlightenment entreats spirituality through mental effort. The individual, by rational and determined selfdiscipline, can obtain a higher consciousness. The precepts of the faith unquestionably exemplify the Apollonian essence. Moreover, the composition and the act of creation of the piece required the Yayoi manner. Both painted-silk hangings are immediately recognized as being quite geometric and painstakingly planned and painted. One has simply to glance at the paintings to acknowledge the meticulous layout of each of the numerous elements. Presented in a formal, well-measured and methodical diagram, these mandalas personify with opulent elegance the fullness of human intellect as applied to spiritual iconography. Furthermore, there is a hierarchical arrangement in which Dainichi, the supreme cosmic Buddha, can be seen demonstrating the chikenin mudra. This hand gesture symbolizes wisdomintelligent forethought and insightwhat could be more Apollonian? Beautifully balanced, the Ryokai Mandalas synchronize the Apollonian sensibility with the spiritual tenants of Shingon and the method of execution of the paintings producing a finished work wholly embodying the rational Yayoi import.

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What is more, in keeping with the imported Yayoi aesthetic, Japanese scholar Yanagisawa Taka has determined that the mandalas are a copy of a Chinese set. Arguably with some Japanization, the set represents a fine example of ordered cerebral content and meaning. Thus far, we have considered work, which is either Jomon or Yayoi in nature. Many pieces, however, typically employ both aesthetic disciplines. One such sculpture enjoins the essence of Apollo and Dionysus. During the Kamakura period, 1185-1336 C.E., a school of sculptors known as Kei fashioned superlative statues. Using a fresh perspective, they created the most innovative and accomplished works of their day. Encouraged by the school, one sculptor inspired by the waxing interest to endow art with a more organic and earthy physicality, created work that has gained great acclaim. Kept at Todaiji and known as Hachiman in the Guise of a Monk circa 1201, Kaikeis wooden sculpture illustrates a confluence of the Jomon and Yayoi preferences. Implementing the new approach toward art likely garnered from Chogen, a prominent priest who made three trips to China and apparently learned Song dynasty aesthetics, Kaikei realizes increased realism juxtaposed to some degree of idealization and abstraction. An initial impression of this refined work informs the viewer of naturalism to such an extent that it seems the sculpture might actually be a real person. The eyes, ears, mouth and hands are rendered so realistically it suggests authentic portraiture. Subtle asymmetry in the wrinkles of the face appeals to Dionysian predilections as well. The corpulent face with full cheeks and details such as the tiny wrinkles on the fingers and the tendons on the back of the hands divulge slight undulations of the skin and remind the observer of carnal reality. The fabric, billowed somewhat like sails in the wind, conjures an awareness of sensual fullness of the body beneath it. The robe,

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influenced by the natural forces of gravity and tension, indicates stress and pressure as it stretches across the corpulent figure. Congruent with our experience of the real world, relaxed folds occur in exactly the right places. Additionally, the painted skin and garment engender an illusion of genuine reality. The adept talent of Kaikei has copiously blossomed within the Dionysian imagination. The organic candidness and explicitly physical honesty of his work speak of the corporeal and sometimes irrational reality in which we find ourselves. But how genuine is this portrayal of reality? A deeper critical analysis can penetrate the honest yet tentative earthy realism with which Kaikei endowed this piece. Observed in its entirety the balanced symmetry of the triangular composition indicate planned and organized intent. The axial alignment, beginning from the top, exactly dissects the halo and continues down the nose and maintaining centerline terminates at the apex of a centered lotus petal along the base. Moreover, Hachiman is a Shinto deity and following Japanese convention is shown with an idealized countenance. The facial representation albeit wrinkled is too smooth; too perfect to exact complete realism. The drapery although conforming to the laws of physics displays contrived folds that seem a little too perfect to be real, much like the attempts at realism in some computer animations popular today. The figure sits upon an abstracted lotus blossom conceiving within the mind of the believer the rather complex and human-made ideology of the faith. Undeniably, these aspects of the sculpture signal the Yayoi attitude and in tandem with the natural and more organic Jomon exemplify a harmony of the two artistic camps. Another fine example of the coalescence of the two sensibilities is the Amida raigo triptych. In the Heian period, late in the eleventh century this three-panel color-on-silk conveys the Pureland concept of raigo discussed above. Amida Buddha is accompanied by a host of animated celestial beings. Expressionistic in nature, some are engaged in earthly pleasures such as making

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music, their bodies are responding to the rhythm of the melody and some display emotions in their facial expressions. The immediate impression is that the event arises naturally rather than resulting from deliberate cognition and is described by the ubiquitous curvilinear lines and shapes indicating nebulous cloud formations. There is a sense of freedom of spirit and movement in this dynamic composition. In the lower left corner a landscape is painted adding to the natural organic characteristic and disturbing what might have been perfect balance of the arrangement; all of these bespeak of the whimsical Dionysian penchant. Nevertheless, if we take a second look, we can identify aspects of an Apollonian statement. Lavish and resplendent with kirikane, cut gold filigree, the center panel holds Amida Buddha in the center flanked by Kannon and Seishi in a purposeful triangular structure, with Amida at the apex. Indicative of Apollonian rationality, there is a noticeable hierarchy of beings indicated by the size, color of skin and placement of the figures in relation to Amida. What is more, despite some asymmetry the overall placement of the elements postures these beautiful panels firmly within the Yayoi disposition. Clearly, a wonderful symphony of Jomon and Yayoi is achieved in this work through the fusion of the two inclinations. While wielding these aesthetic standards is a powerful tool to guide our inquiry for understanding art there are some disadvantages. Our understanding of the world around us is limited by an either/or mentality. The two styles are equally essential to understand the nature of a work of art but are mutually exclusive. Exploring aspects of art, our society or our lives through this kind of lens restricts our depth of understanding. Well-known in quantum theory, the principle of complementarity states that seemingly contradictory concepts often complement each other and occur in chorus to describe the event. Science has learned to enquire into the nature of things using multiple perspectives

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simultaneously. The new paradigm is known as the multiple working hypothesis. Appropriately, we must keep our minds in the habit of multiple possibilities and perspectives, all occurring in concert, to produce one outcome. Nothing could be more paramount than applying this habit of thought and perspective to art and to all facets of life as well. It is how we pose the question that has greater significance than the answer. It is how we approach our education, our comrades, or our art that has far reaching implications and impact. Throughout history we see this idea exemplified by such people as Copernicus, Leonardo da Vinci and Einstein. Using the two models, Jomon and Yayoi, to analyze art is an excellent starting point. We must, however, keep our minds open to many factors and realities before proceeding with our dreams, our aesthetic expressions or our future.

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