Escolar Documentos
Profissional Documentos
Cultura Documentos
DAIMYO CULTURE
1185-1868
JAPAN
The Shaping of
Daimyo Culture
U85-1868
E^^^J. oy Ybshiaki Shimizu
artistic
and
cultural con-
who con-
years,
and who
also
th^c
rentn-
t-
fluvial
hierarchy arose
Muromachi
myo culture
interests,
that
ts
was an important
expression and a cherished item
means of artistic
skills.
of painstaking crafts-
itself
armor crowned
foil
such
as the tea
cific
ceremony,
The
formaliza-
dhist
warrior class.
plates
(i
ontinuedon
btu k
lain
JAPAN
THE SHAPING OF
DAIMYO CULTURE
1185-1868
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JAPAN
THE SHAPING OF
DAIMYO CULTURE
1185-1868
edited by
YOSHIAKI SHIMIZU
The
The
exhibition was
made
possible
The Nomura
An indemnity
been
Exhibition dates:
The Federation
and
members:
Bank of Tokyo, Ltd.
Dai-ichi Kangyo Bank, Ltd.
Daiwa Bank, Ltd.
its
for
Copyright
1988.
Industrial
tional Gallery of Art. All rights reserved.
the shaping of
Daimyo
culture,
p.
Daimyo Exhibitions.
Civilization 1185-1600
Exhibitions.
Japan Civilization 1600-1868 Exhibitions.
Art, Japanese Kamakura-Momoyama periods, 1185-1600 Exhibitions.
Art, Japanese Edo period, 1600-1868 Exhibitions.
Material
culture Japan Exhibitions.
Shimizu, Yoshiaki, 19362.
Japan
3.
4.
6.
5.
I.
DS827.D34J37
952'. 00740143
Nippon Airways
assisted in trans-
1988
Washington.
0019
88-23604
CIP
ISBN
ISBN
Ltd.
cm.
p.
Bibliography:
II.
of Japan, Ltd.
1.
Ltd.
Japan
Bank of Japan,
The
0-8076-1214-6 hardcover
0-8946-8122-2 softcover
First printing.
of this book
For the
is
pub-
No drama, The
Yomiuri Shimbun.
lished
Inc.,
Cover: Cat.
7,
Mounted
Warrior, Agency
iportant
Cultural Property
rontispii
e:
Cat.
10,
Amusements
Hifiasliiyama,Kn/w Kobunka K
Kyoto
AL BR
DS827
l)im, the
at
.D34
J37
1988
Contents
vi
vn
1
Foreword
47
Daimyo and
53
Note
by Yoshiaki Shimizu
art
to the reader
Catalogue
54
Portraiture
(cat.
nos. 1-53)
106
Calligraphy
120
Religious sculpture
134
Painting
228
284
Lacquer
302
Ceramics
326
348
362
No-related works
(cat. nos.
(cat.
(cat.
Literature
397
Bibliography
(cat. nos.
Jo-j8)
nos. jg-145)
(cat.
nos. 146-220)
nos. 221-239)
(cat.
391
54-60)
nos. 240-261)
(cat.
(cat.
nos. 2JJ-291)
nos. 292-333)
Toyosaka
Choshoin, Kyoto
Myochiin, Kyoto
Myohoin, Kyoto
Bunko, Tokyo
Engakuji,
Kanagawa Prefecture
Myorenji, Kyoto
Tokyo
Fukuoka Art Museum, Fukuoka
Nagoji,
Chiba Prefecture
Nagoya
Prefecture
Nanzen'in, Kyoto
Nanzenji, Kyoto
of
Modern
National
Museum
Nezu
Niutsuhime
Prefecture
Prefecture
Hosenji, Kyoto
Private collections
Ii
Reiun'in, Kyoto
Jimyoin,
Jingoji,
Jodoji,
Museum
of Art
Wakayama Prefecture
Kyoto
Fukui Prefecture
Kyoto
Seikeiin,
Wakayama
Sekai Kyuseikyo
Jozanji (Shisendo),
Jufukuji,
Rinkain, Kyoto
Rokuoin, Kyoto
Hyogo Prefecture
Jotokuji,
Kanagawa Prefecture
Prefecture
Shizuoka Prefecture
Kochi Prefecture
Jukoin, Kyoto
Sekkeiji,
Jushoin, Kyoto
Sendai City
Prefecture
Sounji,
Hyogo
Prefecture
Tokyo
Kanagawa Prefecture
Suntory
Art,
VI
Prefecture
Prefecture
Gunma
Prefecture
Museum, Miyagi
Sennyuji, Kyoto
Shinjuan, Kyoto
Tokyo
Ishikawa Prefectural
of Japanese History,
Chiba Prefecture
Gyokuhoin, Kyoto
Museum
of Art, Tokyo
Prefecture
Tenjuan, Kyoto
Tokyo
Prefecture
Unryuin, Kyoto
Prefecture
Prefecture
Museum, lokyo
Prefet ture
Foreword
Japan:
The Shaping
ofDaimyo
Culture,
1185-1868
IN
This exhibition
is,
we
believe, the
first
Vll
Kamakura period in 1185 to the end of the Edo period in 1868. The
scope of the project has been greatly expanded since 1983, when we had
explored an exhibition examining the contribution of a single daimyo
family to the history of collecting. For agreeing to a broader exhibition
on the art of the daimyo, and for assisting us in every phase of the
project, we are deeply indebted to our partners in this joint venture, the
Agency for Cultural Affairs of the Japanese government and The Japan
Foundation, especially to Nobuyoshi Yamamoto, Akiyoshi Watanabe,
and Yuichi Hiroi at the former, and to Sadao Ikeya, Toshihisa Tanaka,
Yoichi Shimizu, and Hayato Ogo at the latter.
The works of art exhibited here come from more than one hundred public and private collections, and we are immensely grateful to our
lenders, who have allowed us to borrow works of unprecedented beauty
and significance. Professor Yoshiaki Shimizu of Princeton University,
curator of the exhibition and principal author and editor of the scholarly
catalogue, deserves our deepest thanks for having worked tirelessly over
the course of many years to help us realize this exhibition. Andrew M.
Watsky ably assisted him over the past year, much of which they devoted
to the catalogue, in which are published more than 330 works of art.
Professor Martin Collcutt, also of Princeton University, contributed the
incisive historical introduction to the catalogue and frequently served as
advisor during the course of the project. Countless individuals at the
Agency for Cultural Affairs, among them many of our catalogue authors,
and at The Japan Foundation deserve our special thanks for carrying out
myriad essential tasks, from securing loans to arranging photography.
Their devotion to scholarship and to the cause of preserving Japan's
cultural heritage has made possible this extraordinary achievement.
Thanks are also due to the staff of the National Gallery of Art, in
particular the team who worked on this project. Gaillard Ravenel and
Mark Leithauser designed the installation, with production management
by Gordon Anson. D. Dodge Thompson, and his staff in the department
of exhibition programs, including Cameran Castiel, Ellen Marks, and
Deborah Shepherd, provided organizational expertise. Mary Suzor, registrar, supervised the shipping of the works of art, and Mervin Richard,
exhibitions conservator, coordinated the packing and the conservation
measures necessary to safeguard the objects. Susan Arensberg and her
colleagues in the education department have implemented a number of
programs for the interested visitor. The elaborate funding package that
has made this exhibition possible has been the particular concern of the
Gallery's corporate relations officer, Elizabeth A. C. Weil. Joseph Krakora
was particularly helpful with the coordination of the No theater and the
film on daimyo culture, while Genevra Higginson planned and guided all
events related to the opening of the exhibition. Ruth Kaplan ably intei
preted the content of the exhibition and its adjuncts to the media.
Frances Smyth and Mary Yakush supervised the complex task <>( editing
and producing the catalogue with skill and grace, with the essential
collaboration of several people: Naomi Noble Richard, who served as an
of the
work', ol
Vlll
lar Yosoji
Carter
Director
J.
Brown
IX
and archaeology.
The Shaping ofDaimyo Culture 1185-1868, initiated at the
1983 summit meeting between our two countries and co-organized with
japan:
the Japan Foundation, explores through art the culture created by the
warriors of medieval and early modern Japan. From the end of the
twelfth century, the warrior class, newly risen holders of political authority, developed cultural traditions inherited from the court, absorbing
influences from China, including Zen Buddhism, resulting in the cultural legacy of the Kamakura and Muromachi periods. Later, the evolution of early modern culture in the Edo period resulted from the
participation of both the daimyo and the merchant class.
The works of art gathered here reflect the active role of the
warriors in the development of an important part of Japanese cultural
history. The Agency for Cultural Affairs has planned and coordinated
the realization of this complex project, and negotiated the loans that
have made the exhibition possible. Although many exhibitions of Japanese art have traveled to the United States, none parallels Japan: The
Shaping of Daimyo Culture 1185-1868 in terms of quality and quantity,
and
in its distinctive
We hope
theme.
that
American
Hiroshi Ueki
Commissioner
Government of Japan
^^^INCE
^^
W fostered
FOUNDING
cultural
1987-1988.
Japan: The Shaping of Daimyo Culture 1185-1868 is an exhibition
of the art related to the warrior class, important contributors to the
cultural and political development of Japan from the medieval through
the early modern eras. The daimyo-related art exhibited here will show,
we believe, a side of Japanese culture not yet well known to the American public. We expect that this exhibition will be the first step in a new
XI
culture
MARTIN COLLCUTT
5g
Wx
jBt
Mm
ons who,
as
leaders
ol
powerful
the prov-
the medi
and carl;, modern ages
(kinsei), from 1185 to 1868. The term daimyo combines the two characters
dai ("great") and myb ("name;" from mybden, "name fields," referring to
privately owned land). In the eleventh and twelfth centuries the term
was used to refer to absentee landholders such as nobles and temples
^^!^^_^^^^^
who
eval
(chiisei),
ant on provincial warriors to enforce its authority and protect the capital.
The leaders of powerful warrior bands, especially the chieftains of the
clans, were drawn into court politics. A watershed
balance of political power was reached in the later twelfth
century when the Taira, led by Kiyomori (1118-1181), asserted control over
the court, only to be ousted and crushed by the Minamoto, led by
Yoritomo (1147-1199) and his half-brother Yoshitsune (1159-1189).
The establishment by Yoritomo of a separate warrior govern-
Taira
and Minamoto
in the shifting
ment, bakufu,
in
Kamakura
title
Thus began
a political ar-
were able
to assert
their vassals.
set in
motion when,
in
the fierce provincial warfare following the outbreak of the Onin War
(1467-1477) the shogun-s/iugo coalition disintegrated in civil war and
many
of the s/iugo-daimyo,
who were
who emerged
militarily
overextended or entan-
six-
In
By the mid-sixteenth century the pendulum of feudal decentralization had swung about as far as it could go without total political
fragmentation of the country. Among the contending daimyo were some
who dreamed of crushing their rivals and conquering and reuniting the
country. During the later sixteenth century a process of military unifica-
was
set in
10,000 koku in rice (one koku equalled about five bushels). This was
own
and rear
whom
their
vassals
vassals to
vent alliances between daimyo and the court, because through such ties
daimyo might secure the political legitimation that would allow them to
subvert or usurp the shogunal office. While many daimyo were hardly
more than petty provincial upstarts with little to spare for cultural patronage, others commanded domains covering one or more provinces,
lived luxuriously,
Daimyo
for
power on
a national scale.
some
culture, then,
is
become shoguns, daimyo culture also embraced shoAt the same time, because many prominent daimyo
cases rose to
gunal culture.
and cultural
traditions
Daimyo were
Warriors and
in the
The
daimyo
band, the Taira, led by Taira Kiyomori (1118-1181), seized control of the
court. In the process they eliminated most of their principal warrior
rivals, the Minamoto (also known as Genji) clan. After Kiyomori's death
the Minamoto rallied under a young General Yoritomo (1147-1199). In
1185 Yoritomo's half brother Yoshitsune (1159-1189) and other Minamoto
leaders drove the Taira from the capital and crushed them at a great
battle at Dannoura in the inland sea. Later, Yoshitsune was hounded by
his brother Yoritomo, who was suspicious of his intentions and jealous of
his victories. He fled to northeastern Japan, where he was captured and
forced to take his own life.
For his services to the court Yoritomo received the title of
Seiitaishogun (Great General Who Quells the Barbarians) and established a warrior government, known as a shogunate or bakufu, well away
from the court at the small coastal town of Kamakura in eastern Jap.m.
Although this catalogue and exhibition begin with Yoritomo's portrait, it
is important to note that Yoritomo is never regarded as a daimyo, because
the notion of the daimyo as feudal lord had not yet developed in the late
twelfth century. Yoritomo was the chieftain (toryd) of the Minamoto
warrior band. He assumed the military title of shogun and the imperial
court title Utaisho, Great Commander of the Right, by which lit was
remembered. Yoritomo's combination of warrior virtues (bit) and civilian
1
Toyotomi
lidcyoshi,
ill
the
ill-fated Jokyii
were dwindling,
War
its
momentous
shift
by the imperial court and the court nobility {kugc) to a society increasingly dominated by warriors (bushi). The Taira had been warriors, too.
Rather than establish new organs of government, however, they had
tried to rule the court and the country much as the Fujiwara nobles had
done, through offices of the civilian government and by the manipulation of the imperial office. The Kamakura bakufu was the first in a series
of warrior regimes that until the nineteenth century governed Japan
through institutions outside the structure of the ancient court bureaucracy. The imperial court government survived, tenno maintained their
sovereignty, and nobles maintained their cultural influence, but the
court steadily declined in wealth and political leadership as power steadily shifted into warrior hands.
Yoritomo had dreamed of establishing a Minamoto shogunal dynasty, but that ambition was thwarted by the assassination of his second
son, the shogun Sanetomo, in 1219. Thereafter, until its overthrow in
1333, the Kamakura bakufu was dominated by the Hoj6 warrior family of
eastern Japan, who brought imperial princes and nobles from Kyoto to
serve as figurehead shoguns while they actually ruled as shogunal regents. The early Hojo were effective warrior administrators and earned a
reputation for strong government. Hojo Tokimune organized the defense
of the country against the attempted Mongol invasions in 1274 and 1281.
Although the term daimyo was in use by this time to describe
local powerholders and was taking on an increasingly martial connotation, it had not yet become part of the political nomenclature of the age.
Yoritomo's vassals were called housemen (gokenin). To police the country
estate stewvassals
and
The
origins of
daimyo
culture: the
tradition of
over,
1 .
it
was
in the early
was not discovered by warriors, nor was it unique to Japan. The ideal of
the ruler who combines civilian and military arts had been established in
ancient China and enshrined in Confucian texts, which had shaped
Japanese thinking from as early as the sixth century. The early political
reformer Prince Shotoku, author of the Seventeen article constitution in
the early seventh century, might be regarded as one of its first conscious
Japanese exemplars. An early emperor is known posthumously simply as
"Bun and Bu,"or"Monmu" tennb (683-707). Imperial princes and nobles
serving the court in the Nara and Heian periods also sought to embody
the ideal of bu and bun, although the court nobility in Heian times
quickly lost their martial tradition and ceased to bear arms. Daimyo
culture thus encompasses the absorption, transformation, and application of an ancient civilian ideal by a newly emergent warrior elite.
In the cultural arena, a sense of the emerging military ideal and
the conflict between the old aristocratic order and the new military elite
may be gleaned from the war tales of the medieval age. The Heiji monogatari (Tale of the Heiji Wars), for instance, a contemporary chronicle that
tells of the struggles between the Taira and Minamoto warrior bands
during Taira Kiyomori's rise to power, is one of the first war tales to
recognize the impending conflict between the old aristocratic and the
new military elite. It warns members of the imperial court that, in a
troubled age, both learning (the bun of aristocratic bureaucrats) and
military skill (the bu of warrior generals) are essential to survival:
we
If
when
rewarding subjects and ministers, rulers have always assigned high priority to both
learning and military might. Learning is helpful in various areas of administration;
and military power enables rulers to suppress disturbances. So in his plans to preserve the empire and rule the land, a ruler seems to place learning at his left and
military strength at his right
making them like a person's two hands. Neither can
be dispensed with (Brown and Ishida 1979, 392).
members of
needed
skills
command
the mix
and success in
The
shown very
The Mutsu waki
is
(Tale of
who
already contains
many
of the
more fully developed in later war tales. Yoripresented as the seasoned leader and master of the way of the bow
yoshi
is
and horse:
general to
juncture the court nobles met in council determined to appoint
punish [Abe] Yoritoki, and settled unanimously upon Minamoto no .is< m Vbriyoshi,
son (it Vh mohii no-ason, the governor of Kawachi province. Yoriyoshi w.is
cool)
Fill man, well suited to command. Numbers ol cistern warriors had long ago
\l that
.1
.1
.1
fathei
during the
Chogen
won by
Ins
.is
.1
soldiei
undei
his
era [1028-1037],
shocking outrages
ranking
in eastern Japan.
official in Koichijoin's
the hunt.
Whenever one
For
of his parties
came upon
a deer, fox, or
who
delighted in
hare in the
field,
it
was invariably Yoriyoshi who took the game, for although he carried a weak how hy
preference, his aim was so deadly that ever) arrow buried itself to the feathers in his
prey, and even the fiercest animal perished hefore his bowstring (McCullough 19641965. 187).
is also the ideal type of warrior chieftain who wins the
of
his
followers
loyalty
by his generous concern for them as well as by
sheer force of arms:
But Yoriyoshi
filling meal for his men, saw that their weapons were put to
and personally visited the injured to care for their wounds. The warriors were
deeply touched. 'Our bodies shall repay our debts; our lives shall count as nothing
where honor is at stake. We are ready to die for our general now' (McCullough 1964-
Yoriyoshi provided a
rights,
1965, 197).
Minamoto
Yoshiie,
role in
the consolidation of
is presented as being cut from the same heroic mold as his father. For his valor
Yoshiie earned the
title
of
Hachiman
Hachiman, the
like a
He
shot
He
more than human. The barbarians fled rather than face him, calling
him the firstborn son of Hachiman, the god of war (McCullough 1964-1965, 191).
skill
that was
The
by the anonymous courtier who compiled the Mutsu waki, were vaunted
and embellished in the war tales of succeeding centuries, culminating in
the Heike monogatari, in the thirteenth century. Strength, courage, cunning, loyalty to one's lord, concern for personal and family honor were
lauded; cowardice and treachery castigated. By the time of the diffusion
of the Heike monogatari the ultimate test of courage, loyalty, and warrior
virtue
was lavished on finely made swords, richly decorated armor and helmets, and on horses and their equipment. Paintings
from the medieval period show bands of mounted warriors setting off on
campaigns and honing their fighting skills in martial recreations. Befitting warrior society, the horses that carried warriors into battle were
especially prized and pampered. Sometimes, as in scenes from the biographies of the monks Honen and Ippen, stables are shown close to the
warrior residence, or yakata. In the Seikdji engi emaki (Illustrated
handscroll of the founding of Seikoji), however, the horses are shown
stabled in the retainers' quarters of the yakata. While one warrior sweeps
the floor another brings a tub of mash to the waiting horses. Horses were
so important that they were given magical protection. Monkeys were
believed to provide that protection. In one scene in the Ippen biography
exhibition. Attention
monkey
is
the heroic exploits of the warrior Takezaki Suenaga of Higo in the defense of the country during the Mongol invasion attempts of 1274 and
Suenaga had the scrolls painted to glorify himself and his exploits
for posterity and to lay claim to spoils for his contribution to the salvation
of the country. The two scrolls express Suenaga's leadership, his fearlessness, and his ferociousness in hand-to-hand combat with the invaders.
1281.
Mon-
bushi as
it
Another
ekotoba
Tale of
is
his
eastern warriors from Musashi Province, Obusuma Saburo and his elder
brother Yoshimi Jiro. Yoshimi Tiro is presented as an aesthete who has
admiration only for the ways of Kyoto and its courtiers. His residence,
completely out of place in the frontier territory of the eastern provinces,
is a copy of a nobleman's palace. He takes as his wife a noblewoman from
the imperial court, who bears him a daughter. He shows no interest in
the cultivation of martial skills but instead devotes his days and nights to
composing poetry and playing the flute.
Obusuma Saburo, by contrast, is a dedicated warrior who thinks
of nothing but the cultivation of martial arts. The text of the scroll sums
up his attitude in this way:
Because
me
was born
house, [yumiya no
in a warrior
skills
moon
of the warrior.
or flowers, or
ie],
What
is
composing
the use of
Everybody
horses and
in
my
household
much on
for
one's heart
ability
filling
The
the battlefield.
wild
longbow.
Saburo takes
off.
as his wife
an
ill-favored
days later Jiro and his men encounter the same bunch of
The bandits are less intimidated by the courtly Jiro and his
They kill him and rout his retinue. When Saburo returns from the
Some
brigands.
band.
Warrior leaders
warned
pursuits
like
Yontomo and
and
literal
and
warrior
elite,
those
who would
10
achieved political power they found, as many warriors rulers have found
at other times, that while they might conquer territory on horseback they
could not rule it from horseback. They needed literacy, legal training,
governing skills, and skill in calligraphy, facility in the drafting of documents, and prestige conferred by participation in the courtly traditions of
the huge, the courtly elite they were displacing. These administrative
and literary skills {bun) were acquired by associating with nobles and
Buddhist monks, especially Zen Buddhist monks. With little of their own
to contribute in the way of political philosophy, administrative expertise,
and
artistic
and
literary creativity,
and lacking
traditions of literacy
and
growing
political
power and
had
to look to the
rior elite.
In
many ways
was
set
but not marked by deep emotion. This verse, number 975 in the
Shinkokinshu, for example, describes his feelings on seeing Mt. Fuji
during his first triumphal visit to the capital after the destruction of the
witty,
Taira:
Wakazariki
Haruru mamonaki
Sora no keshiki ni
Of unbroken
Michisugara
Fuji no kemuri
mo
In a sky
cloud.
Among
a title
[w'dfccj]
The
was held
in
the bakufu. As
Wada and
others were in attendance. Ladies were also present. After the waka composition
linked verse [renga] was
It is,
composed.
came from Sanetomo and that the Hojo and other powerful
merely humored his passion for poetry. The important point here,
gatherings
vassals
however,
is
sequence.
It
(karamono).
Through the
(New
collection of
Japanese poetry) and other anthologies. The Azuma kagami and other
documents of the period mention poetry gatherings and tea meetings
(cha yoriai) at the residences of the Hojo and their retainers. An entry in
the Azuma kagami for 1263 records a poetry gathering attended by seven
teen bakufu officials at which one thousand verses were composed. Such
gatherings became common and brought together
variety of cultured
participants. One such meeting at the Nikaido residence late in the
Kamakura period included not only warriors but the Kyoto nobles Fuji;i
12
he was
less
[When asked
to
show
it is
when
the) insist.
that
your]
easily,
you come
to
warrior, should [on the contrary] excel in the skillful handling of public affairs, in
What
lies
in
all
in specializing
beyond these
fields
is
and excelling
in the
way of
in the
mood
for
when you
fun together, you should not refuse too steadfastly [their pleas that you, too, contribute to the
common
stand-offish person.
Remember
that
will
come
to dislike
you as a
be well
strive to
148).
Zen meditation
or Buddhist texts. Zen monks had associated with Chiand frequently were accomplished ink painters, calligraphers, poets, garden designers, and architects. All of these interests were
communicated to and eagerly adopted by their warrior patrons. The
drinking of tea, the designing of dry landscape gardens, the vogue for ink
painting, the study and printing of Confucian texts and Chinese poetry,
the formal shoin style of architecture, the art of flower arrangement all
to become facets of daimyo culture
were all acquired by warriors
through contact with Zen monks.
But Zen was not the only Buddhist spiritual practice to influence
medieval warriors, or to help shape daimyo culture. Zen was simply one
nese
literati
century in which popular preachers and reformers were taking old and
13
newer versions of Buddhism to the provinces and to the common people. Like Zen, and at about the same time, Pure Land Buddhism developed into an independent and enormously popular school: its simple
"Praise to
Amida
Amida
who were
or
own
life
composing
with
all
a verse that
credit to a courtier:
Like a
fossil tree
Having spoken these lines, he thrust the point of his sword into his belly, bowed his
face to the ground as the blade pierced him through, and died. No ordinary man
could compose a poem at such a moment. For Yorimasa, however, the writing of
poems had been a constant pleasure since his youth. And so, even at the moment of
death, he did not forget. Tonau took up his master's head and, weeping, fastened it
to a stone. Then evading the enemy, he made his way to the river and sank it in a
deep place (Kitagawa and Tsuchida 1975, vol. 1, 271).
Obviously, not
facility in verse.
Ashikaga
shoguns and
shugo daimvo
In 1333 the Kamakura bakufu was toppled by a coalition of imperial princes, warriors, and monk-soldiers
by emperor Go-Daigo. Go-Daigo's attempts to restore direct imperial rule quickly alienated Ashikaga
who
in
1336
forced Go-Daigo from Kyoto. The emperor with his supporters took
refuge in the Yoshino Hills, south of Kyoto, where the) set up the South-
ern Court and maintained the emperor's claim to the throne. Ashikaga
Takauji installed a rival "Northern" emperor in Kyoto, took the title of
for
15
They
laid
provinces.
The
centuries
'
shoguns.
16
oi
renga, the Tsukubashii (1356) contained sequences by shoguns and daimyo as well as courtiers. Among the daimyo represented was Sasaki
Doyo (1306-1373),
poet.
Although the Onin War was destructive, and many daimyo and
were killed, some provincial daimyo benefitted culturally
as monks and nobles fled the burning capital and took refuge in the
provinces. The court noble Ichijo Norifusa quit the capital and moved to
his landholdings in Tosa where he lived as a daimyo. Renga poets were in
demand in the provinces. The renga poet Iio Sogi (1421-1502), a sometime
Zen priest who had studied at Shokokuji in Kyoto, spent the Onin years
wandering from village to village and castle to castle composing linked
verse sequences. During his lifetime Sogi made many long journeys. He
traveled seven times to the province of Echigo as a guest of the daimyo
Uesugi Funasada. He went twice to Yamaguchi and compiled a major
anthology of renga, the Shinsen Tsukubashii, under the sponsorship of
Ouchi Masahiro. This collection had many contributions by daimyo and
commoners. Socho (1448-1532), a Shingon Buddhist priest and renga
poet, traveled the provinces during the Onin War, perhaps as an intelligence agent and certainly as a negotiator for his patrons Imagawa Yoshitada and his son Ujichika. Socho's diaries contain many references to
military fortifications and strategy. In 1517 he helped Ujichika negotiate
for peace when his fortress was surrounded. He participated in renga
sequences with Sogi and Shohaku, as well as with numerous daimyo.
The Zen monk and poet Shotetsu (1381-1459) is said to have maintained
literary contacts with more than a score of daimyo between 1394 and
1455. All of these renga masters lived well, frequently on the generous
stipends and gifts they received from provincial warrior lords.
Provincial military lords were also acquiring a taste for the developing dramatic art of No and Kyogen. Kan'ami (1333-1384), and his son
Zeami (c. 1364-c. 1143), synthesized, standardized, and elevated a number
of ancient dancing and mimetic forms such as sarugaku and dengaku to
create the masked dance dramas that we know as No. Zeami and his
successors who headed the Kanze school of No were patronized by the
Ashikaga shoguns. Kyogen, literally "wild words," developed alongside
No as an earthier, more active, humorous dramatic form, rooted not in
some spiritual otherworld but firmly in the present. In sometimes farcical
or ironical terms Kyogen mocked contemporary conventions, including
the authority of daimyo who appeared in some Kyogen pieces. Both No
and Kyogen were further developed and formalized in later centuries.
Their association with daimyo culture, however, was firmly established
in the medieval period. From the shogunal court the enthusiasm for No
spread into warrior society. Daimyo, too, became eager spectators and
patrons of the numerous No troupes. Moreover, the Ashikaga shoguns
frequently visited daimyo, either in their residences in Kyoto or in their
domains. When they did so they demanded to be entertained by actors
and poets in the proper setting and with the right costumes. This imtheir warriors
17
posed upon daimyo a virtual obligation to provide the best possible renga
parties and No and Kyogen performances if they were to stay in favor
culture was very much an instrument of politics.
Many daimyo patronized Zen monks, practiced meditation, imported Chinese objects (karamono) and cultivated the arts associated
with Zen. Back in their castle towns they built Zen temples, designed
gardens, invited Zen monks and men of culture from the capital, and
practiced the monastic, courtly, and literary arts to which they had been
provinces.
had studied
from patron
said that a
master of
men must be
like
bow and
and shooting, but for the
purpose of subjugating devils. In their hearts they are compassionate and circumspect. Like them, a master of samurai must first rectify his own way, and then
reward his loyal subjects and soldiers and eliminate those who are disloyal and
treacherous. If you can discern between reason and unreason and between good and
evil and act accordingly, your system of rewards and punishments can be considered
as compassionately administered. On the other hand, if your heart is prejudiced, no
matter how much you know the words of the sages and study the texts they all come
to naught. You may observe that the Analects [1.8] contains a passage saying that a
gentleman who lacks steadfastness cannot command respect. Do not consider that
the term steadfastness represents only heavy-handedness. It is essential that you
conduct yourself in such a way that both heavy-handedness and leniency can be
applied flexibly as the occasion demands (Lu 1974, vol. 1, 173).
Fudo and Aizen. Although Fudo carries
arrows, these weapons are not intended
One
for slashing
the custom of drinking tea. Like the practice of Zen meditation, the use
of tea had been introduced to Japan in the eighth or ninth century.
Neither had taken deep hold, however. From the late twelfth century tea
drinking was reintroduced as one facet of Zen monastic life. Tea was
new
water was poured over powdered green tea (matcha) in an open bowl, and
a bamboo whisk used to whip the mixture.
Courtiers and warriors were quickly introduced to the custom
through their contacts with Zen monks. Among the first daimyo to
devote himself to tea was Sasaki Doyo. Doyo helped Ashikaga Takauji in
establishing the Muromachi bdkufu and served as an advisor to the set
ond shogun Yoshiakira. A poet and patron of No, he loved tea competi
tions, or tdchd,
IS
became
so< ial
foi
/)</
<><
compete
konoma), and fitted desk (tsukeshoiti), all probably derived from the /.en
monastic style of shoin architecture. Thus the drinking of tea began to
give rise to a kind of aesthetic revolution that was to reshape almost
every area of Japanese cultural life and to transform daimyo taste, as well
as that of shoguns, courtiers, townsmen, and villagers.
The
Ouchi and
Hosokawa as
medieval
i
families.
The Ouchi, as
leading vassals of the Ashikaga shoguns, steadily extended control over Suo, Nagato and neighboring
patrons of the Hagi pottery kilns. On the whole, however, they were less
given to cultural interests than the Ouchi and some historians have
suggested that their victory over the Ouchi was due not only to better
military organization but also to less distraction in cultural pursuits.
19
and had
Yoriyuki studied
number
as
of court antholo-
influential Rinzai
monks
He
Zen and
established the
garden.
kickball (kemari),
dispute after
kawa daimyo family declined after the Onin War. The family fortunes
were revived in the sixteenth century by Hosokawa Yusai (Fujitaka, 15341610) and Sansai (Tadaoki, 1563-1646), members of a branch family. Yusai
and Sansai were among the survivoTs in the cut and thrust of the military
campaigns of the sixteenth century. They were also among the most
cultured of the daimyo who showed an interest in the way of bun. We
will look at them in a little more detail when we come to consider some
of their peers as daimyo in the late sixteenth and early seventeenth
centuries. Other daimyo who practiced the twofold path of literary and
martial arts in this period were the Hatakeyama, Asakura, Takeda,
Uesugi, and Hojo. Hojo Ujiyasu, for instance, was a vigorous patron of
who supported
The daimyo
in an age of
war and
students.
aimed at reunifying
and scale of warfare
brought greater unpredictability and change to daimyo. The process of unification demanded the reduction of daimyo
autonomy. A weakening of the domain or a mistake in choosing an ally
could lead to destruction in a single battle. A few families, including the
Shimazu of Satsuma, survived all the warfare and continued as daimyo
until the nineteenth century. Most of the medieval shugo daimyo, however, were overthrown. In some cases the smaller daimyo houses with
more closely controlled domains who replaced them in the late fifteenth
and sixteenth centuries were able to consolidate their positions and ally
themselves with one of the unifiers to survive and flourish in the late
sixteenth and early seventeenth centuries. In many cases, however, those
daimyo who toppled shugo were crushed in their turn when they stood in
the way of unification. In many parts of the country three or four daimyo
families achieved local hegemony and lost it again in the course oi the
unification
yoshi,
the country.
The
All
escalating pace
20
Over
century or
so,
Do
not give a
ability,
even
if
command
Asakura family
for generations.
who
lacks
21
of war.
Refrain from frequently bringing from Kyoto actors of the four schools of
No
for
enjoyment of
These
this
province
(Lu 1974,
vol.
1,
172).
However, in 1573 they threw their weight against Oda Nobunaga, were defeated, and destroyed. Yoshikage, the last of the Asakura
daimyo, committed suicide.
By the mid-sixteenth century political decentralization and warfare had reached an extreme. Among the sengoku daimyo were some
who dreamed of marching on Kyoto and reuniting the country. The
a century.
daimyo who actually started the process of reunification was Oda Nobunaga, a young daimyo from a small domain on the Pacific coast of
Japan. In 1560 Nobunaga overcame the vastly superior forces of Imagawa
Yoshimoto, the shugo of the three provinces of Suruga, Totomi, and
Mikawa, at the Battle of Okehazama and captured Yoshimoto. On the
pretext of restoring the Ashikaga Yoshiaki to the shogunate,
Nobunaga
moved on Kyoto
To confirm his authority to rule the realm Nobunaga made alliances with
some daimyo and crushed others who stood in his way. At the Battle of
Nagashino in 1575, Nobunaga, in alliance with Tokugawa Ieyasu, another
powerful daimyo from eastern Japan, defeated the forces of Takeda Katsuyori. Nobunaga's victory owed much to his readiness to adapt new
technology to warfare. The major reason for his victory at Nagashino was
his skillful use of the recently-imported muskets (teppo). Nobunaga organized his three thousand musketeers in three ranks, with one rank firing
while the others reloaded. This allowed him to deliver a volley every ten
seconds, devastating the mounted warriors of the Takeda. While he was
bringing daimyo of central Japan to heel, Nobunaga also engaged in
bitter campaigns against militant Buddhist groups, especially the monas-
much
about
tall,
inclined to
ises,
his plans,
wmks
an expert
ol justice
in military
his shouldei
in a
loud voice as
it
sec
t,
all
and
life alter
death, lie
is
ol a
22
b<
fore
him with
a sword.
He
is
>
l>\
all
as the
belonging to
th<
appeal
le
lies
Not even
always accompanied b)
at least
in all Ins
prim e ma)
two thousand
men on
horseback, yet converses quite familiar]) with the lowest and most miserable
was merely the lord of Owari, but by his immense energj over
Nobunaga has
pm\
inces,
including the eight principal provinces of Gokinai [the region around the capital]
and
its
neighbor
fiefs,
overcoming them
in a vers short
93).
23
land,
at the
among
and forcing samurai, who until then had lived in the villages, to
choose between staying in the villages as farmers or keeping their swords
and their hereditary profession of arms but moving into garrison towns
as stipended vassals. Daimyo were ordered to collect swords, bows,
spears, muskets, and other weapons from farmers and deliver them to
Hideyoshi. The enforcement of this policy went a long way toward the
implementation of the four-part status hierarchy of samurai, farmers,
artisans, and merchants that was to characterize Japanese society in the
seventeenth and eighteenth centuries.
Even before the last of his daimyo and their armies had returned
from Korea to Japan, Hideyoshi was dying. In a final desperate attempt
to establish a warrior dynasty he set up a council of five powerful daimyo
villagers
were again forced into fateful choices. While one faction continued to
support the Toyotomi cause, others clustered around the patient and
powerful eastern daimyo Tokugawa Ieyasu. The issue was decided on the
Plain of Sekigahara in 1600 when supporters of the Toyotomi were
routed in a great battle involving 160,000 samurai. Three years later
Tokugawa Ieyasu received the title of Seiitaishogun and consolidated his
bakufu, and in 1614-1615 destroyed the remnant of the Toyotomi faction
after the siege of Osaka Castle. After centuries of instability, war, and
conquest, Japan settled into two centuries of peace, the Pax Tokugawa,
under the carefully balanced system of shogunal and daimyo rule known
as the baku-han system.
The century of transition from civil war through conquest and
national reunification to peace wrought significant institutional changes
in the character of the Japanese daimyo. This unification did nol in any
sense involve the eradication of the daimyo. Although individual daimyo
houses were eliminated, the daimyo as a whole survived the process ol
)da
political reunification and were entrenched by it. It was the daimyo
Nobunaga and Tokugawa Ieyasu who started and finished the sixteenth
entury unification. All three unifiers relied on daimyo allies to marshal!
military tones, lead campaigns, and rule the provinces. Each <>( the
unifiers, to one degree or another, shared powei with daimyo in whal
(
<
24
more harshly
were swept
had sustained.
Item
[1]:
Item
[2]:
strictly
prohibited from
entering deliberately into contracts [with each other] and from signing oaths and the
like
to another, either as
daimyo
alliances
and the
tendency
Daimyo
During the wars of the late fifteenth and early sixteenth centuries, as we have seen, men of culture had
culture in the
abandoned the devastated capital region for refuge in
sixteenth
e P rovmces an d the focus of daimyo culture had
centurv the
,i
been the residences of those provincial daimyo whose
cultural enthusiasm made them hospitable to such
ana peace
refugees. From the mid-sixteenth century, as Nobunaga and Hideyoshi secured control over the country, the Kyoto region (Kyoto, Sakai, and Osaka) again became the center
of cultural leadership. This epoch is frequently known as the AzuchiMomoyama era after Nobunaga's great castle at Azuchi and Hideyoshi's
citadel at Momoyama. These towering castles were symbols of the power
and ambition not only of the unifiers but of the daimyo who followed
them in warfare and cultural style. Daimyo took their cue from Nobunaga and Hideyoshi who reveled in ostentatious self-glorification to
exalt and legitimize their newly won political and military supremacy.
_.
25
drew on the
silver
Thus
conquest.
cultural style
26
ceremonies and
No
own
elaborate
mansions.
During the 1580s and 1590s there was a spate of castle destruction
and reconstruction as daimyo fell and others rose to power and favor. In
1581 Toyotomi Hideyoshi, still a retainer of Nobunaga, was granted a
castle at Himeji. which he fashioned into one of the most perfect examples of Japanese castle architecture. In 1600 Himeji Castle passed to the
Ikeda daimyo family for their services to lokugawa Ieyasu. The Hojo
castle at Odawara, until then the greatest in the Kanto, fell to Hideyoshi
after a seven-month siege in 1590, but in the same year Tokugawa Ieyasu,
still a daimyo, began the expansion of a castle at Edo that was to become
the core of the most populous city in Japan. Kato Kiyomasa, one of
Hideyoshi's leading daimyo, built the great castles of Nagoya and Kumamoto. Fine surviving castles were built at Matsumoto in 1597, and by the
Ii family in Hikone in 1606. Each of these castles was at once a fortress,
center of local rule, palatial residence, and node of cultural activity.
Hideyoshi and Nobunaga were both inveterate patrons of the arts
and skillful exploiters of art as an assertion of power. With many daimyo,
and a growing number of Sakai merchants, they shared a passion for the
tea ceremony (chanoyu). Nobunaga studied tea with Sakai tea masters
including Imai Sokyu (1520-1593), Tsuda Sogyu (d. 1591), and Sen no
castles.
He
and granted
1568.
move
the gods.
The No had declined in Kyoto during the Age of Wars but had
been kept alive in the residences of those provincial daimyo who saw
themselves as patrons of culture. After Nobunaga's entry into Kyoto and
No again began to thrive. Hideyoshi became a pasHe patronized the four traditional schools of Yamato
27
gifts
He was rewarded
went over to the Tokugawa at the Battle of Sekigahara and was granted Kokura Castle in Kyushu, reestablishing the
fortunes of the Hosokawa family. Like his father Yusai, he was a waka
poet and painter and a devotee of chanoyu. He studied with Rikyu, built
tearooms, and collected many famous utensils. Gracia's fate was less
happy. Taken hostage by Ishida Mitsunari prior to the Battle of Sekiga-
own
life.
of renga remained a fashion among sixteenthcentury daimyo. Akechi Mitsuhide enjoyed a reputation as a tea man,
poet, and man of culture. A few days before he assassinated Nobunaga,
Mitsuhide is said to have participated in a renga session with Joha in
which he opened the sequence with a daring verse that could be read as
The composition
126).
But the most admired literary daimyo of the age was undoubtedl)
Yus;ii. After early service to the hist of the Ashikaga shoguns
Hosokawa
28
he served as advisor first to Nobunaga, then Hideyoshi, and finally lokugawa Ieyasu, who made him lord of Tanabe Castle. He practiced the tea
ceremony and calligraphy but was best known for his poetry and criticism. He inherited and passed on a body of aesthetic lore concerning the
poetry of the Kokinshu, the tenth-century anthology of waka poetry,
compiled his own collection of waka, and wrote a tra\ el diary and several
poetic commentaries. Devoted to poetry, he participated in renga sessions with Joha and others. Yusai was unusual in being a warrior whom
courtiers, as well as other warriors, could admire for his literary abilities
and excellence in the ways of bun.
No discussion of daimyo culture in the sixteenth century would
be complete without at least some reference to Christianity. Between
1549 and 1551 Francisco Xavier was received favorably by the Shimazu, Ouchi, and Otomo. Other early missionaries found equal favor
among the western daimyo. The Jesuits' policy was to win over the rulers
and assume that the ruled would follow. For their part many daimyo
responded favorably in the hope that the Portuguese merchant ships
that brought guns and other precious commodities from the West would
visit their ports. Whatever their reasons, some daimyo were converted,
and others at least allowed proselytization in their domains. When daimyo were sympathetic their wives, family members, samurai, and even
the farmers in the domain quickly followed suit, as the Jesuits had anticipated. Nobunaga set an example by entertaining Christian missionaries
and allowing the building of a seminary at Azuchi. Christian daimyo
sponsored the building of churches, colleges, and seminaries. They entertained missionaries and imported books, paintings, and religious objects from Europe. They commissioned screens and paintings showing
scenes of the "southern barbarians." By mid-century there was a fad for
things Portuguese, including the costumes of the padres. Daimyo and
young blades, most of whom had made no spiritual commitment to
Christianity, decked themselves out in Portuguese styles and sported
rosaries and crucifixes as fashionable accessories. But if some daimyo
accepted Christianity easily, most abjured it quickly when Hideyoshi and
Ieyasu proscribed it and ordered the eradication of the alien teaching. An
exception was Takayama Ukon (1553-1614), who was exiled for refusing to
relinquish his faith.
The
transition
from war
to peace:
or powerful
daimvo
child Hideyori.
"
'
in the
daimyo
Not
up
a council
litical
1.
29
who became
myo
alike.
The
30
<
become Tokugawa
daimyo (fudai daimyo), and outside daimyo (tozama daimyo) who had not
sworn allegiance to the Tokugawa until Sekigahara or after. Depending
on the scale and coherence of the domain, daimyo were also categorized
as holders of whole provinces, parts of provinces, or castles. Most types
of Edo-period daimyo are represented in the exhibition.
Closest by blood to the Tokugawa were the collateral daimyo,
known as kamon or shinpan. All of these claimed some blood connection
with the main house of the Tokugawa. There were some twenty in this
category but the most prominent members of this group were the socalled "three houses" of Kii (555,000 koku), Owari (619,000 koku), and
Mito (350,000 koku), all of which had been established by younger sons of
Tokugawa Ieyasu. These families provided heirs, if necessary, for the
shogunal house. They were powerful and respected and provided advisors to the Tokugawa shoguns. Their large domains were strategically
placed to guard the approaches to Edo and Kyoto. At the same time,
they were held at a distance as potential rivals and not employed in the
exercise of bakufu rule.
31
huge bureaucracy the Tokugawa shoguns relied on a group of trusted hereditary vassal daimyo known as
fudai. These were generally relatively small in scale, ranging from 10,000
koku to 150,000 koku. Informally they were ranked according to the
length of their service to the Tokugawa family. At Ieyasu's death there
were 90 fudai daimyo. There were some 130 by the end of the Tokugawa
period. The core of the fudai were families like the Sakai, Okubo, and
Honda who had served the Tokugawa from its early days in Mikawa
Province in the late fifteenth or early sixteenth century. Other fudai,
including the Ogasawara and Ii, had sworn allegiance to the Tokugawa
during Ieyasu's lifetime. Fudai daimyo and the non-daimyo retainers of
the bakufu known as bannermen ran the bakufu on a day-to-day basis.
The senior fudai were appointed to the bakufu's senior council of elders
(rojii) while lesser fudai served on the junior council that concerned itself
with matters affecting the Tokugawa house. Throughout Japan fudai
domains were interspersed among those of the less trusted tozama daimyo with the duty of reporting to the bakufu anything untoward in the
actions of the tozama daimyo. The larger fudai were placed on the perimeters of the Tokugawa domains while smaller fudai were generally loFor
One
was the
Ii
family of Hikone.
gawa Ieyasu
in 1575.
When
Naomasa was rewarded with the largest fief, 120,000 koku, in the
Kanto. After Sekigahara, where Ii Naomasa was a leader of the Tokugawa
forces, the Ii were appointed castellans of Sawayama Castle (180,000
1590
koku).
Tokugawa Ieyasu overlooking Lake Biwa and close to the imperial court
in Kyoto. The Ii were placed to serve as a bulwark of bakufu influence in
western and central Japan. Throughout the Edo period the family was
always active in bakufu councils; five Ii daimyo served the bakufu in the
Great Councillor. The last of them, Ii Naosuke, was assassinated
in i860 by antiforeign daimyo for trying to reach an accommodation with
the encroaching western powers. During the Meiji Restoration the Ii fief
was reduced to 100,000 koku before the abolition of the feudal domains
office of
in 1871.
The daimyo
known
'
32
as outside
Satsuma of the Shimazu family and Choshu of the Mori family that had
been defeated in battle and had been stripped of some of their earlier
holdings had relatively large numbers of samurai in their populations.
The mid-nineteenth-eentury challenge to Tokugawa rule that led to the
collapse of the bakufu and the Meiji Restoration was mounted by samurai from these powerful tozama domains that had been excluded from
power by the Tokugawa.
Of the great tozama, the Maeda (Kaga domain, Honshu), Shimazu (Satsuma domain, Kyushu), Hosokawa (Higo domain, Kyushu),
and Date (Sendai domain, Honshu) are all represented by objects in the
exhibition. The Maeda were second only to the Tokugawa in scale of fief
(102,000,000 koku). Their castle town of Kanazawa was renowned for
Kutani pottery, fine lacquer, and the painted silk fabrics known as kaga
them
to
Satsuma
in
debts in the
Edo
pe-
gave
innovations.
The Hosokawa
services
side at Sekigahara,
castellan
on the Tokugawa
his
sessed yield of 540,000 koku. Placed in a position to block any threat from
Satsuma to the south, the Hosokawa, although tozama, enjoyed the trust
33
tozama
lords.
Tozama daimyo
like
who had
alternate-year residence in
The
Edo
(sankin kotai).
It
thoughts of war.
Sankin kotai also contributed to the massive growth and to the
34
Edo
services.
in the
And whereas
the most
vital cultural
early eighteenth centuries were Kyoto and Osaka, by the mideighteenth century Edo, with its Kabuki theaters, print shops, booksellers, and entertainment quarters, was setting the cultural pace. While
sankin kdtai and the focus on Edo contributed to centralization, the
continued existence of the han, which numbered some 290 at the beginning of the Edo period and gradually sank to 240 or so, meant a continuance of local diversity. This contributed to cultural vitality. But the han
were closely linked with Edo by the daimyo and his retinue constantly
coming and going. Local culture was carried along the highways to Edo,
while metropolitan culture was diffused throughout the domains.
and
As the sankin kdtai system took hold, daimyo heirs were born
and brought up with their mothers in Edo. In some cases they might not
visit the domain until they were young men and had inherited the title of
daimyo. They thus grew up sharing the common experience and cultural
values of the daimyo residences and the shogunal court in Edo. The
domain, which in any case could be rescinded by the Tokugawa, ceased
to be home for them and became instead a place of periodic administrative responsibility. Daimyo quickly began to vie culturally in the decoration of their Edo yashiki, in bringing local products and craftsmen to
Edo, and in employing artists and craftsmen from Kyoto or Edo in their
home castles. The frugality and toughness that had been the mark of
warrior leaders in the sixteenth century soon began to give way to refinement and ostentation. They also came to share certain Confucian intellectual and cultural values, long maintained by the nobility and Buddhist
priesthood but newly relevant to a nation at peace and requiring principles of social conduct and civil administration. The hereditary descendants of the warrior leaders who had fought on the battlefields of
Nagashino, Nagashima, Korea, and Sekigahara were thus transformed
into an urbanized feudal aristocracy who ruled not by force of arms or
demonstrated personal ability but at the pleasure of the shoguns and by
an institutionalized, inherited authority. Domains tended to undergo a
process of pacification and bureaucratization. Daimyo, as well as their
samurai, were transformed from warlords into rulers and administrators,
men of culture and local patrons of the arts. Local domain loyalty was
shown less to the daimyo for his unique personal qualities of military
leadership than to the institutionalized office of daimyo as head of the
fief (hanshu).
35
describe this joint system of bakufu and han rule as the baku-han system,
pointing at once to its centralized and decentralized aspects. While the
bakufu represented the centralized power of the Tokugawa the han represented the local feudal and bureaucratic authority of daimyo. Although
subject to oversight and occasional interference from the bakufu, the
han tended to become semi-autonomous local units. Although daimyo
were forced to bear the burdens of attendance and residence in Edo and
were subject to levies, at the pleasure of the shogun, for the building and
repair of castles, roads, and bridges, the bakufu lived off the taxes from its
own domain and did not tax the fiefs. In return it was relieved of the
burdens of local government outside its own direct domain (tenryb).
Within the han, daimyo and han governments were relatively free to rule
as they thought fit. A few large han had natural resources or were able to
develop monopolies that kept them out of debt. Most were financially
hard-pressed by a rising population and standard of living and by an
increasingly monetized economy, and found it difficult to provide adequate stipends for their samurai. Some han governments were lax and
quickly ran into debt, some were harsh and provoked peasant uprisings
and insurrections. Some daimyo were indolent and given only to leisure.
Others, however, acquired reputations as diligent, concerned administra-
domains (meikun).
Among these model daimyo were Ikeda Mitsumasa (1609-1682) of
Okayama, Tokugawa Mitsukuni (1628-1700) of Mito, Hosokawa Shigekata of Kumamoto, Uesugi Harunori (1751-1822) of Yonezawa (150,000
koku), Matsudaira Sadanobu (1758-1829) of Shirakawa (100,000 koku) in
northeastern Japan, and Shimazu Nariakira (1809-1858) of Satsuma.
Common to all of them was devotion to scholarship and Confucian
moral standards of rule, to the building of schools and the encouragement of education for samurai, and to efforts to restore han finances,
bring new lands under cultivation, promote local craft industries, and
tors of their
alleviate
some of the
when
cal
its
best.
Daimyo
culture under
the Pax
political
Tokueawa
power
realities
par-
it
Tokugawa power
struc
ances, with the result that they grievously exploited their domains 01
went heavily
had both the
36
in
arried W< re
many ways fitting symbols for the Edo-period daimyo, ferried between
Edo and his domain, whose twin raisons d'etre were attendance upon the
shogun and management of his Edo yashiki, and administering his local
domain. Many daimyo gradually became detached from the social and
in
living
commoners
daimyo
in their
domains.
feudal
elite,
whose
cultural val-
though powerfully expressive of the Edo age, daimyo culture was not the
most vibrant aspect of Edo-period culture. That accolade belongs to the
popular culture of the merchants, craftsmen, entertainers, and ordinary
townspeople of the great cities. Daimyo were certainly aware of the
vitality of popular culture around them and drawn to the world of the
Kabuki theatre, popular literature, and woodblock prints. They were not
active contributors to the popular realm, however. Their principal cultural role was that of inheritors and patrons of a traditional and classical
Chinese and Japanese aesthetic.
We might suggest that just as the imperial court clung to the
cultural style of its halcyon days in the Heian period, so the daimyo
tended to idealize aesthetic modes of the Muromachi era. The cultural
tone for Edo-period daimyo was set by the Tokugawa shoguns in their
edicts and directions to the warrior order. We can distinguish a creative
tension. One vital requirement was to preserve that military tradition on
which the whole edifice of Tokugawa power rested, to reiterate constantly the samurai traditions of valor, honor, loyalty, and military preparedness. Another requirement was to modulate the military tradition,
to tame it, to turn the daimyo and their samurai from the ways of war to
those of peace. The path of bu was never relinquished in the Tokugawa
period but under the Pax Tokugawa the inclination to promote the ways
of bun tended to gain the upper hand.
The Buke
Preservation
of the martial
tradition
arts,
The
arts
even
in
an age of peace:
From
singlemindedly.
Keene
1964, vol.
The
in
arts of
both the
1,
war on the
right';
326)
and
members
military arts,
37
to live
to this ideal.
weapons
ready.
The
Way
One
Edo
period
samurai ideal was made by Yamaga Soko (1682-1685), a teacher of Confucianism and military science, in his moral exhortation for samurai, Shidb,
in 1665:
The
if
he has one,
in
own
station in
deepening
life,
in
his fidelity in
in
all.
principles, the
people
who
common
It
would not do
for the
the
fulfill
Way
of
the lord and subject, friend and friend, father and son, older and younger brother,
and husband and wife. Within his heart he keeps to the ways of peace, but without
he keeps his weapons ready for use. The three classes of the common people make
him their teacher and respect him. By following his teachings, they were enabled to
understand what is fundamental and what is secondary.
Herein lies the Way of the samurai, the means by which he earns his
clothing, food, and shelter; and by which his heart is put at ease, and he is enabled to
pay back at length his obligations to his lord and the kindness of his parents
(Tsunoda, de Bary, and Keene 1964, vol. 1, 390).
all, samurai advocates of Confucianism, a
faced with the excrutiating choice between demonstrating filial piety toward a father and loyalty to a lord, would give primacy to
loyalty over filial piety. And that classic of Edo-period Bushido, the Haga-
true samurai,
if
kure,
compiled by
Wherever we may
be,
deep
mountain recesses
in
is
or buried
I,
nth,
in
is
in
true.
mind
in
to die.
91
92).
Although
tradition survived
Promotion of
battle:
And he naturally had no time to read and study. He took the empire on horseback,
but his natural brilliance and his superhuman character were such that he early
recognized that the empire could not be ruled on horseback. He always had great
respect for the
kingdom and
his reign
Way
fulfill
of the Sages and knew that it alone could teach how to rule the
the highest duties of man. Consequently, from the beginning of
16).
39
had to be promoted as appropriate to the samurai. Ieyasu and the Tokugawa had no desire to encourage their vassals in frivolity daimyo and
samurai were officially discouraged, not always successfully, from frequenting popular entertainments and from consorting with actors, entertainers, and courtiers
but they did wish them to devote time to serious
became
late
in life
an assiduous
40
collection,
and
calligraphy.
larly
in
towns.
the
tastes, like
period.
Daimyo
directions.
Although daimyo had no opportunities to appear on the battlestill needed swords, armor, muskets, and other military equipment for drills, ceremonial occasions, and as symbols of personal status.
In the Edo period only samurai were permitted to bear arms, and the
sword, in particular, remained the symbol of the samurai. Daimyo commissioned swords and armor from the finest makers to reflect their rank,
status, and artistic taste.
Daimyo were participants in an elite cultural world in which No
and the tea ceremony were the highest expressions of political as well as
cultural preeminence. In this respect they continued to cloak themselves
in the cultural trappings that had earlier added prestige to the Ashikaga
shoguns. Culture and politics mingled in the tearooms and the No performances held in Edo Castle or the daimyo residences, or in the provincial castle towns. Although the Kabuki and the puppet theaters were
flourishing among the townspeople of Edo and Osaka and were attractive to many samurai, No and its comic counterpart Kyogen remained
the official dramatic form patronized by shoguns and daimyo. Ieyasu
adopted it, carrying on the enthusiastic patronage of Hideyoshi, Nobunaga, and the Ashikaga shoguns. Just as bugaku had served for centuries as the formal music of the imperial court, No filled this role for
shogun and daimyo. Daimyo were expected to be able to chant No.
Ieyasu and Tsunayoshi (the fifth shogun), for instance, performed No
dances and urged the daimyo to do the same. Annual competitions of
chanting and dancing (utai-hajime) were held. Every daimyo household
was required to maintain a full set of robes, masks, and musical instruments for the performance of No. The Hosokawa family had a particularly fine collection, from which many robes and accessories have been
lent to the exhibition. Frequent ceremonial performances of No were
held in Edo and the provincial castle towns. Daimyo vied in sponsoring
No actors, building stages, and acquiring robes and masks.
During the Edo period the passion for tea (chanoyu) spread
through all sectors of society. Descendants and students of Sen no Rikyu
established the major schools of tea, including the Ura Senke, Omote
Senke, and Mushanokoji Senke that are still popular today. Professional
tea masters made their livings instructing shoguns, daimyo, samurai,
townspeople, and even wealthy farmers in the intricacies of tea and the
subtleties of the tea aesthetic. For everybody, the enjoyment of tea was a
participatory aesthetic in which some of the more rigid social barriers
field,
they
41
were temporarily
also
maintained their
own
imposing
chambers of castles and yashiki. Ieyasu himself was a passionate enthusiast of tea and collector of fine utensils. He received instruction from the
tea master and man of culture Kobori Enshu, who also instructed Hideyoshi as well as the second and third Tokugawa shoguns. Formal and
informal tea gatherings were held in Edo Castle, in the Edo residences of
the daimyo, and in their provincial castles. No daimyo could afford to be
ignorant of the niceties of correct etiquette or be unable to entertain his
own
daimyo
in his
demand.
The
came
to
,1
42
daimyo contribution
Edo
period.
Chanoyu was a major stimulus for the development of daimyosponsored kilns as well as for interior design and the codification of
flower arrangements for tearooms and for formal arrangements on ceremonial occasions. While Chinese- and Korean-inspired high-fired,
glazed porcelain and stoneware remained highly prized throughout the
Edo period, the tastes of Sen no Rikyu and other tea masters ran to
rougher, humbler Japanese or Korean ware. Rikyu patronized the potter
Chojiro, who made hand-formed, thick-walled bowls. Many daimyo took
pride in the kilns and potters within their domains and, in an effort to
develop local products, introduced their work to Edo and Osaka. The
Ikeda family of Okayama, for instance, took an active interest in the
Bizen kilns within their domain. Among the daimyo of western Japan the
Shimazu, Kuroda, Nabeshima, Goto, Matsuura, and Mori all controlled
kilns headed by Korean potters brought back forcibly during Hideyoshi's
invasions of Korea. The Nabeshima family of Hizen province in Kyushu,
for instance, was engaged in foreign trade, with their own licensed ships
plying between Japan and southeast Asia. Nabeshima Naoshige (1538
1618) and his son Katsushige (1580-1657) both participated in the Korean
invasions and brought back Korean artisans. Establishing their kilns
around Arita, they produced blue and white underglaze and brilliantly
colored overglaze wares that won fame throughout Japan and were carried to Europe by Dutch traders. The technological skills of these groups
of Korean potters contributed to the great variety and fine aesthetic
quality of Edo-period ceramics.
The
it
values.
status of
bound more
a lord,
tightly in a
women
43
Ekken
written by Kaibara
I
(1630-1714), or
in
her employ
it is
to shirk
the trouble of attending to everything herself. She must sew her father-in-law's and
mother-in-law's garments and make ready their food. Ever attentive to the require-
ments of her husband, she must fold his clothes and dust his rug, rear his children,
wash what is dirty, be constantly in the midst of her household, and never go abroad
but of necessity.
(Chamberlain 1905, 506).
.
The
linn.
Among
44
is
.1
In
suiiiphi
samurai
Japanese society at large, gift-giving was always an imporand political ritual. Daimyo were expected to shower lavish
gifts on the shoguns and were rewarded with precious items in return.
Elaborate gifts were given at marriage and on accession to power. For
these gifts daimyo frequently exploited the special skills and products ol
society, as in
tant cultural
The
abolition
of the feudal
Probing by Western vessels and the arrival of Commodore Perry's squadron off the coast of Japan in 1853
presented a major challenge to the lokugawa bakufu
ant ^ ie wno^e lokugawa power structure, including
the daimyo. The bakufu's inability to fulfill its mission
'
and expel the foreign menace created a volatile political situation in which younger samurai activists from
some of the southwestern tozama domains challenged
the lokugawa bakufu and eventually overthrew it in the name of a
restoration of imperial rule. Within a few years the new leadership, most
of whom were samurai, had embarked on a process of rapid nation
building that was to involve a total dismantling of the old feudal order,
including the daimyo domains. In the race to modernize and strengthen
Japan by introducing institutions, ideas, and technology from the West,
the daimyo and the welter of domains they had headed were seen as part
of a backward, divisive, and repressive ancien regime, too closely associated with the discredited Tokugawa shogunate. It was suggested that the
daimyo might be incorporated in a great council of state, but in the first
flush of Meiji enthusiasm with calls for rationalization, centralization,
the promotion of talent, and "civilization and enlightenment" from the
West ringing in the air, the daimyo seemed out of place. They were not
subjected to violence and were not eliminated overnight. Some daimyo
were called upon to advise the Tokugawa bakufu, the court, and the new
Restoration government. Gradually, however, between 1868 and 1871
their domains were reduced and their powers shifted to the new government. Distinctions between the various categories of han were first re'
lK
("Mill lift*
many
4=5
commuted
Those daimyo
into cash.
commoner backgrounds.
What of daimyo culture
that
enthusiasm for things Western in the 1860s and 1870s, the culTokugawa elite were largely disregarded or discredited. Like all samurai, daimyo gave up their swords, formal robes, and
palanquins and took to walking sticks, Western dress, and the railway.
Obligatory sankin kbtai and attendance upon the shogun had been replaced by freedom of travel and freer social intercourse. In the abolition
of the domains they lost their castles and many of their Tokyo residences.
In many cases they sold off family treasures. Lesser mortals no longer
bowed at their passage and they lost the power to command service from
farmers and craftsmen. Where once the classical learning of Japan and
China had provided their intellectual framework, they now had to come
to terms with new ideas and notions from the West. Prized tea utensils,
Buddhist statues, and other works of art were temporarily devalued as
attention turned to the assimilation of artistic models from the West.
But not everything had been destroyed and with time came a
reassessment of cultural values. Many works of art were acquired cheaply
by Western collectors and museums but others were bought by Japanese
who were finding new value in their own cultural tradition. Some daimyo retained substantial collections and added to them during the late
nineteenth and twentieth centuries. After the fever for things Western
subsided somewhat in the mid-Meiji period, Japanese and Westerners
alike began to rediscover the qualities of artistic and cultural attainment
that had been enjoyed and prized by the former daimyo. No and chanoyu
began to regain attention, ceramics found export outlets, and painters
began to revive traditional styles. Many of the elements associated with
flush of
discredited in early
46
Daimyo and
art
YOSHIAKI SHIMIZU
CI
W day
47
emperor Go-Shirakawa (1127-1192) and freed from a twenty-year banishment in Izu, amassed an army of more than twenty thousand men, were
the Heike routed. The Genji troops, led by Yoritomo's impetuous half
brother Yoshitsune (1159-1189), repulsed the Heike at the decisive Battle
of Dannoura in the spring of 1185.
Yet, even before the Heike had been driven from power, and
within a month after the burning of Todaiji and Kofukuji, the court of
Kyoto had ordered the reconstruction process to begin under the leadership of a monk of Todaiji, Shunjobo Chogen (1121-1206). Chogen energetically pursued the task, raising much-needed funds and traveling to
China to engage an expert Chinese bronze caster. He also found timbers
in Suo and brought them to Nara. A replica of the bronze colossus was
dedicated in the eighth
month
emperor Go-Shirakawa and Yoritomo, who traveled from Kamakura to attend the ceremony. Ten years later, the reconstruction of the
Great Buddha Hall also was completed. It was the first major public
cloistered
project accomplished by a
new
Genji warriors, and the clerics, and a symbol of the new era of stewardship of the affairs of the state by the warriors.
When the Genji warrior clan established its government at the
end of the twelfth century, many Japanese artistic traditions already had
been in place for more than two centuries. Buddhist temples and Shinto
shrines had their own workshops of painters called edokoro, the name
based on the earlier and more official body within the imperial palace.
Sculptural traditions had been firmly based in Nara as well as in Kyoto.
Out of the new creative impetus generated by the reconstruction
projects at Todaiji and Kofukuji emerged the Kei school and its new
style. Its stylistic influence extended to the east, centered around Kamakura, the seat of the warrior government. The sculptor Unkei (d. 1223),
who along with his father, Kokei, led the campaign to restore the Buddhist icons at Nara, propagated a style that took root under the patronage
of Hojo Tokimasa (1138-1215), the warrior chieftain in the east.
Meanwhile, new Buddhist monasteries were being built in Kamakura. Zen temples with new architectural features based on Chinese
models were founded during the period of renewed, sustained contact
with mainland China encouraged by the Hojo regents in Kamakura. In
the fourteenth century, especially, hundreds of Japanese Zen pilgrims
went to China, many for sojourns of ten to fifteen years. Chinese monks
also visited Japan at the invitation of the patrons of Zen monasteries, the
Hojo family members (cats. 47, 54, 55). The Chinese emigre monks were
great teachers of sinology as well as religion. The cultural fringe benefits
that Chinese Chan (Zen) Buddhism brought to Japan were enthusiastically received by the new warrior elite, who as patrons had found something new, something that had not been handed down to them by the old
regime.
Renewed contacts between Japan and China led to the adoption
of two Chinese painting traditions: the Song Dynasty portrait tradition,
and an ink painting tradition that incorporated new subject matter and
techniques. Chinese paintings at Butsunichian, a sub-temple Kngakuji
and the mortuary chapel of Regent Hojo Tokimune (1251-1284) included,
according to an inventory made around 1365, two new categories oi
painting: portraits of Chinese Chan (Zen) masters, and ink paintings <>l
Daoist and Buddhist saints, landscapes, and flowers and birds.
When Yoritomo accepted the title Seiitaislwijim in 1192 he probably was uncomfortable with the idea that he had also inherited the
stewardship of the arts and culture, which had always been the province
of the aristocrats. His painted portrait, perhaps the single most important
painting in this exhibition, presents him in courtly attire (cat. 1). The
painting is part of a set of three portraits at )iiiko)i tli.il survive from an
original set of five: Go-Shirakawa at the center; a eourtici; two lima elan
48
wisdom
as a ruler
show
high
and
fifteenth century
of their
myo
49
When Osen
Your brush
is
as
tall
as the
Mount Sumeru
up
all illusions.
room
Momoyama
sliding doors.
Two important
Toyotomi Hideyoshi (1537-1598). The two men brought military leadership and political unification to Japan during the second half of the
sixteenth century, and also were the major patrons of painting. In 1576,
Nobunaga ordered his vassal Akechi Mitsuhide (d. 1582), the man who
would kill Nobunaga six years later, to superintend the construction at
Azuchi. A detailed description of the building and decoration campaigns
was recorded by a chronicler who compiled Nobunaga's biography. The
lengthy description of the paintings distributed throughout the castle
includes mention, in the seven-story-high central structure, of numerous
paintings by Kano Eitoku (1543-1590), his son Mitsunobu (c. 1565-1608),
and their assistants.
Kano Eitoku was the fourth-generation head of the Kano family
of professional painters. Since the late fifteenth century the l.mnK had
served powerful patrons, including the Ashikaga shoguns. Masanobu,
(1434-1530) the founder, painted for Ashikaga Yoshimasa, and u.is em
ployed
in
The Kano
painters spe<
ial
ized
<
50
in
what
their
yama
None
decorate
castle to the
its
interior.
Tokugawa
forces in 1614
Eitoku cannot be separated from the mood of the age and the personality
of his major patron, Hideyoshi. Hideyoshi's personality and artistic temperament were complex and even contradictory; he aspired to be stoic,
but could not resist epicurean pursuits. On one hand he sought the
rusticity of a humble tearoom, and on the other, he displayed ostentatiously a gold tea house in his castle mansion in Osaka, of which a
description survives: "from the tafdmi-matted floor to the ceiling, from
pillar to the cross beams, all were covered with gold; teabowls, kettle,
spoon, everything was gold." Yet Hideyoshi was an enthusiastic patron of
indigenous Raku wares, characterized by simplicity and directness of
form and color (cats. 285, 286). In Hideyoshi the timbre and behavior of
the ruthless military hegemon seem to have been conditioned by the
famous
many
art objects
he owned.
century Ashikaga shoguns had been broken up. Individual paintings and
artworks fell into the hands of daimyo in the provinces or entered the
collections of wealthy merchant-aesthetes and tea adepts in Sakai, Nara,
Kyoto, and Hakata. Written records document the movement and pedigrees of some of the most coveted tea ceremony utensils and Chinese
paintings. Both Nobunaga and Hideyoshi had inherited some of the
prized works from the Ashikaga collections. A collection inherited by
Nobunaga was destroyed by fire in 1582, though some artworks were
handed to Hideyoshi who, known for his shrewd and level-headed demeanor during fierce battles, also set up a tea room where he served tea
between battles. On the very spot where one's life might vanish like the
morning dew, he used and admired the famous teabowls and Chinese
ink paintings he inherited from Nobunaga.
In the seventeenth century, when the peaceful Tokugawa shogunate was established, the warrior class continued to serve as custodians, practitioners, and patrons of the arts. Later, following Hideyoshi's
example, the Edo shogunate had tea masters in place for generations.
The tea master Kobori Enshu (1579-1647) developed his own set of rules
of tea aesthetics; he amassed his
own
collection of art,
some of
it
trace-
51
own
Fumai (Harusato)
art collection.
The works
(1751-1818) of
Izumo Province
it
are called
messenger to ask Sansai to design a crested helmet for him. Sansai specified that it should be made from paulownia wood in the shape of water
buffalo horns. The messenger was puzzled by the choice of such fragile
materials. Sansai explained that a helmet crest should break easily rather
than distract the wearer, yet the messenger persisted in questioning
Sansai, asking how such a fragile helmet could ever be mended. Sansai
replied that a warrior in battle should not expect to live another day, and
that this was the ultimate law of the military man:
If a
warrior
handle his
is
own
be truly magnificent to look at. But once life is lost, it can never be replaced.' Ia\ ing
heard this, the messenger asked no more questions, and left (Okinagusa, 588-589).
I
52
Chronology
amw
Andrew M.
ay
Ariga Yoshitaka
hy
Hiroi Yiiichi
iik
Asuka 552-710
Nara 710-794
Heian 794-1185
ks
Kawakami Shigeki
Matsushima Ken
Medieval period
Miriam Ricketts
Miyajima Shin'iehi
Nedachi Kensuke
Kamakura 1185-1333
Muromachi 1333-1573
Nanbokucho (Northern and Southern
mk
mr
ms
nk
nya
nys
\Vatsk\
Nakamura Yoriaki
Nakamura Yasushi
Courts)
Sengoku
sn
Soejima Hiromichi
Suzuki Norio
sy
Sato Yasuhiro
ty
Takahashi Yuji
wa
Watanabe Akiyoshi
yk
Yuyama
ys
Yoshiaki Shimizu
sh
Early
1333-1392
jidai
(Age of Wars)
1467-1573
modern period
Momoyama
Edo
1573-1615
1615-1868
Ken'iehi
Modern period
Meiji
1868-1912
Taisho
1912-1926
Showa
1926-present
parentheses.
Chinese Dynasties
All
and
right
proper
when
left
and
mean
the viewer's
left
referring to paintings,
right
when
referring to
The
Tang
618-907
Five Dynasties
907-960
Northern Song
960-1127
Southern Song
Yuan (Mongol)
1279-1368
1127-1279
Ming
1368-1644
Qing
1644-1911
symbolizing a deity
Esoteric Buddhism).
53
%
*
^<*<k.
"V
Portraiture
55
Minamoto Yoritomo
hanging
139.4 x
-8 (54 y /8
Kamakura
brutal,
silk
x 44)
period,
This painting
1st
(kowasbzoku)
silk attire
He
is
cer-
seated on
holds a
wooden
slat,
The
to-
robe's lining.
The
mented with
floral
is
dom-
intricately orna-
patterns in lustrous
in pale ink.
The hem
of the
sit-
is
rhomboid
fered
in
patterns.
The
ing
its
chite
sheathing cloth.
The green
mala-
silk
support underneath.
Executed in the consummate pictorial technique of the courtly tradition of
yamato-e indigenous to Japan, this painting is one of the earliest extant examples
of formal secular portraiture. The sitter is
traditionally identified as
Minamoto
tomo
shogun who,
(1147-1199), the
first
Yoriaf-
Dannoura in 1185, ruled Japan from Kamakura as the chieftain of the Minamoto
at
(Great General
Who Quells
the Barbari-
Yoritomo became the supreme commander of the warriors and the head of
the military government, and concurrently
was appointed to Senior Second Rank, a
prestigious court rank from which he
could claim legitimacy and exert influence. Although medieval military chronians).
The
fifth portrait
Taira Narifusa
1157-1177), a
(fl.
chamberlain
lost.
much
of the extensive
re-
rid
of the
politi-
composition
image of Yoritomo, faces to the
yoshi's portrait, in
a mirror
left.
Taira
Shigemori, the subject of the fourth portrait, was, unlike his father, favorably
treated by Go-Shirakawa and became the
Inner Minister of the old regime-, but he
was dismissed by Kiyomori and died
young, before his father, Shigemori's portrait
memorative
,m expression
hara< tei
oi
paintings
as
al fingoji
attributed to Fujiwara
1205), a
56
National Treasure
is
Kyoto
Jingoji,
Yoritomo as a suspicious,
and ruthless warrior, the portrait
cles portray
and color on
scroll; ink
Takanobu
(114
tW?
.3
57
nise e
meant depiction
ple in real
life.
The Takanobu
attribution
is
not well
scroll; ink
handed down
at
included
in this exhibition.
These
por-
in portrait
the
21 'A)
in
c.
it-
1242),
assist, mt to
.1
sitter's
1275
countenance
beautifully cap-
is
dynamic movemenl
ol
Yasutoki (1183-
toki's last
Confucianism, he was
perhaps
strong cultural
(priest's robe),
not certain
silk
It is
and color on
to illness,
lowing year.
changes
hama) due
cul-
YS
most highly
traits,
Hojo Sanctoki
hanging
Hojo
lit;
lot SIN
controlled the
58
<
ure
in
.i1m.ii
the
and
l<
AY
i^ >
*-
-i-
*.'i
<
-w 2 A
*>
IP
fl
Kanesawa Sadamasa
hanging
scroll;
ink
Nanbokucho
and color on
20
period,
silk
t/s)
c.
1345
is
one of four
portraits at Sho-
#.
I*
headgear) on his
more
4 Ashikaga
hanging
Yoshimochi
ink and color on
scroll;
Muromachi
stylized
Jingoji,
period,
silk
'/_,)
no
later
than 1414
Kyoto
depicts
is
a transitional
portraits of the
Muromachi
come
to
an
its
former influence.
The
him
who
Minamoto Yoritomo
(cat.
1),
men
wear the formal regalia of an imperial aristocrat, and the designs on their robes are
Chinese-inspired. Both have their faces set
59
the collar.
at
The
eulot.
The
dated to 1414,
is
twenty-eight:
Portrait
from
Minister, painted
life:
An
man
of the
ardent
vow
for the
revelation of the
spirit.
The
Oei
{1414}
commemoration
ments
at
a short inscription
is
and
a trea-
sure of Myokoji.
makes an
is
formally
and
a warrior's
MS
[Jaku]gin of Butsunichisan.
[illegible
square relief
Taiun Jakugin,
who
hanging
on silk
The
circle recurs in
Ashikaga Yoshinori
hanging scroll; ink and color on
silk
and gold
theme
is
portrait
employed
in Yoshi-
with that posthumous portrait, its style, especially in the landscape, suggest that it
could be a Kano school work, if not by Ma-
mr
leaf
Muromachi
Tokyo National
Mounted
warrior
Museum
Agency
period,
c.
1458
Kyoto
room's
Tokyo
is
for a visit to
Fuji.
believed to
masa (1436-1490).
The
shown
tatami mat
figure
is
Some
Here we see
in
seated on a mat on a raised
full ceremonial court dress, his feet bare.
off.
Unlike some of the more famous porof shoguns and high-ranking warriors, such as cat. 1, this portrait is not a
traits
field.
tion.
and
It is
and successor
a struggle
between
shogun, and
including
No drama,
The
painting, callig-
active cultural
life es-
in
such an
is
111J4.
In front of
panels ol
wine
60
Its
Unusual
Fuji,
after the
by Zuikei
is
6 Ashikaga Yoshimasa
Mount
the painting
seal]
Muromachi
perhaps a temple
are faintly visible. The style of
sanobu himself.
patronized.
complex
and buildings
seal]
presumably was a priest of the temple Butsunichisan. Neither the priest nor the temple has been identified. This portrait is
at Jingoji, the temple that Yoshimochi
left.
ter, hills
masa's funeral service. Although the painting exhibited here has not been identified
on the
posthumous
sits
li
,1
a portrait of Takauji
as
bearing
Yoshiakira's kao
is
a portrait of
rior
who once
Ko Moronao
(d. 1351), a
served Takauji,
wai
MS
Hosokawa Sumimoto
hanging
scroll;
ink
and color on
the tenth
silk
Bunko, Tokyo
Important Cultural Property
Eisei
Mo-
on
this portrait
was
at
later,
in
tion).
tachi
hangs from
He
right
hand and,
his belt,
is
and
cal of portraits of
horse
is
The
front right
his position.
and rear
was painted by an
left legs.
artist
of the
depic-
Kano
school.
is in-
reads, in part:
.
Long ago
From Hosokawa
Hosokawa Sumimoto,
and horseman,
Yori-
first
a great archer
He
is
is
far
also versed in
61
62
1\
'6
ft
Jl
ft
MS
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1
tz
If
J
If.
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*,
i<
4- **
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t>
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it
&
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4*.
HI -
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i)
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4- *- * * Nl
$ ^ 1. *u A
^ *. &
m
11
i.
ft
ft
>u
63
JO
side,
and
vassals,
always
wisdom.
Ando En'e
hanging
Zen
scroll;
added an
En'e
is
was
the Buddhist
yasu, son of
MS
Ando Rensho
(1240-1330),
who
Kamakura
patron of Kumedadera, a
is
64
Kumeda-
(priest's mantle).
(Zen
Above the
period and a
on
sits
he
priests),
silk
oi
11
of 1330.
U
**
4 H
5-
* & 1u *
~- * **
ft
SL
>
H*
5 f
f-
-J-
i
1
* *
if *L
* & A
<*-
&ft
4.4k
ii
i:
|)
4A.
*. t<
It
1* >*
-M
**
"is'
t Jt*
* f **a
-a
4 * J* * *
;s
"i
1
!
JM
rt *
^ >f
**tf
*i
*.**
*
i.
12
He
and
As
is
and scholarship,
not
fierce.
is
noble,
and he enjoys a
In a
is
His retreat
He
human
heroic.
stirs
Muso Soseki
Muto Shui (fl.
hanging
sitter's father,
10
AY
mid-i4th century)
scroll; ink
and color on
silk
Myochiin, Kyoto
Important Cultural Property
Muso
distinguished
a
(1241-1316),
65
U among the powerful of both the imcourt and the shogunate, serving
I
the emperor
Go-Komatsu
(1377-1433), at
That Emperoi ( So-l )aigo and Shogun Takauji were enemies did not prevent Muso
from a< epting the patronage of both. In
1325, supported enthusiastically by the em<>
peroi
>aigo (1288-1339), he became abbot of Nanzenji in Kyoto. Ie also was the
founding abbot of Rinsenji, a Rin/.ai Zen
temple in Kyoto. After the death of GoDaigo, he founded Tenryuji through the
patronage of Ashikaga Iiikauji (1305-1358)
and his brother, Tadayoshi (1306-1352), and
revived Saihoji, thus fostering the golden
i
Zen
led a peripatetic
ment known
as
War
move-
compo-
Chinese by Japanese
Zen priests). Muso was also a significant
calligrapher, poet, and designer of gardens.
The inscription on this painting, in
Soseki's hand, reads from left to right:
lower right in
Muto
notable poet
holding a
bamboo
hand,
Even
Zen
in this
a signature at the
for himself,
conventional clerical
portrait, however, his unconventional and
rebellious personality is expressed by his
unshaved head, the mustache, and the in-
is
tomb
Jiyoto, in
priest).
Onin
sitions in classical
(translated in
in the
Shui.
is
turned
slightly
The
inscription
is
in Ikkyu's
hand:
is
Ikkyu Sojun
hanging scroll; ink and color on
the shoulders
me
my
vulgar portrait
an inscription,
complied with his request.
Formerly at Daitokuji of Murasakino [area
north of Kyoto], ]un Ikkyii [over Ikkyu's
seal], Old Priest under heaven.
painted, asked
to write
Muromachi
period,
no
later
than 1481
Shuon'an, Kyoto
Important Cultural Property
Ikkyu Sojun (1394-1481), known for his
penetrating mind and wildly unconventional behavior, was an exceptional Zen
priest of the Muromachi period. Son of
Ming, no
than 1541
later
silk
x 19 'A)
Sakugen Shuryo
(1501-1579),
an erudite
late
He
visited
written in the
first
month
of 1541 (the
turned to
mission in the north.
The
inscription testi-
fies to
Ke
first
Fncomium
the
Zen Master
The master
literature
fortunate
Ji is
Linji
Yixuan
(d. 867),
the Chinese
and color on
5/8
Lin
silk
scroll; ink
Myochiin, Kyoto
Important Cultural Property
in
so
ay
San'ei, a priest
away.
hanging
which he
Kokyu, Takigi village of
southern Yamashiro Province (part of
present-day Kyoto Prefecture), and lived
in a hermitage that he built by its side.
The hermitage, Shuon'an, still stands in
Takigi, known by its more popular name
Gozan Bungaku
por-
Sakugen Shuryo
12
training a handful of
life,
Thus the
1481,
named
66
trait
erected a
in Japan.
11
There
involvement in 1474 with the rebuilding of the monastery followed by his brief
his
abbacy there. The inscription says thai tinportrait was painted for Soben, a success-
is
a lofty priest
and
t<>
companion
to take
scholarship,
know him.
and
lis
am
junior
mi
'
.;.
iy
.>
** * '* * * o O ;$
o O
o* o * > > > o '*> 0-*.* *>. *! >? * >>
* *
o
o o > *
> *
{-
.*\>!
"
'
:'
,:'
I
14
13
master,
and showed
an inscription for
it
to
me.
composed
this portrait:
and a
priest's robe,
mind
Though
is
he
sits
and
rests in
silk
the
44.0(32 x 173/8)
Muromachi
Japan
erful
riod.
came
ousted Shiba Yoshitake as shugo (constable) of Echizen Province (present-day Fukui Prefecture), routed all challengers,
in Iehijodani, laid a firm
foun-
dation for the fortune of the Asakura family. The principles of his ruthless but
competent management of the province
are reflected in the seventeen-article
family.
pious Buddhist.
He
and, based
arts, as well as a
he
81.5 x
cellent archer
his religious
unfathomable
His brush flows beautifully, whether in
Japanese or Chinese poetry
A diplomatic envoy to the emperor, in old
erudition
Asakura Toshikage
hanging scroll; ink and color on
refreshing
his
13
An
ex-
under the
He holds a
type of folding fan) in his right
hand and prayer beads in his left. The
pose is formal and generic, but the feaand
chukei
(a
penetratingly revealed,
much
as in con-
ecclesiastics.
67
ff
A
:
=^B
\mzz-
'
F
k
>
**00*-'**'
o
B
C
4**3
'*>' O
>
.=
*'''"
t
'"
"
"
*><
**
*
r-
'
-.
c
*>
"
15
16
Judging by the degree of realism, this portrait is likely to have been painted during
Toshikage's lifetime or soon after his
On becoming a
death.
The
been at Shingetsuji,
temple founded by Toshikage in Ichijodani, which later became the mortuary
temple of the Asakura family.
portrait has
14
Hojo Soun
hanging
scroll;
ink
and color on
silk
Muromachi
Sounji,
Kanagawa Prefecture
the
The
68
provinces (Shizuoka and Kanagawa prefectures) from Odawara before he died. I lis
son and grandson continued the work, and
temple.)
wearing
ruled the
Kanto region
name Soun'an
In this
sits
I6J6 Soun
raised tdttimi mat,
powerful portrayal,
barefooted on
.1
a hoi (priest's
robe) and
MM (/en
band and
holding
in bis righl
The
fa<
1.1I
c\
sitter.
in
17
ij
Miyoshi Nagayoshi
hanging scroll; ink and color on
107.0 x 50.0 (42
Muromachi
>/s
x 19
period,
V4
no
later
than 1566
A koshigatana (short
tucked in his sash, and he holds a
fan in his right hand and clenches his left
fist. In place of the chilling determination
and
Soun. Seated on
is
ular
a tatami
mat, he
dress,
in sec-
wearing
a sa-
Nagayoshi reveals
ity.
The
The
portrait
was there-
of the
from
late
is
seals
inscription
left to right:
Jukoin
Thoroughly trained
of Zen, Zen
The
in the
Southern school
his topic
is
likened to that
steady pace.
ay
ink
and color on
silk
Yamaguehi Prefecture
military leader
He
Toyosakajinja,
Mori Motonari
is
smooth urban-
in
lords,
tsugu, in 1566.
scroll;
Asakura Toshikage and Hojo Soun, he began as retainer of a great lord whose power
he seized, but did not succeed in founding
a daimyo family. He was himself overthrown by a retainer and died at the age of
forty-one; the process of gekokujo (low
overthrowing the high) was a doubleedged sword.
Nagayoshi was a cultivated leader, especially skilled in renga (linked verse). Late
in his life he was ordained a priest and
given the Buddhist name Jukoin. His commemorative tomb is at the subtemple Jukoin of Daitokuji, the family mortuary
temple erected by Nagayoshi's son, Yoshi-
Mori Motonari
hanging
sword)
Jukoin, Kyoto
16
(1497-1571), a high-ranking
and daimyo
in
the
Age of
(short sword)
69
hing Ins
len<
|)l,i<
(I
open
lefl
ist
eyes,
is
,it
evideiw ed
territory.
all peo-
When he
his
wisdom temfamous
itary leadi
the
and selects
in latei portrait
He
them.
ple
sitter,
Motonari's lifetime
.it
first
and
monk
tery that
Motonari patronized.
his wife,
a.d.].
garrisons,
and
it is
Wu Qi
as if he consults with
Sun Wu
He
loyalty
and
valor.
His brave
nese general of
men of
abode.
sage-warrior.
in-
The
elev-
right):
Now, Mori Motonari, the ruler ofAki, Courtier Oe, and Honorary Ruler ofMutsu provThree Jewels
Buddhism]. His Buddhist name is Ni-
chirai,
and
his title
is
Dbshun. As
to his
and
inces,
two
Oe Masafusa
islands,
and western
five
is
hundred
years,
He
how
right
it is
Oe
and he
lives in
retirement on juzan.
[illegible
is
formerly of
know
the 7.en
(1571-1618)
scroll; ink
and color on
Momoyama
silk
Sennyuji, Kyoto
(1571-1617) sits
a large tatami.
He
on
wears
Tokugawa Ieyasu
when
aris-
The
relief seal]
Tale of
ay
Takeda Shingen
Hasegawa Tohaku (1539-1610)
hanging scroll; ink and color on
silk
Seikeiin,
the monastery's
heir, to
priest,
tripod-shaped relief
Momoyama
is
Kano Takanobu
He was
instrumental
17
Wakayama
Prefecture
Kokinshu
(1579-1617), Go-Y6zei's
younger brother.
classics.
Takeda Shingen
ing the
70
humble
Ninnyo [square
Motonari's
life.
[1562],
cheer loudly
Rokuon'in, Nanzenji.
prosperity!
zenji,
Eiroku
what
18
recites
the root
is
hanging
years.
regions un-
1st
The long inscription lauds the ancestral lineage of the Mori family, tracing it
back to the Oe family, descendants of the
emperor Kanmu (737-806), and mentioning the virtues and merits of one Oe Masapoet,
identifies the painter as Hasegawa Tohaku, who was then known as Nobuharu.
The painting was done when Tohaku was
in his early thirties.
B.C.
respectively] ....
sumably
ourtier.
Two
stamped
seals are
at
the
left
of
relief seal,
became
tin-
and
.1
wide
literary subjects.
perial pala< e
was
Kano
Bud
variet) ol
When
tin
mi
presided
Kyoto
h<
18
seat,
represent thirty-
silk
Unryuin, Kyoto
(1596-1680),
(cat. 18),
in 1620
Go-Mizunoo had
ship
etry),
Kocho Ruien,
he
set
and published,
in
Japanese edition of
the mid-twelfth-century Chinese Huangchao Leiyuan (Classified quotations of
1621,
19
and
man Go-Mizunoo
as
emperor en-
Go-Mizunoo
regis-
in 1651
Two
portraits of the
emperor Go-
his lifetime.
One,
month,
1673.
The
is
71
Two
known as
Ringuji no
lowei
left.
lenyo,
kanobu
(cat. 18).
written on shikishi
deep mountain;
would that
at least
my
heart's
My
being thus,
life
in this
world that
of my calligraphy for a
even that is sad.
moment
wa
Takuan Soho
20
hanging
scroll;
silk
Bunko, Tokyo
Zen priest
Edo period,
after, as a
and tea
adept. Through tea he came to be associated with the shogun and various daimyo,
and he taught Zen to Miyamoto Musashi
(1582-1645; cat. 128) and Yagyu Munenori
(1571-1646), two formidable swordsmen. In
1629, because he objected to the shogunscholar, painter, calligrapher,
During the 1630s he was friend and spiritual adviser not only to Emperor GoMizunoo, but also to Iemitsu (1604-1651),
the third Tokugawa shogun, and in 1639 he
became the founding abbot of Tokaiji in
Shinagawa, whose patron was Iemitsu.
This portrait, executed in the chinsb
(Zen priest's portrait) mode, bears an inscription by Takuan himself dated to the
sixteenth day of the sixth month, 1644:
This world of desire, form, and formlessness
is
like a
house on
Inside a bag
is
fire;
tries to
To
this
his father;
wrong
72
about
are lost.
There
is
21
is
Momoyama
[seal]
Takuan
period,
no
later
than 1600
mock
self-accusation.
Soho
silk
Toyotomi Hideyoshi
hanging scroll; ink and color on
109.0 x 51.0 (427/8 x 20)
[seal]
an old crow,
It
20
family.
sy
Ku
li
iouiitiyjon
li
death.
Man)
The
earliest
lidi
known
r<
&
?
^.
*
^
% 1
ii\tt-
3-
tf*
# %p
*fc
U ^
ft
1*
$b
<
*
2\
73
23
22
before taking service with the Toyotomi. At Sekigahara he neither aided nor
lies
a small fief.
later
is
He
speck of dust.
on a
tami mat, wearing the court headgear
In this portrait Hideyoshi sits
ta-
known.
month
made during
which confirmed
the hegemony of the Tokugawa. Yamanaka
Nagatoshi was originally a retainer of Sa
of Sekigahara
(cat. 104),
saki Yoshikata of
Omi
warlords Hojo
gayoshi
deyoshi
.1
is
The
first
inscription, by
Genpo
poem.
eighth month, the
Eighteenth day of
third year of
Keicho
[1598].
The second
ms< ription
By nature neither
is l>\
Ikw
Eitetsu:
reincarnation, a
Reisan, reads:
small as
74
firmly
Soun
(cat. 15),
We
India
and
111
his c\v.s.
,i\
24
Fifth
month of the
fifth
[1600]
Humble monk
and
22
Ms
Oichi no Kata
hanging scroll; ink and color on
silk
Momoyama
Jimyoin,
period, 1589
Wakayama
Prefecture
Prefecture)
gamasa was
yearofKeichd
wrap).
She holds
commemorates her
death.
The
painting
is
an idealized portrayal of one who was reputed to be "the most beautiful woman
under heaven."
This painting joins two others a portrait of Oichi no Kata's first husband, Nagamasa, and a portrait of Nagamasa's
at Jimyoin, the Asano
father, Hisamasa
mortuary temple on Mount Koya. The
portraits of Nagamasa and Oichi no Kata
are assumed to have been painted in 1589
to commemorate the seventeenth anniversary of Nagamasa's death and the seventh
anniversary of Oichi no Kata's. They were
probably then offered to Jimyoin to join
the portrait of Hisamasa, which was
painted in 1569.
ay
75
Maeda Toshiharu
hanging scroll; ink and color on
78.8x39.4 (31x15 'A)
23
Momoyama
ln)Ki|i, Isliikawa
<
silk
Prefecture
Nanao
time of
its
founding
ther.
in
commemoration
(cat. 24)
is
of his
fa-
mother
also at Choreiji.
the
Zen
priest's stole
which
partially covers a
soul at the
him
is
moment
resting
of death. In front of
tenmoku teacup on
On the
stand.
arm
lacquer
commemorative
for a
is
is
unique
portrait.
AY
24
The
wife of
hanging
Maeda Toshiharu
scroll;
ink
and color on
silk
Momoyama
little is
Maeda
known about
the
life
of
Myokyu Daishi.
Choreiji in Nanao City,
Choreiin
1594 Daito returned to the temple in Nanao and renamed it Choreiji after the post-
mother.
25
when
went
abbot. In 1583,
Toshiie
also to
its
scroll;
and color on
silk
of
Toshiie's consort,
76
ink
holding chrysanthc
referent e tohei
mums
chrysanthc
means
which
Kiku,
name,
mum. Ibys are by her side, including a
mat wearing
kui Prefecture), to be
ay
Maeda Kikuhime
hanging
control,
Echizen Province
of Toshiie's
a kosode,
.1
I'
If
4-- Mi
J.
WM
A *. H
*. 4. ft
* * TtL
IM is
II
f-
(5
-ft..
^i'.*jA BlO
":
*+
tl
ft
*t-
** r
ft
+1
it-
ik . :
\*
28
Kikuhime, was
be a copy of this
Kanazawa.
to
The
portrait,
inscription, a
read from
is
now
at Saihoji in
month of the
ofTenshb [1584]
Shinchi, the High Priest [kao]
26
AY
Hosokawa Yusai
hanging
scroll;
ink
and color on
silk
sai,
poem
in
Chinese,
is
Momoyama
period,
no
later
Tenjuan, Kyoto
him
in
and
Yamazaki,
than 1612
left to right:
Portrait of Kinkei
twelfth year
re-
Hang
And
killed
gawa Ieyasu
a
shogun
kigahara
An
(cat. 104)
in 1573 to
77
poe
gifted
Is<
Mir Kokin
holar of poetry: he
(leutii (secrel
re-
cachings
on the
jonishi
[e also
men
his right
it
name
interpretation of the
who
in
ui.
ft
fc
t
fa
of Tashiro
served the
&
t *
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i
y f +
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fr
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Hosokawa
Tenjuan portrait
is
exe-
Bunko
version, the
fifth
lowed by an
seal.
illegible
inscription
is fol-
tripod-shaped relief
Renowned
is
a complete
arms
[bu].
and
ful
high.
When
he lectured on The
Min
en-
etic styles
and
is,
Kokm-
shii,
29
leaves],
27 Kojuin
104.0 x 51.0 (41 x 20)
Edo
years earlier.
hanging
scroll; ink
and color on
silk
period, 1618
The
The
sitter faces
her husband,
Tenjuan, Kyoto
.1
counterpart
Kojuin (1544-1618) is the posthumous Buddhist title of the wife of 1 losokawa Yusai
(1534-1610); she was a daughter of Numata
Mitsukane, ruler of Kumagawa Castle in
Wakasa Province (part of present-day F 11-
he
is
to penetrate ....
Yiisai passed
artist to
face,
My
late
Hosokawa
an
The
month of the
twentififteenth
and asked me
to write
an
inscription.
month
Ungaku
in
the eleventh
by Takayuki, one
in
month
oi
the
same
he Eisei
the eighth
yeai
l>\
losokawa
ommis
it.
The
fol-
78
had
Bunko
in
inscription
on
tins portraii
her knowledge ol
tics thai
eulo
l.nlli .ind
ihinesc
It
reads, in
part;
.
Her grace
is
30
knows no bounds.
tinued the
Her
camps [where he
capital
and
realized
She loved
loyal vassal
and
lovely leaves
and branches
[her descen-
ms
The
oldest son of
emons
28
the nation:
Oda Nobunaga
107.5 x
Edo
Eisei
scroll;
ink
J
2
5 -5 (4 'A
and color on
(1534-1582),
at
the
Hosokawa Sansai
hanging
who
kugawa Ieyasu
late
all
Momoyama and
silk
x 20 'A)
commissioned
period, 1670
Bunko, Tokyo
It
a distin-
79
monk
life.
i's
Sansai
is
Ken'ei Sotan
imarizes the
ean be seen
Genpo
In the inscription,
man).
makes
It
special
mention of the
wavering
which he
ruled from the refurbished Kokura Castle,
fectures of
Fukuoka and
Oita),
Rifcyij
calligraphies.
Nakatsu Cas-
position
Kumamoto
much
of tea wares.
He
ied at Kotoin,
where
upon
shogunate.
Hasumaru
wears
portrait
scroll;
ink
tended shoulders (kataginu) and full trousers (hakama) over a kosode. The samurai's
standard long (Katana) and short (wakizashi) swords are thrust through his sash.
His pose is also that of the adult samurai:
right hand holding a folding fan, left hand
clenched (see cats. 14, 15, 16). The pale blue
and gold brocade of the kataginu and hakama, and the chrysanthemum-and-lattice
design on the kosode reflect the sumptuous fashions favored in the Momoyama
ms
period.
Nabeshima Naoshige
hanging
silk
Warriors in
trayed in Japanese
this
is
art.
is
enced by those
left
behind.
The
sitter de-
The
written by Baikoku
Genpo; two
portrait
such as
He
at
the
moment
just
was
of his seals
recalled things
about the
latter,
now being
Naoshige] clad
deeply to
in
armor and
is
a portrait
bow
it.
sec-
ten Hizen
an honorific court
before leav-
is
written in archaic-
is
who
(cat. 104),
on the order of Iokugawa leyasu (15431616), he subdued the forces of the lachi
bana clan in Chikugo Province (pari of
present-day Fukuoka Prefecture), and the
Saga domain was officially recognized as
31
ms
title.
Honda Tadakatsu
hanging
scroll;
Momoyama
Honda
ink
V4 x 25 V4)
Takayuki, Tokyo
worn by the
his.
This painting
is
family's
kept
at
Kodenji, the
mortuary temple,
sitter
is
in this exhi
of prayei heads
included
set
Ic
shouldei
long tachi
iighi
wens
.1
this portrait
the
sitter's
f.i<
e, tin-
hakama
(trousers),
Nabeshima
be painted:
to
sitter
Shimazu
came
is
remains unknown.
Nabeshima Naoshige
(1538-1618). At one time, he was a retainer
of Ryuzoji Takanobu of Hizen Province
ful
inscrip-
shogun] orally the honor of the manifold favors [our family had received in the past]
On the
columns of the
The
last five
his
Tokugawa
gaze.
Choshoin, Kyoto
Important Cultural Property
all
silk
full battle
Momoyama
and color on
scroll; ink
mat.
and color on
[of
tell
is
30
and
The
tion
Hosokawa Hasumaru
hanging
80
still
his return
loyalty,
captured
vs
(1522-1591).
the
Almost
described as a
is
Prefecture) in
1632,
29
He
theless,
suicide.
tle in
In the portrait,
277),
It is
In
the
is
column
of the inscription.
is
no
direct re-
32
1f T
vk't,
Kuroda Nagamasa
hanging
ink
scroll;
Fdo
no
period,
later
>/s)
-fit
than 16:4
&
Kuroda Nagamasa
(1568-1623), a promi-
nent daimyo. was the ruler of a large domain at Fukuoka in Chiku/cn Province
Fukuoka Province).
(part of present-day
He
served Toyotomi Hideyoshi (15371598) and then Tokugawa Ieyasu (15431616). Nagamasa fought in many battles,
including the 1583 Battle of Shizugatake,
first
Nagamasa
is
shown mounted on
dappled horse wearing an Ichinotani helmet and, under a jmbaori jacket, a set of
black armor (cat. 162). He is prepared to go
to the front, holding a saihai (com-
mander's baton)
in his right
The
is
filled
f*+r^
acters at the
Razan
Confucian
ashi
(1583-1657), a distinguished
scholar.
left to right,
follows:
battlefield
round
horse.
If overt
It is
the
power
tastes the
33
is
likened to a plant
plum blossom,
that
which
first
winds of spring.
sy
Sakakibara Yasumasa
hanging scroll; ink and color on
112.0 x 46.0 (44 x
Momoyama
silk.
l&A)
Honda Tadakatsu
among Tokugawa
most devoted
Deva
(1548-1610),
was counted
81
33
34
hanging
in
He
achieved
fame for his valor in battles, but after Ieyasu's triumph at the Battle of Sekigahara
in 1600 (cat. 104), he found himself in opposition to the more bureaucratic group of
appreciation of his loyalty.
34 Inaba Ittetsu
scroll;
on
silk
Daitokuji
Chishoin, Kyoto
on bear
shown in
left
(commander's
banner stands
(part of present-day
Gifu
he became a priest at Suby Saito 'Ibshiyasu, the shugodai (acting military governor) of Mino,
with Dokushu Kansai as the founding
Prefecture). First
priest. In 1525,
when
Mino Province
fukuji, built
of
five brothers
his father
and
sumed the
and
sy
died
in
and Ibyotomi.
)da,
Shimizu
lastle in
Ittetsu
Mino on
is
rior.
of the limha
The
from Kyoto
painter
(1539-1610);
trail of
.1
the
He was
a brave soldier
coexisted. His
spiritual
and
country,
and the
HI
was
as-
He
Ibki, Saito,
this portrait
though Ittetsu is presented as a priest, tonsured and clad in a dark outer robe, a taelu
retired.
sits
on
Yasumasa
inscription
written by
military leaders
In this portrait
1588.
The
7*
14
y >
'
iS tt
1 W/fl
-1
.#
^ t
ft
jfr
83
36
84
85
Here
my clumsy
is
eulogy:
battle totally
\od virtue
peei
sword flashed as
if
with
what
is it
rare]
scroll;
Momoyama
Among the
cites
lection at
ms
ink
Now
they are
he
tills
name]
who
no
hanging
than 1594
later
led a coalition of
Tokugawa Ieyasu
daimyo
(1543-1616) at the
skills as a
came
to
he
in
demand. He served
as
Sawayama in
Shiga Prefecture), Ma-
Kamo
River in Kyoto.
In this painting, the tonsured Masatsugu is presented as a Buddhist cleric; his
warrior status, though,
is
represented by
Two
signature.
The
it
The
portrait
named
af-
and arms
dom.
His bod\ grand and robust; his decorum awesome and full of dignity. ... A
.
in
the
scroll as follows:
month
Korea,
is
first
breeze of fresh
worldly dust
Hiding
Genpo Reisan
the
for-
as in so
lips
37
and color on
man growing
old
Man
Written by Yawning
Sakuma Shogen
sits in
seal]
front of a
bamboo
Chinese hair
style.
He himself is wearing
gown and soft cap of
ment
minded Chinese
is
.1
sy
1636.
38
Sen no Rikyii
attributed to Hasegawa Tohaku
(1539-1610)
hanging
scroll; 111k
80.6 x 36.7
silk
(31^/1 x
Momoyama
Edo
Sen
c.
is
still
rare treasures
period,
he
Sakuma Shogen
Kano Tan'yu (1602-1674)
scroll; ink
his waist
of Nanzenji; two
in the thicket
Around
an-
written by
1636
Shinjuan, Kyoto
ii\
Sos.i collection,
south
ol
)s,ik.i.
coloi
on
silk
and
14VH)
Kyoto
1501)
was
S.ik.n,
.1
bom
into
.1
bustling porl
sue generations
of
Tokugawa shoguns:
86
instrumental
Matsui Yohachiro (d. 1593) was the firstborn son of Matsui Yasuyuki (1550-1612).
Yasuyuki was a karb (elder) who served Ho-"
sokawa Yusai (1534-1610) and his son Sansai (1563-1646). Yohachiro served with
distinction during the 1592 Korean expedition. He returned home with an illness,
however, and died on the fifteenth day of
hanging
subtemple within
The
was
silk
seals are
and color on
Omi (present-day
letters
ink
scroll;
90.0 x 37.0
the eighth
time.
lections.
Inscription
fall
ms
Hosenji, Kyoto
tsugu's
is,
....
36 Matsui Yohachiro
Momoyama
(d.
frag-
monk
silk
also
ments from
and color on
period,
Masatsugu
codex of eleventh-century
calligraphy transcribing poems from the
Kokinshii anthology. Known as the Sunshoan shikishi (Sunshoan poem sheets),
104).
and lemitsu (1604-1651). He also was renowned as a tea adept, and had built a tea
house named Sunshoan in 1617 within the
precinct of Ryukoin, a subtemple of Daitokuji. He used Sunshoan as his artistic sobriquet and was a great collector of art.
Tushoin, Kyoto
against
place of living
1600),
like
is
Masatsugu
it l.i
hanging
Ishida
this
waging a
that
he knows?
[the
in
jrost
35
in a different seat
1631),
Kit.
1111k
1<-
i)
W "
f-
ft
'--
4 i
-1
$
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ft
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4
$-.
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i *
ft
*****
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;s
id
*. *\ **
ft
39
87
Nobunaga
Oda
(1534-1582)
abled
suicide.
While
in his teens,
still
one of the five major Zen monasteries of Kyoto, where he studied Zen as
well as classical Chinese literature and
Song Neo-Confucianism. Seika eventually
returned to lay life and led a renaissance in
Song Confucian scholarship.
In the Edo period, Confucianism bekokuji,
came the
official
engagement, and
mountain reIchiharano north of Kyoto. That
himself refused
trait.
treat at
Soen
though the
in-
retreat
The
no longer
stands, an old
well remains.
Rikyu
is
official
Kano
holding a fan.
The
He
also
There
is,
that
right:
right,
Kano
can be seen
followed by his
school. San-
at
the lower
seal.
inscription,
left to right,
(1585-1642),
man seems
This old
to
gain knowledge
without struggle.
Sokei showed
and asked
have
setsu's signature
40 Ishikawa Jozan
Kano Tan'yu (1602-1674)
hanging scroll; ink and color on
100.6 x 38.3 (395/8 x
Edo
and offer
silk
15)
Jozanji (Shisendo),
Kyoto
Bunroku
[1595]
engagements
for
1616), in 1615,
during the
seal]
MS
Kano Sansetsu
hanging
(1589-1651)
scroll; ink
on paper
many
military
Tokugawa Ieyasu
Edo
Nezu
Tokyo
(1543-
summer battle of
commanders out
ill,
Jo/.m entered
Fujiwara Seika (1561-1619) was a Confucian scholar whose teachings were of greal
his
Fdo
period; Seika
thirty-six
Ins 1et1e.1l
88
In-
ira,
Shisendo
(I l.ill
ailed
ot hiimoit.il
ft >
".
I>
til
Mk
Mt M k V
c* 4
4
1
I
*4
:.',
'HI . 1
Ai.lt
t
-
K.
'
< ..
IK
I
(.*.<.
<
.(
,1!
i!
<t
ft
#H
*<.*
i,
* ft
40
<.
ft
(1
.1
<{
4J
89
42
Poets),
and
He
Shisendo, also
known
as Jozanji,
reclines
on the armrest
at ease, wearing a
still
stands today.
Jozan studied Confucianism from Fujiwara Seika (1561-1619). He was accomplished in Chinese poetry and reisho (C: li
shu), the archaic, clerical style of calligraphy, and also painted in the Chinese
and
spirit bright
He communes
The
this
pseudonym].
41
a letter
his wife
famous
(1654-1728)
hanging
in clerical-style script
followed by his
90
seal:
by Jozan himself,
scroll; ink
114.7 x 44.0 (4
ernment
nese poet Li Bo and the Nara-period Japanese poet Hitomaro. The brushwork and
is
at
is
[Jozan's artistic
sitter
a waterfall.
Who
Bo viewing
grandson Yiichiku in 1724, gives an account of Yusho's life. In the shorter sec-
WA
Tang Chi-
at a
spirit
portrait,
(1583-1657)
and sealed by
Tan'yu at the lower left, Jozan leans on an
armrest in a relaxed manner. The pose is
period. In this
memorative
Myotei look
nese poet Li
lofty
inner
yama
'/h x 17'/.))
is
(1598-1677),
it
(it
at
the lowei
42
sash).
hanging
(1647-1698)
and color on paper
scroll; ink
l
re-
The
painter
sy
Kano Tan'yu
eldest son of
Takanobu
(1602-1674), the
(cat. 18),
not only
Kano school
tablished the
Edo
on the Kaiho
his face
mon
Kano Tan'yu
Momota Ryuei
official
period. This
work
is
thought to be
is
deeply wrinkled.
The
sharp
family of
shogunate.
With concentrated gaze, Tan'yu holds
a paintbrush in his right hand. He was
probably
trait
hair,
when
this por-
91
43
Minamoto Yoritomo
polychromed wood
h. 70.6 (273/4)
Kamakura
stroyed by
Perhaps for
soon
century
Heian
The
(1147-1199), a late
power by
own
Kamakura shogunate,
all
po-
lineage.
emperor
Who Quells
first
polychromed wood
h. 68.9 (271/8)
fire in
shogun of
initiated a
(wooden
hand, and he
cer-
Kamakura
period.
arate pieces of
The
warrior-class regime.
<)2
44 Hojo Tokiyori
Kamakura
of Shirahatasha's reconstruction.
Minamoto Yoritomo
after.
this
is
hollow, and
Much
of the
original
lost.
nk
tant
Oil
lose
oh
the
Kamakura
realism resulted in
many
fine portraits of
ing the
brown
ceremonial
sabi lacquer.
slat
a later addition.
45
mouth turned
down at the outer corners, and upturned nose capture the individuality of
the artist's model. The technical execution seems to place this work in the later
half of the thirteenth century.
slightly
are
made
of two
and the robe, and the eyes are inlaid crystal. Cloth was glued onto the surface of
the statue, then coated with sabi urushi
(thick raw lacquer mixed with pulverized
stone) and over this undercoating black
lacquer was applied followed by white pigment, and finally colored pigments. The
surface has deteriorated, however, expos-
The
The wooden
hand
is
sh
high aristocrat of the Heian period: a kanmuri (formal hat indicating court rank), a
tachi (slung sword),
wooden ceremonial
Miura Yoshiaki
is
polychromed wood
h -99-5(39 l/8 )
Kamakura
The
surrounding areas
face
old
in
Miura clan
support of Yoritomo.
He was defeated by the Taira, and he died
in battle. Yoritomo, having become shogun in 1192, built Manshoji in honor of
Yoshiaki near the site of his death in 1194.
An inscription inside the head of the
led the
hand
The
riod.
in his right
slat (shaku).
and
Manshoji
in
Minamoto Yoritomo
for Yoshiaki.
called
plex.
nk
93
bot of Konkoji, and the founder of Shojokoji in Kanagawa Prefecture, the head-
46 Itchin
Koshun
(fl.
1334)
quarters of the
merly
a Kei-school sculptor
Koshun sculpted
Nanbokucho
period, 1334
Chorakuji, Kyoto
se\ en-year-old
is
one of seven
dhist
portrait sculptures of
on Shichijo Street in
Kyoto. When Konkoji was closed in 1908,
all seven statues were moved to Chorakuji
in Kyoto. Jishu is a populist branch of the
devotional J6do(Pure Land, or Amidist)
sect of Buddhism. It was founded b) the
monk Ippen (1239-1289) in the midKamakura period and remained a considJishu training temple
life
name
Ji
sect,
the
first
ab-
sect.
this portrait of
in the
the
fift\-
sect,
was
priests.
Koshun
and
is
thought to be
later follower of
nk
(d. 1223).
h.
is
de-
a portrait
made
dur-
by many generations.)
c.
1317
as Issan
scriptively rendered.
period,
The
Kamakura
Nanzen'in, Kyoto
The
Konkoji,
polychromed wood
common
at
47 Yishan Yining
(priest's
are
the abbot of Shojokoji and also later became the first abbot of the training temple
The
like
"portraits"
eastern Japan.
94
However,
polychromed wood
Jiji
Koshun
unknown. However,
an erudite priest of
Buddhism who
Chinese
Chengzong
ol
Km/ai /in
anie to japan
111
i2<)g
c .11
From Emperoi
Ihina.
Zen monasteries
of
(1267-1324),
abbot
third
"l
posthumously bestowed on
Kokushi and built a
beside that of the emfor
him
mausoleum
peror Kameyama (1249-1305), Go-Uda's faishan's faith,
ther.
(
Yishan
lozan
title
known
is
Bungaku
as the father of
(Literature of the
I'
ive
ting
Zen
in
priests),
his right
hibited).
are
made
of two
ture (portraits of
probably
teric
excellent
example of chinso
sculp-
Buddhist incantations,
48
polyehromed wood
period,
c.
1312
as a disciple of
Tofukuji, a major
Muju became
lost,
stone)
Myoan
sh
Eisai
life as
wrote
many
He
left
Eisai (1141-1215)
owes
his
eminence
Calm
still
96
China
But
in
the
common
in
Buddhist doctrine
he became persuaded of the greater validtrips to
of Rinzai
to study
Zen
teachings.
Zen
doctrines
On his return
in 1191
1598-1615
first,
Oda
viction of the
life-
erties of tea in
(1534-1582),
Edo
him "Monkey"
(saru).
Much
of the
When
the Toyotomi family was destroyed by Tokugawa leyasu (1543-1616) in 1615, these
es-
tablished schools,
verse:
c.
Kanagawa Prefecture
pecially Tendai.
period,
is
ity
Momoyama
h. 60.3 (233/4)
now
Okayama
h. 73.8 (29)
polyehromed wood
Toyotomi Hideyoshi
polyehromed wood
Nobunga
50
in-
h. 79.4 (311/4)
Kamakura
written
is
in
Ichien
between members of the bakufu and Zen prelates, which characterized the following several centuries, had
nk
their beginnings in the work of Eisai.
Toyotomi Hideyoshi (1537-1598), the second "great unifier" of Japan, began his ca-
Myoan
Muju
affinity
side, in Sanskrit.
49
The
Osaka City
1312.
school of Confucianism.
An
Zen.
relationships
made around
stroyed or closed.
1615.
il
tions.
nys
97
98
99
50
51
Toyotomi Sutemaru
polychromed wood
moved
h. 56.0(22)
Momoyama
period,
c.
1591
Rinkain, Kyoto
200
(783/4);
Momoyama
sash.
w. 69.7 (27'A)
period, c. 1591
Gyokuhoin, Kyoto
Important Cultural Property
Toyotomi Sutemaru (Tsurumatsu, 1589son of the hegemon Toyotomi Hideyoshi (1537-1598), and Yodogimi,
died when he was just two years old. The
the
eastern Kyoto as the child's memorial temple. This portrait was enshrined there.
100
sits
on
a pedestal
The
surface
richly
is
wearing
fell
polychromed
strikingly idealized
most
and
stylized,
in
al-
(1536-1643), or Jigen
Daishi, was a distinguished priest of Ten-
dai
Momoyama
in
Aizu Province
kushima
Edo
to the early
Bom
period.
(part of present
day
I'll-
.it
1644
c.
doll-like.
The
period,
is
said to
Buddhist temples.
le
enjoyed theconfi
first
When
Edo
it is
1591),
h. 75.1(29'/,)
lived in retirement.
Sutemaru
Daishi
polychromed wood
Toy boat
polychromed wood
1.
52 Jigen
to Rinkain, a
It is
now
in
the posses-
the rest
is
attached to
tb.it
is
it
tan be
gilded,
and
nk
the
Momoyama
period,
was often
theii
ad
its
is
also
famous
as the
cul-
Is-
Jigen Daishi.
many
in
recon-
that time
that
is,
death.
torso are
made
of sev-
eral pieces
101
/t"^,
53
Ishin
Suden
polychromed wood
period, 17th century
Nanzenji, Kyoto
(1569-1632) was an early Edo
Buddhist priest of the Rinzai school.
Ishin
Zen
Suden
He was born
to a retainer of the
Muro-
when
Zen
monastery of Nanzenji and became a
priest. He became abbot in 1605, reinvigo-
joined-wood
amples.
urai)
h. 32.7 (127/8)
Edo
Tokugawa
third
for
Zen
.1
ship-
training) or
hem
of the robe
hang deeply
in front,
102
Tokugawa shogun.
chimb (Zen
is
and
small
and body
is
no different from
The
head
typical ex-
The
coloring
demonstrates the
nys
53
103
Calligraphy
105
54 Letter
(1274),
Wuxue Zeyuan
hanging
on paper
scroll; ink
Engakuji,
disci-
Muzo
Kamakura
Chinese
a recollection of the
is
priest's friendship
(1226-1286)
period, 1283
Kanagawa Prefecture
Zhengnian.
at
(d. 1254),
a large
among Kamakura
number
of
warriors,
1254.
Muzo returned
in
The
meeting
Zhengnian's
and
arrival in
Japan.
also relates
It
Hogenji
in
Muzo had
ince that
visited.
The poem
is
lost,
Zhengnian's calligraphy
is
an elegant
ver-
callig-
Huang
rapher
Zhengnian, like Wuxue Zeyuan, was influenced by the style of Yan Zhenqing (709nya
784) of the Tang Dynasty.
Japan the contemporary Chinese calligraphic style of the Song Dynasty, which
was strongly influenced by the great calligrapher of the Tang Dynasty, Yan Zhenqing
NYA
(709-784).
55
Preface to
dedicatory
Muso
poem
Soseki (1275-1351)
hanging
scrolls; ink
on paper
(13 Vs x 305/8);
period, 1346
Rokuoin, Kyoto
Important Cultural Property
'/j)
period, 1274
Muso
Zhejiang province
in
southeastern China,
reli-
Tokimune and
106
Nanbokucho
month
sobriquet Shun'oku
and
poem,
poems
A Linji Chan
The
Kamakura
56
Sinophile literary
movemenl entered
i
m
also
re.i
k $
-*>
* *
x i Q tf * i
& ? 1. +
A
tf vf
'<*
tt
4 ^.
*&
-r-
<
>
rfe
^/
&
"4
'*
if
>-f
55
lineage of disciples
Zen and
its
auu
in
arrangement,
is
a dedicatory
accompanies the
poem
that
57
u flowers
n
t
hundred flowers
are
originally
of
ong /, rdnc /j
,,
,,
,,
,, r
,
a
In the end I see that all fragrant flowers are
connecte(f to my house
Siwfefen/
d
A
,
Shukurvu
Kuyu
^ZZTsanT
merd " sa "
""
2 (n'/8
z
1V *V>
* 215/sV
v1 * /H x
5
(13
Vs x
,,,,,
.
80
ou
77
z x
*
>5-:>
31 s/s)
r
Engaku]i, Kanagawa Prefecture
spreads
c <-
'
first:
..
Important
'
"spring
house," and the poem, written at Nishi-
yama,
third
is
month
of that year,
Muso
retired
Muromachi shogunate
sjx
rial
years
f oitter
rise to
the
name
In 1202 after
fiftv-
family, Yoshimitsu
succeeded
in
107
4>
a
56
Yoshimitsu
scholarship.
He
tayama
now
in
its
These three
to
calligraphic works of
two
Each work
vermilion square
seal,
stamped with a
Doyii, and a vermil-
is
known
pondside
108
is
kuji as the
Zeyuan
(1226-1286),
mode
[kaisho), with
mg
hall;
"<
assia tree
and
Found
nya
57
109
58
Nanbokucho
Kaishi
is
poems
are
The term
literally
used when prompted. When waka (Japanese poems) are written, they are called
wakagaishi;
when
chieftain
1338
Kyoto.
Though
was spent
priest
Soseki
period, 1344
Shizuoka Prefecture
in
Muso
follower of the
(1275-1351).
Sekai Kyuseikyo
in
Zen
Wakagaishi
Ashikaga Takauji (1305-1358)
hanging scroll; ink on decorated paper
31.2 x 52.0 (12 V4 x 20 'A)
58
Muso
as
Mount Koya
its
in
Wakayama
Prefecture.
10
kyb Ybhon
Soseki
and Muso
an
space
illusion of
as
suit-
[that
is, .it
Koyasan]
whoever the
rulei,
1
59
5Q Letter
Nanbokucho
flect
Takauji's character.
Tokyo National
Museum
set
up
in his stead
an em-
who
remained
(popular
Kyoto.
suits.
It is
60 Writ
Ashikaga Tadayoshi (1306-1352)
hanging scroll; ink on paper
35.0 x 57.0 (133/4 x 22 'A)
Nanbokucho
authority.
period, 1349
peror
111
lit
ill f
%iI
-%
mm
BL4: J
tr
I n
# f m
60
#
-if
jf(i
fa
>
aa
Jt
""-
61
112
7
-
>y
^o IX
^ a
4
/
if
vU
'tf
i,
,-h
I
K
v
62
month
tercalary sixth
is
official,
since Tada-
ty
Oda Nobunaga
sists
hanging
scroll;
Muromachi
ink
X 207/8)
is
remembered
in
Japanese
month
of 1568, as a supporter of
Ashikaga Yoshiaki (1537-1597), who became
shogun under
his auspices.
Upon
Nobunaga
ordained
from above.
many contending barons. Having first unified Owari and Mino provinces, he enninth
is
taking
at-
among
more
is
historical
documents
document
The
that constitute
oval vermilion
left
is
a seal
period, 1590
Myohoin, Kyoto
tered Kyoto
Momoyama
signals
and arson
Item: Cutting down bamboo and trees
Oda Nobunaga
period, 1568
it
forces
on paper
Province;
62 Letter
Item: Violence
(1534-1582)
Mino
The document illustrated here was issued for the protection of Toji, and conProhibited in the Toji complex
61 Prohibitions
ince to Gifu in
to
13
J
%.!
J\
V"\
Z JL
,H
**
i.
'<&.
63
Now
mazu
without a
fight,
Japan's early
modern
society.
very healthy
like
and am fed
well, so 1
you
to feel at ease. I
and
divert yourself so
am
would
all the
I
more.
am
14
that
have at
last
had Odawara
tightly
moned peasants
my strict orders.
down. At
63 Letter
Tokugawa Ieyasu
hanging
fifth
Edo
in
the
fifth
one
month
letter
of the previous
two
sides of
ble conquerer,
'/.,)
period, 1615
Tokugawa
Ieyasu came to be called Qgosho, an hon
formei shogun 01 sho
orable title foi
gun's father. He destroyed Toyotomi
detada (1570
1632), in 1005,
.1
it.
Hideyori (1593
on paper
lidcy-
(1543-1616)
ink
month.
scroll;
30.2 x 51.5(117/8 x 20
born
yk
so that they
the
First
was cut in
and rejoined so that
letter
the-
battles at
the son
1615),
(
ol
Hideyoshi)
64
115
66
This
letter, in
is
or
addressed to
am
truly
caringly
illness,
and
Since
worry about
in her illness, 1
she doing?
am
want
how
know
are
is
feeling
How
reflect-
YK
daughter.
64 Wakagaishi
Hosokawa Yusai (1534-1610)
hanging scroll; ink on paper
27.1 x 41.0 (105/8 x 16 Vs)
Momoyama
she
sending Tokuro.
to
Chobo
17th century
Two Compositions
is
the particulars.
Eisei
Bunko, Tokyo
in detail.
castle
the
name
served
The
letter
is
signed Daifu
The second
Yusai]
/
in
120,000 koku.
,1
fid "I
Ihinese]
when
at all
all
Remaining flowers
Castle
[111 (
|in
Ihinesel
day
till
dusk.
are fragrant
i)
/y
%
2 k
fA
s
/.
^J
>
*)
^T
%
1
..
67
>.
-.
-
'
'
"'
68
That
has already
it
scattered
perhaps
them
it
regrets today;
wind blows.
arts
threw
his
(1537-1598),
Sansai served
Tokugawa Ieyasu
(1543-1616)
man
and painting. He
is
remembered
as
an
hanging
Shumyoshii.
yk
65 Wakagaishi
scroll;
ink on paper
tered writing):
Edo
Eisei
Bunko, Tokyo
in
bloom
say,
Hosokawa Sansai (Tadaoki), son of Hosokawa Yusai (1534-1610), served Oda No-
at
'Now
\ields
its
Naniwazu
McCullough
modern Japanese
poems). Sansai copied out the text of this
thology of ancient and
coming
year.
It is
29.0 x 38.0
(11 3/s
x 15)
period, 1600
Bunko, Tokyo
trees.
1985b, 319.)
yk
66 Concerning Kokinshii
Hosokawa Yusai (1534-1610)
hanging scroll; ink on paper
Eisei
(Translated in
Momoyama
the winter
(scat-
kinds, including
bun
(arts) and bu
Japan considered secret, or
privileged, and was transmitted orally from
a master to a worthy pupil
a process
(arms),
was
in
17
known
in
(liter-
Knowledge
ally,
understand
poems of
ol how to read and
is
down
that way.
v.
handed
antiquity, too,
This do( um< nl is about Kokin denju, the
transmission of riticisms and interpretations of the poems in Kokin wakashu (Kokinshu for short; Anthology of ancient and
"to transmil and impart").
<
"brush traces of
men
of antiquity." (By
known
Chinese or Chinese-inspired
calligraphy produced by Zen monks was
as bokuseki, or "ink traces.")
This
is
fragment from an
preme achievement
in
middle ages.
this
of the Nijo
prince Hachijo (Prince Toshihito, 15791629), the younger brother of the emperor
(1571-1617). On the eighteenth
day of the seventh month of 1600, just before the Battle of Sekigahara (cat. 104), the
forces of Ishida Mitsunari (1560-1600) laid
Go-Y6zei
first
of a set of
The
text reads:
expected to
On
Prince Hachijo, to
whom
the tradition.
and
third,
in
an uninhabited house
were never
scatter in the
wind?
Composed while
The
is
ascribed to
Minamoto
Toshiyori (1055-
Mitsune
we spoke
at the start.
1129),
Yusai passed on
yk
Anonymous
In this world of ours,
what
the
on decorated paper
heart?
(Translated in
McCullough
1985a, 174.)
paper
tion to
ink
on decorated paper
Shizuoka prefecture
Museum
that resembles
scroll;
Sekai Kyuseikyo
is it
human
slow
Tokyo National
"Love":
67 Shitae Shiiishogire
ink
hanging
scroll;
is
century date or
those of thirteenth-
earlier.
known
These fragments
as kohitsugire, kohitsu
118
being
hisseki, or
af-
68 Minbugire
hanging
a kohitsugire
gire
from
ter
If there
is
supposedly so called
Anonymous
visit:
who
in
This fragment
called Minbugire
it is
a dilapidated house
(1511-1579),
cient and
rial)
is the oldest
anthology of such poems of Japan. Along
with Shin Kokinshii (New anthology of an-
calligrapher of
member
emperor Daigo
early-
modem
The twenty-volume
contrast, the
no evidence
leian period,
there
adorn the tokonoma during the tea ceremony, fine old calligraphies might also be
dismembered to be pasted into albums
known
67)
were
is
twelfth century.
in
the pothe
yk
Muromachi
isei
8X125
sive [gyosho)
in bold,
b)
.1
Bunko, Tokyo
the
fills
so
narrow paper:
Do
modes, executed
commit
Strive to do
text.
good deeds.
known
evil deeds;
first
On
the lowei
left is
stamped
square
ys
as Shichibutsu tsukai
no
ge, or
in Sanskrit;
Kastcm
dhas.
The remaining
verses, not
This
is
names
or
unknown
in
is
distinctly
China.
A cal-
Nyo Rai
(the
Buddha Sakyamuni),
Ka
written
by Tetto Giko (1295-1369), the second abbot of Daitokuji, is an early Japanese ex-
New
Year's Day,
Go-Komatsu
(r.
summons
kuji,
for less
than
a year.
The
calligraphy here
is
(kaisho)
somewhere
and semieur-
69
119
Religious
Sculpture,
121
polychromed wood
h.
Fudo Myoo,
136.8 (537/8);
Kongara
Kamakura
period, 1186
Along with
and
(fl.
1185-1223),
c.
sculptors of
ists.
Nara, Unkei
made
ages
shown here
tron
piety was
east
at
Hojo Tokimasa
rior cheftain
work
an act of
(1138-1215), a war-
ally
of the newly
(1147-
1199).
Fudo
whom
nys
70
122
71
Senju Kannon
gilt bronze
72 Anteira Taisho
h.
Kamakura
Honzan
This
gilt
period,
c.
1237-1247
Jionji,
(36);
Yamagata Prefecture
at-
and Santeira Taisho (Divine General Santeira) are two of the Twelve Divine Generals (Juni Shinsho), attendants of Yakushi,
divine
armored warriors,
generals, presented as
Honzan
at
and
his bo-
missing.
nally this
kao carved
in
sents
area
in the
Eastern provinces.
a note
The
style of this
from Unkei's
which
set
slanting eyes
brows, the narrow hips, and the elaborately draped garment, though, are less
characteristic of Unkei,
in-
Buddhist paintings.
day
cycle;
it
twelve-day cycle,
in a
two-hour period
pass direction.
Among the
of Santeira Taisho
is
particularly fine.
with his
left
He
arm
raised,
also represents a
gold leaf
is
applied.
Sagaesho, where
nys
a
Jionji
its
fine horses,
for the
is
located, was
In,
period
to
foi
Kyoto
<
in
Kyoto
in
Twelve Divine
made
by
the late
.1
The
Generals
Ihiddlnsl
S(
tie
between
st.iincs ol the
were probabl)
nlploi in Kyoto.
Ml
124
'
\J
71
125
73
Kamakura
period, 1297
Buddha,
his hair
him
is a sun
and he sits, like most Buddhist deities, on a lotus throne. Beneath the lotus
blossom seat is a vase, traditionally containing treasures; these are depicted on
halo,
the base of the lotus throne, closely following the iconographic prescriptions of Esoteric
Buddhist sutras.
Much
the
many
tiers
of the pedestal
is
hammered bronze
made
of
and
cast bronze,
with
gold
and
sildecorated
silver,
and
cast
ver gilt and inlay. The wooden zushi (miniature shrine) may have been made at the
same time as the image, or shortly after.
An inscription on the back of the pedestal
plate,
The names
at
Shomyoji
in 1297.
NYS
127
74 Jizo Bosatsn
hromed wood
polyi
h. 167.5 (66)
Kamakura
Jufukuji,
period, late
31
century
Kanagawa Prefecture
bodhisattva),
Japan
in
is
became
to-
who
He
hand, and
monk's
rings
in his right
staff,
whose
left
the characteristic
jingling
announced
his
approach.
Jufukuji was built in 1200 by MinaYoriie, the second shogun of Kamaand Hojo Masako, the widow of
Minamoto Yoritomo (1147-1199), the first
moto
kura,
shogun. Eisai
cat. 49)
was
The
(or
its
Myoan
founding
Yosai, 1141-1215;
priest.
made by
an accomplished sculptor toward the end
of the thirteenth century. The front and
back of the head were carved in two parts
and joined behind the ears. The crystal
eyes enhance the realism of the figure. Although life-size wooden sculpture from
the late Heian period and later typically
employed the yosegi zukuri technique (hollow joined blocks), using material from different trees, here the body, excluding the
hands but including the upper half of the
pedestal, was made from a single block of
cate that this piece was probably
to
The
SH
74
128
nies
Kamakura
him
as the source of
all
existence.
mous
pantheon of vastly
mudra) is specific to Esoteric Buddhism: the right fist clasps the index finger
of the left hand, symbolizing allencompassing and cosmic wisdom. The
hand gesture and the golden Wheel of the
Buddhist Law identify him as Ichiji
Kinrin
ichiji being the magical "single
syllable" that expresses Dainichi's power,
kinrin being the "golden wheel" symbolic
(S:
exalted
empowered and
of Buddhism's universality.
The
pedestal,
made
tant. Crystal
been en-
family.
who worked
for the
Hojo
sh
is
tips
initiate
image
as
re-
health and various forms of worldly success, though as an Esoteric deity he could
is
is
129
76
Kyokaku
(fl.
1326)
wood
h.
Hachiman,
72.3 (28V1);
Okinaga
exemplifies the
is
1075).
composed of Hachiman
is
modeled
(the
tant shrine
is
at
ex-
have been
a local
and
relatively
minor
130
of
phenomenon
been
period, 1326
Akana Hachimangu,
Shimane Prefecture
The
a characteristic
45.2 (173/4)
Kamakura
was
ties,
stances of
its
of the area, joined by several others, commissioned the triad from Kyokaku of
meg (kciya, Torreya nucifera); while Japanese cypress (htnoki) is used for the other
AT
ft
J)
vU
*3
monten characteristically
lodoji,
upturned
weapon
holds on his
left
in his right
Chogen
hand.
ot
polyehromed wood
h. Bishamonten, 168.0 (66
Kichijoten, 79.2
(3i l /s);
inscription
71.2(28)
Law
in
is
India as
The Shitenno
Hindu
deities,
were
this
is
The
all
made
re-
early ab-
a small earth
estal
is
ity is
often
demon whom
for Kichijoten
the de-
pedestals
later
sh
additions.
it
on
The names
"welcoming
Buddhist
name
An
by Amidabutsu, the
of Kaikei.
Kama-
and
Nara tem-
(d. 1223)
de-
is
wooden
and detailed
Made
is
noted for
its
refinement
idealization.
in 1201,
Although a
damaged, most of
military characteristics:
disc because
statue of
expressions
originated in
his Pure
Western Parawas believed to be in the
The
Bishamonten
Bishamonten's build is formidable, his stance unyielding, and his expression adamant, but he is in no respect
ages
Kochi Prefecture
is
(Sanskit), followed
Raigo-e
mild. In
Kamakura
Sekkeiji,
of Unkei (d. 1223), was born in 1173 and participated with his father around 1212 in
sculpting the Buddhist images for the Hokuendo of Kofukuji in Nara. In 1213 he was
given the rank hoin, the highest honor
awarded to sculptors of Buddhist images.
In 1254 he made his best-known work, the
wooden Senju Kannon (Thousand Armed
contorted or grotesque.
Zen'nishi Doji,
Land
features.
/s);
period, are
a eoloss.il
lall is
scent of
An
as
made
for the
dera in Kyoto.
front
restored Todaiji
In Kaikei. [odoji
In a central altai
is
who
Kamakura
as.
the
The main
(1121-1206),
in
.1
figures.
Nara
two
the original
78 Amida Nyorai
Kaikei (active
c.
gilt
is
been restored.
SH
wood
h. 266.5(1047/8)
Kamakura
Jodoji,
period, 1201
Hyogo Prefecture
131
132
133
tfi
#*
Painting
t
&
(
N
^.l,
*"'
135
79
79 Tale of
Obusuma Saburo
handscroll; ink
28.8 x 1123.5
Kamakura
n ^H
449 '/2
section of painting.
Ibkyo National
Museum
136
tell
only
Jiro,
who pursued
portion of
the amenities of a
life ol artistic
accom-
sion). )ihi
gicw into
siiinmni'.K beautiful
^
.
riage
A betrothal
to
their mar-
The
brother, Saburo,
was
period.
scroll
opens with
scene of
Jiro's
life.
go;
women
cal
instruments,
all
rugged eastern warrior. Jiro, wearing a casual white robe, converses with his wife in
a chamber. Behind the chamber is an un-
(bu).
He married
a robust
woman
"seven feet
when
detall
[with]
There was
nothing in her face so prominent as the
long nose. Her lips were curved downward. There was no redeeming quality in
whatever she said or did." She bore three
sons and two daughters. The picture that
curly hair,
The younger
domestic
(sec-
tion one).
all
spirals
tied.
(section two).
When
first
137
dim
asual
who
Jiro,
unarmed and
on the ground before
helmet and
rest of his
armor.
buro
lis
to
men
make
in-
mansion be
left
)ihi.
Ietsuna,
took
Jiro's
The tale narrated in this scroll is incomplete. Although it begins with the
story of the two different brothers, the
heart of the story seems to be Jihi's misfortune and eventual compensation through
her marriage to Naniwa no Taro, and the
intercession of Kannon, the Buddhist deity. Although the painter of the scroll is
unidentified, the painting is stylistically
comparable to another work, Ise shinmeisho utaawase (Poetry contest on the
themes of the newly selected places-withnames around
Ise),
dated to
Jihi
at
home,
Jiro's
wife and
perched on
his right.
The hawk
fell
ground a
pre-
his head.
now back
The
paint-
at Jiro's
Jiro's
Jiro's
wife and
his servants.
his ugly
From
this sec-
who
notices
Jihi's
138
wisteria
wood cane
on the
lies
six-line inscription
Wisdom which
cuts like a
is
(1386-1428),
Mountain)
Yoshimochi's Buddhist
in this
Laws of the Buddha had lost their effectiveness. In popular Buddhism Hotei
the
death
moon,
faraway place,
is
this hero.
Wherever he goes he
carries the
literally
To
means
Zen
school) priest.
city
He
is
said
market-
just
He
uttered
cane and
cloth bag,
in 917 a. d.,
title
(dogo).
to
(J:
not of the
Lamp
ture
Zen
Soon
sack.
collection of biographies of
Jihi,
The next
sequence, now lost, proba-
ys
fifteenth century
Meanwhile,
in
ical
of children.
Muromachi
now
of the
1295,
80 Hotei
c.
paradise.
Jihi
(section
seven).
Hotei's
human
to fall.
eccentricities
and
his
independent
es-
themes
of Zen monas-
pictorial
The
phy nor
lotei
's
biogra-
dhamuu
so
should be forsaken,
no -dharmas.
still
more
4
/
^4 X
xxc;
*&
<_>
Self-identical (sama)
nothing
is
(vishama).
Those who by
And
those
Wrong
is
that
dharma, and
therein at variance
mv
who followed
rne by voice
favorable to the
Zen
1340s), a
grim
in
81
pil-
ys
(1351
talented ama-
Winston Churchill
at his easel,
(S:
day.
Many
Daruma
different
exist, all
He
is
monk, in
arms are folded
clad as a
a plain cassock,
and
his
The
in front
left
of him.
thumb
The
Bodhidharma)
known
as
Hyobu
Muromachi
period,
no
later
than 1465
went
to south
China
of meditation. At
who
first
unsuccessful, he
The
gious
Zen Buddhism
school,
Shinjuan, Kyoto
Bodhidharma
written history of
Mincho
Daruma
(J:
vigorously
Bokkei.
for scholarly
Chan
types of portraits of
tural activities in
teur, like
some outside
Me
.
as
history of
Daruma
portraiture
139
140
s;
Many
name
who
and styles of
were painted in both
China and Japan. The half-length type had
appeared already before the twelfth cen-
family
tury in China.
The inscription above is by the famous Zen monk of Daitokuji Ikkyu Sojun
(1394-1481; see also cat. 11). As Daruma
literary
death.
Daruma
faces to the
from
different types
portraits
left,
the inscription
is
written
your
entire body;
What
mat
at
Shaolin [temple]
accomplish?
At the Palace of King Xiangzhi, spring of
plums and
is
works Kyoun
shii
(Mad Cloud
The
Coll.).
Chinese name
left to right:
Half the
The poem
willows.
(1282-1337), the
abbot.
The
sit-
The
est of the
artist
Soga,
(now
On
ings,
141
n (1403-1488) as a student
on of
.1
Not much
1473.
else
is
of the paintei
silver saddle
painl
that delineate
he
summoned a
That painting
trait,'
Muromachi
was
The
The
period.
later
(cat. 87),
Chokuan
erations of Soga
immediate
and two gen-
(cat. 129)
of the
show strong
ys
fifteenth century.
82 Excellent
hanging
Horse
scroll;
Muromachi
ink
V4 X 22 7/8)
period,
Kyoto National
c.
inscription by the
owned by
the
first
kauji (1305-1358),
dynasty told
Emperor
Lu
on horseback? [One
achieves] the
arms
(bu).'
skill
Han
and fall
Jia write
famous one,
more than
(1429-1493). In other
Masanobu and
began
his son
to depict this
theme.
painting,
scholarly
Zen monks
Kyoto.
to
of-
[our patriarch]
establishing perpet-
who passed it on to
which has continued already
for more than a hundred years without inued by
his offspring
their offspring,
Now,
He was born
in fifteenth-century
Mo-
scription as having
the
first
the Shokokuji monastery, where he attained its abbacy eight times between 1495
and
terruption.
painter to paint
[a
is!
the
neighs loudly;
The Prime
[Colophon]
in the south,
monk Shurin
to
(1434 1530). Ma
service to the shogun
Kano Masanobu
sanobu was
in dire<
known
le
is
to
foi
<
Kamakura period
'let
at least
the
fre-
included
paintings of horses
this.
is
in his
ate.
1508.
[Signed] Rustic
inscription reads:
subject
The
dence. By the
as
Minister,
resi-
Ja-
vow in writing to
Shbgaku [Muso Soseki],
Zen
Jia
by the Book of
142
por-
was devoted
fered a
monk
armored
Museum
poem, and
as 'the
A long
known
is
1502
brown.
is
trans-
Japanese
from
the Chidistinguished
are
versions
nese precedents by the bolder use of dark
ink tones resulting in abstract, patterned
forms, especially in the definition of the
robe.
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84
85
ys
83
Banana Tree
hanging
scroll; ink
on paper
Agency
Tokyo
A humble
and
hills
a lake,
right
ther Yoshimitsu,
earlier;
fa-
who had
and Yamana
143
ne
Oucln Morimi
lokihiro, like
lt.
make
were a
group of like-minded souls who
shared cultural values and spiritual aspirations with the person for whom the painting was made. They are closely related to
each other on more than one level:
through their clerical ranks and careers
within the Kyoto metropolitan monasteries, the shared benefits under the patronage of the shogun Ashikaga
Yoshimochi (1386-1428), and the fellowship
formed through their literary activities.
Daishu Shucho's poem reads:
.1
were written
Two
hanging
Poem
treme
left):
[The night
rain] jolts
he will he up the
of
know well the sounds
Though I
of ram, ram hitting banana
the night.
Idemitsu
under
in
leaves
rest
makes
month of the
to the eighth
On
Banana
\isiting
tree.
leaves,
an
and listen
esteemed
maintain decorum,
sit
properly
poems
[of
my
to the lofty
colleagues.]
I cast
a.d.]
my
Poem by monk
poem from left
Awakened from
dream
hear
mam-
hall in the
light
autumn
night
of a solitary lantern
leaves;
by the faint
the scene of
lit
later
than 1419
of Arts, Tokyo
in front of a scholar's
that
study
may
broom
long
in front
all,
white as the
frost.
144
The green
spring
is
around the
mist. In the
an open door
poem
Being
coming
more
Gladly
and the
what
is
heed
pass
it
poem
news of
on
it.
Finally,
1420),
the
little
spring;
(fl.
it
for
came and
heard;
this
immortals.
architecture of the
Getting on in years,
first
it is
at the
enjoy most.
likely
all
The
now I
at
tradition.
akin to
right of the
demic
is
The
corner.
Trees, still
it
tra-
it
Chinese-inspired.
scroll
a picture
written by
its
earliest viewers,
is
Mountain
85
hanging
called a
When
the subject
or imagined, as in
is
is
example, the
feelings of
X 12?/h)
period,
no
(
than 1415
later
Kik.i
called
study
'/.)
numerous instances
it
ink
scroll;
Muromachi
villa
purity.
Oblivious to
behind
Shunjo (second
of the bottom row):
Seiin
no
monks' quarters at
[Auspicious] Dragon Mountain
[Nanzenji] I add a poem to the painting
[Title]
period,
c. 1461),
right):
x 137/8)
Museum
stream flows
ink
'/s
Poem, dated
scroll;
Muromachi
in-
The
Ys
84
(cat. 85)
of the
into a shigajiku.
tightly knit
formed
it
1 1
it-
obscured by
.1
par
stilts is
clustei ol
mi
ks,
.1
pail
of
name
tially
tall
.1
it
flows into
Touches of
the
.1
ciiti.il
houetteso!
lake.
he mi
k\
mountains
more
l\
pale
in
sil
distant mountains.
*.
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87
145
the
in
ts
predominant!) monochromatic
painting.
work
this
ing
,i
a set of the
is
(cat. 84),
scholar's study),
an ink painting
ems
its
po-
the warrior Ouchi Morimi (1377-1431), constable (shugo) daimyo of Suo Province
Zen monasteries.
(1360-1437),
seen
in
another painting
trees, rocks, and pavilion in the foreground are carefully described. Like other
early ink paintings in which an attempt is
made to depict an all-inclusive landscape,
the spatial relationship between the foreground and the far distance remains ambivalent. The composition is probably
based on a lost Chinese prototype, as is a
Buddhist
monk and
depicts an idealized
(dates
reads:
and chant.
The seas are all green; the
realm
Two
around the
hills
clear.
of the other
poems
Wang-chuan
just sit
Wang Wei
them
is
by the
monk Shuken
(dates un-
known):
in the
green
thoughts of
Wang chuan
Villa.
is
elegant souls;
Morimi
arts of
Ouchi
More than
half of those
who
inscribed
ys
warrior.
no
warrior. In
the
one poem
monk Genchu
(d.
To sene
hermit
So
am
first I built
seek
repose;
You made
the
Chen
/
Muromachi
period,
no
later
than 1433
A tall,
its
roots precari-
it appears
be almost a shadow of the first \
mountain path leads from the left side of
the landscape, across a timber bridge over
a cascading stream on the left, to the pavil-
to
ion.
ter, its
to retire.'
ink
my
Sir,
scroll;
mountains;
I raise
hanging
at
sinological studies
146
You,
Among Morimi's personal accomplishments were the practice of Zen, taking the tonsure in 1405, and the pursuit of
texts
Z6/6
the
in this exhibition,
Confucian
(J:
as the
five, in battle in
(kanrei),
a portrait painting of
He
domain.
in-
of the metropolitan
now known
Ouchi edition.
From 1418 until his death Morimi helped
the shogunate in the building campaign of
the Shinto shrine Usa Hachimangu in Buzen (now Oita Prefecture in Kyushu). After 1425, when he returned to Kyushu to
quell an uprising there, Morimi had to
concentrate his energy on controlling his
hossii),
study.
[of China];
.1
Zen monk
1
at. 85).
It
Isho
lokiit;.iii (13C10
contains
.1
1.(37; s<t
'
month
the second
hear there
A lamp
tiny
to get there.
Japanese scholars have recently argued that the scroll was produced in Kyoto
on behalf of a certain \ oung monk. \t
tendant R\uko[ Kva of Nanmei/an monas
tery, also known as Jofukuji, in Suo (now
Vamaguehi Prefecture), located on the
western tip of Honshu island. This would
explain the reference in the
poem
to
"the
Ouchi
the
family.
poem
Ryuko
just across
Shinkei,
who
wrote
Ouchi
family
scroll.
The
title
of
poem
in this
work, for
it
refers to the
came
model
had only
Isho's
kuun Toren
Ji-
(1391-1471)
scription, written at
first. It
reads:
Trek, trek
Hermitage, after
trifling
all, is
no more than a
way of life;
147
Chbkonsb
[signed]
(an alternative
liter-
The
fer*
men
such
as
(1386-1428),
in
and
a corresponding increase
of the temples.
Stylistically,
some unusual
strokes,
features.
The choppy
brush-
dition.
89
left
The
Daruma
hanging
scroll;
ink
Muromachi
trees
after c. 1491)
portrait
by
on paper
Tokyo
bamboo
where an
moored. Behind the boulder, steps ascend the mountainside, where
a thatched hut on stilts is situated. Two
plants extend into the lake,
empty boat
148
is
The
tilts
11 5/8)
A large
(fl.
restrained forms seen in the contemplative landscape paintings from the first half
Gunma
Prefectural
Art, depict
Museum
of
Modern
landscapes.
These
originally
.1
is
painting.
Bokkei Saiyo
87 Landscape
The name
earthquake of 1923.
commemorate
Zen monk
in
of
in
same pcison
as
Soga
it
i.
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5
90
149
ugawara Michizane
loiiii as
Sesshu
deified
Song Cliina
roll;
si
ink
Okayama
In
Museum
A
si
lightly
H ilar's
11
ond
Toyo.
The
is
Dazaifu
in
northern Kyushu.
Michizane was stripped of his high government rank and deprived of the civilized
life he enjoyed as a talented poet in the
capital. Before his departure from Kyoto,
Michizane composed a poem to a plum
tree in his garden, reminding it not to forget the arrival of spring after he was gone;
the plum tree followed Michizane, flying
all the way to Dazaifu. The plum blossom
motif became associated with Michizane,
who came to be revered as the god of
plum blossoms. He also was worshipped as
the god of scholarship, calligraphy, and poetry, especially
By
Kannon
(C: Guanyin).
cult essentially
culture, in time
it
whom
and be given
in
Zen
150
own
fording
flight
of
portraits of
and holding
is
space.
The
is
The
crisp,
dynamic
remark-
famous
pair
(cat. 96).
monumental
screens.
The
painter Sesshu
eventually
became the
shika
which
Ouchi
The
family.
Sesshu
for
trip,
Chinese poetry,
familiarity with Su
especially their
Tenjin
in exile at
it
To.so]
period, 1501
Prefectural Art
Zen
tained their
plum branch,
lenjin, holding a
it
contained the robe. The Tenjin image based on this story is known as Totb [or
ing
22l//
112.3 x 5-5 (44 'A x
i)
Muroma<
prove
showed Enni
m\ 6 (1420-1506)
hanging
in his
Tenjin crossing to
(monk who
of the
ists
Muromachi
period.
between Suo, Bungo (today's Oita Prefecture), and Kyoto, as well as traveling to
central and northern Japan. In i486, he
was back in Suo where he executed the
Landscape of the Four Seasons, a masterpiece in a style that translates the Chinese
academic style of Xia Gui in a dynamic
and expressive manner. In 1495 Sesshu
made a painting in the "broken ink" or haboku style of the Chinese painter Yujian of
the Southern Song Dynasty, which he
gave to his pupil Josui Soen (dates unknown) as certification of his having mastered the style. In or shortly after 1501 he
painted a view of Amanohashidate, an important scenic spot on the Japan Sea coast,
in a naturalistic style different from his
previous works. Sesshu died either at Masuda in Iwami Province (part of present-
Unkokuan
in 1502 or at
Kagoshima Prefecture
Among
in
Kyushu) to
who
the south.
assumed that
at Shokokuji he studied under the painter
Tensho Shubun (fl. c. 1420-c. 1461), who
was the Controller of the monastery, and
whom Sesshu later acknowledged as his
closely
emulated Sesshu's
Togan
mentor.
territory.
It is
Suo
is
move
to
and poets
sources of patronage.
The Suo
region was
was Unkoku
daimyo
Hiroshima Prefecture)
89
who overthrew
Suo
YS
"Huang Zhuping"
Muromachi
Kyoto National
Important
12'/(.)
m\
Museum
lultural Property
important, the
family,
)u< In,
exceeding the
Sesshu Toyo,
ality of
.111
unpin
Murom.
the
11
l.int
In period,
made
The
intent
aftei
he returned From
92
92
is
one of six
extant today.
It is
left
at
Kai
the lower
the picture
is
copy
subject
is
turning rocks
is
tales of eighty-four
part of China). In
ys
51
90 Mount Fuji
attributed to
Kenko Shokei
1478-1506/1518)
(fl.
hanging
scroll; ink
Mnromachi
11
V4)
period, no later than 1490
Tokyo National
He
Museum
seals,
Kenko
The
attribution
Mount
Mount
the surrounding ink-washed sky. The reverence felt for Mount Fuji is evident in
the frequent depictions of
it in Japanese
from thirteenth-century narrative
paintings to the dramatic woodblock
prints by Hokusai and Hiroshige in the
art,
nineteenth century.
as the sacred
been regarded
Masauji (1466-1531),
who
Ashikaga
"loved the
Mount
lofti-
Fuji, ordered an
and had it mounted as a hanging
scroll." Masauji personally sent the scroll
to Shijun requesting that he write an
ness of
paint
artist to
of
many
Mount
this
Fuji painting
The most convincing evidence for the attribution of this painting to Kenko Shokei,
however,
self.
In
its
is
stylization,
it
recalls a
it-
Mount
snow inches
to-
Kamakura
known about
is
region,
little is
The
for-
archaistic in that
it is
a shigajiku, a
plored by the
Kano
painting lacks
Shubun
style.
been
An
pies the
consists of the
ace,
title
scroll. It
it
Chuan Shinko,
at
the
artist's earlier
mentor
Kenchoji.
ys
writ-
inscription.
52
unifier.
91
(fl.
16th century)
lofty
landscape depicted
1560)
hanging
scroll; ink
Muromachi
period,
no
later
the
scroll. In
the
Setsureisai
ter's
;i
in
than 1538
Two deciduous
in-
.1
mountains
my
moment of repose
when
.1
who
Grand
reticence.
few
I,
flattering words.
to
my
inscrip-
my
am a man
break
lazx,
its
of
prove mine.
the building
Snow
Hall.
and called
Our Buddha
State of
indeed
is
Under the
or, rather,
Incorruptible
is
knows elegant
May
things;
snow]
The
Here is my
an afterthought:
humble poem
picture of the
mountains
yields white
lotus blossoms.
tripod-shape
Year dwells
is
(dates
poem
by the
unknown),
also
153
one
at
Iimk
and
re-
to the age of
al-
most
losen or Hosen'an
subtemple of the Kenchoji monastery, to which the monk
Shochu is likely to have retired when he
wrote this poem. Very little is known about
this monk. The poem, which directly responds to the snow landscape and the
study, is in the form of seven-character
not in Kyoto, the capital, but in the eastern and northeastern provinces under the
patronage of various local daimyo. The
Mastei
is
the
<il
the
name
losen."
of a
quatrain:
One cannot
poetry
is
The poem on
the
character quatrain,
is
left,
monk Kyusei
by the
hurrying a calendar's
turn;
when
the sun
of plum blossoms
more books on
the peak.
YS
slight
color on paper
16)
Kyoto National
Museum
mountain peaks. The oddly shaped foreground rocks and boulders in the summer
scroll, the contrasting dark and light surfaces of the rocks and cliffs conveying an
eerie, nocturnal atmosphere in the winter
scene, and the diminutive hunched figures are all characteristic of the work of
Sesson Shukei.
Sesson Shukei was the last of the major painters to develop the two-hundredyear-old Japanese ink landscape tradition.
154
lived
the 1550s
as well to the
logy in
century.
By the
1540s, Sesson,
still
under
unknown, but
it is
biography
Ota
in
Hitachi Prov-
an artist. In 1542 he
wrote a painting treatise, Setsu monteishi
(Advice to students), in which he articulated his theories on style, especially the
methods of brushwork and the techniques
of discriminating ink tones, as well as on
to
known
Kenko Shokei,
Kamakura
decade of
active in
sixteenth. In the
overall
number
of Chinese paintings of
daimyo
to
whom he
had offered
93
speculated
Miharu
painting, the
ys
Landscape
Nagao Kagenaga
scroll;
(1469-1528)
ink and color on paper
Muromachi
Private Collection,
It is
summer
hanging
last
composition and the craggy precipices share an affinity with cat. 93, a landscape by the warrior-painter Nagao
Kagenaga (1469-1528). The chilling white
mountain peaks looming against the nocturnal sky in the winter painting recall cat.
91, the Snow Peak Study by Senka (fl. midsixteenth century and after), also shown
here. This pair of landscapes probably
dates from the 1550s, when the artist was
in his late forties or early fifties and in Ka-
a painting
the
in
had amassed
He
earlier.
Massive rocks crowned with trees, a waterfall in the distance, and a cascading stream
in the summer scroll at right contrast with
snow-covered mountain paths amidst leaf-
in
such as
used Chinese paintings as their models.
Sesson not only reinterpreted the works of
these artists, but injected his own sense of
thematic eccentricity and graphic expressiveness. Whether he painted figures, animals, or landscapes, Sesson invented
highly personalized forms imbued with a
artists
legendary renown.
Odawara
cluding a
Muromachi
residing at
also a seven-
92
art
a truly creative
territory
at
[by]
whose
A bunch
painter
was
to Kamakura and
may have taken him
lished aesthetic
The
born.
The precious
peripatetic Sesson
are
[hy]
all
tire to
in
lower
I>1),
southwestern
sec toi ol
in thi
Shimotsuke Pro\
Through
its
is
related to th<
pit
to
).
st\le to
spread
style
in
ot the artists
around
cliff,
sin
tall
The Nagao
Ashikaga were
in
branch
at
Kamakura. In addition
to political
and
one of the
earliest
formal Confucian
Some
books.
pilfered
ern Japan."
The Nagao
Nagao
seventeenth-century
Kano school
painter,
Shoun
(1637-1702) re-
der Kagenaga.
own
right, do-
Nagao
family's
mortuary temple
in
Ashi-
155
96
kaga.
The temple
owns
also
When
self-portraits
gao
came
ys
scroll;
(d. c. 1573)
ink
Muromaehi
who
When
will
come
here in
attributes of this
An
old
left
man
identifying characteristics of
its
handle.
The
He
is
conveys something
the
how
one iconic
figure
sixteenth century.
Three
name Doan
different paint
are
known
in
the
on this painting. Although no definitive biography of the artist has been established,
our Doan is widely identified as )oan I, or
Yamada Junchi [or 'Ibshitomo], whose
probable death date was c. 1573. le was
1
the lower
left.
family),
is
is
stamped
five-line inscription
stamped
at
Genyo, whose
the end of the
156
at
by a
the
official of
lower junior rank. As to his artistic activities, the seventeenth-century source Honchogashi says that he followed Shubun
Doan
brushwork
is
we know
that
A number of fine
paintings stamped
Museum
collection of the
of Fine Arts,
Boston.
95
ys
White hawk
Toki Tomikage (Fukei;
fl.
mid-i6th
century)
hanging
scroll; ink
on
p.ipci
bushb),
he actively
sigh.
figure ordinarily
pine tree
hanging
trees
plant so
The iconographic
Yamada Doan
many pine
what
teacher]
ruler of
Iwakake Castle
Yamato Province
fecture).
He
(taiho) in the
in
Yamada
city,
(in
held a
Fujii Akii.i
lollection,
Important Ait
)bje<
Tokyo
.1
<
hawk
is
rendered
in reserve. In sat
mating
Painting) as a painter
is
described in a
pale-
ness.
A hawk
overtaking
its
warrior-class
and
fearless-
prey was an
mem-
unique, as it combines the image of the heroic white hawk and the
white plum blossoms. The plum blossoms,
kage.
tions in
in a variety of
however,
particularly those
vestige of falconry
the warriors); or a
perched freely on
kage's
a tree
hawk belongs
haw k
branch. Tomi-
cat. 82),
of falconry:
member
of
Ashikaga government through their preeminent control over Mino Province (today's Gifu Prefecture in central Japan).
Various
members of the
of the other
fifth-
larly well
etry
(a
mono-
(dates
among
in
ness
practiced
rendered
chrome
is
life.
and descended
Lu
[of
was Lord
157
2HH8*r^PP
iiiv.
m> ).."!<!:,
"v.
tAUww<
.'ACT
..'\*MJ
I
/
''#!&?
"
.j^'
97
an inscription.
matter of
conjecture. If he was of exactly the same
generation as the monk Shurin, Toki Masafusa (1467-1519), the ninth head of the
family, might have been the falconer.
Muromachi
period,
c.
with a
hawk
Shingen
(cat. 17).
is
left
waterfall arc
all
in
,1
crowded
summer
snowy landscape.
crane, and a
.1
is framed by overhanging
pine branches. In the wmtci screen, dis
tant snowy hills stand against
darkened
at
ys
the center
lower left-hand
ornei
is
filled
sets
Shimane
,1
sky; the
58
these screens
the
right of the
depicted
whom
Sesshu Toyo, to
On
(1521-1573). In a portrait
trast
Takeda Shingen
1483
to seek protection
Masuda
territory
<
.1
tK
7*
'
.
'
1
.4"
-,
'**
apt.
'
H
uHV
portrait of
ably
when
the warrior's
artist visited
space in a monumental format, are consistent with the style of his Landscape of the
four seasons (Tokyo National
Museum),
plum branches
made
in 1501.
find parallels in
Lu
Ji (fl.
c.
1497 and
later),
son
Motonobu
(1476-1559).
ys
Seasons
Kano Motonobu
set
(1476-1559)
of four hanging
slight color
each
scrolls;
ink and
on paper
Muromachi
46 'A)
period, 1543
Reiun'in, Kyoto
These four hanging scrolls, which compose a set, were originally mounted on
sliding doors. They were part of a series,
depicting flowers and birds of the four seasons, which decorated the central chamber (shitchii) of the abbot's residential
quarters {hojo) of Reiun'in in Kyoto. The
residential section of a Muromachi-period
159
98
had
Hosokawa Masamoto
studied Zen
with Daikyu Sokyu (1468-1549), three
times abbot of Myoshinji, and asked him
against his master,
Eight wide panels, four on the east side and four on the
west side, depicted summer and spring,
(1466-1507).
to oversee the
remounted
as
hanging
all.
scrolls in 1683. In
exists.
the
160
nun Seihan
in 1504
priest. In 1543
dormitory
moved
it
at
to Reiun'in as
its
residential
Kano
Motonobu (1476-1559), who then was receiving Zen training under Daikyu,
p, anted sliding
The paintings depi< ted landscapes with figures, moonlight, snow, and
flowers ,ind birds. These were exec uted in
shitchii.
a senior
tonobu. The
set
ln the private
hapel oi the retired
Ashikaga shogun Yoshimasa (143''' 149
cat. 6) and used several Chinese paintings
as models.
panels
<
The Reiun'in
paintings show
men
r-
his entire
By the
some
four hundred
late
monumental screen
98
door panels for warriors, Buddhist temples, and the court. Motonobu's screens
hanging scrolls
and color on paper
each of two outer scrolls
ink
Ming
The
art
on colorful Yamato-e
Muromachi
generations of
ink
ment
154.2 x 54.7
(605/4 X 217/8)
court.
Motonobu's
Miho no Matsubara
set of six
Kano
painters.
ys
set of six
hanging
scrolls,
which
origi-
the bottom
se( tion
of the
List scroll
in
on the
left.
Since the [eian pei iod, meisho, or fasites, have heen used as hotli literary
and pictorial themes. The earliest extant
view of Miho no Matsubara dates from the
fc
c
*i
)}8
S&. if
\l ft *I t
*
J
#a
*
mous
late
views
of this site
y*
hind
it, it is
work
originally
now
lost,
repre-
The
seals,
to
painting
is
Noami
affairs,
Ami
school of painters
is
a likely
ys
possibility.
99 Budai
Zhiweng Ruojing
hanging
scroll;
(fl.
mid-i3th century)
ink on paper
>/8
Southern Song,
X 113/8)
c.
1256-1263
,1
paintings of
Zen Buddhist
sub|e<
ts
dated
162
i[
mbnbga
(wang-liang-hua in Chi-
seem
some of
to vanish, creating
on the paper.
The inscription, by Yanqi Guangvven
(1189-1263), a Chinese Chan (J: Zen)
monk and abbot of the monastery of Jingshan in Hangzhou, was requested by a
Zen monk, a certain Chan-liao, who cannot be identified:
a figure that
appears to
float
forth,
Sudhana
Do you know
is
if
gone,
the grass
is still
green or
is
stored.
mr
not?
163
ioo Birds in a
plum
attributed to
hanging
tree
Ma
scroll;
Lin
ink
27.6 x 28.0(107/8 x
(fl.
c.
1250-1260)
and color on
silk
11)
now
in a private collection.
assumed
to have
painting and
sive
The two
made
in a tree,
are
a larger
images suitable
for
viewing
in
.1
at tea
private study.
164
in,
with a square intaglio seal, Zakkashitsuwhich has been identified as the collec-
Ma
tributed,
l,m, to
whom
was active
in
tliis seal.
this painting
is
at-
1195
o(
1224)
Ma
and
Yuan,
.1
(In-
famous artist of the Southern Song Painting Academy, Ma Lin is described in Chi
nese accounts as a painter less gifted than
works by Ma .in are
few.
A landscape
painting entitled
Land
Ma
work by him.
I. in), is
perhaps the
YS
Snow landscape
10:
Sun Junze
hanging
(fl.
mul-i^th century)
scroll;
ink
and color on
silk
l
B X 2 2 /s)
snowy
It
of
left
Sun
Yuan Dynasty
tal
(1279-1368).
The monumen-
it is
de-
entive
near, middle, and far distances
couraging the viewer to traverse the space
logically. The motifs from near to far are
clarity. The peak at the upper
rendered as a flat silhouette, a twodimensional effect that would become a
marked stylistic feature of landscape paint-
given local
left
is
range of
hills
Japanese landscape paintings (for example, cat. 91), but on a reduced scale.
The later Japanese painters in fact were influenced by the style of Chinese landscape
later
artists
of the
The
phy
are
facts of
that
and
collection catalogues
known
103
in
little is
Japan, however,
Sun
his works. In
Junze's landscape
teenth century.
101
Budai
hanging
.1
scroll;
ink
kuji
Agency
Stylistically,
on paper
Tokyo
broad brushwork for the drapery contrasting with the carefully rendered face, torso,
and left hand. The coexistence of the two
modes
in figure rendition
is
a stylistic fea-
Japan since at least the fifteenth cenis known through the gourdshaped relief seal Zen a stamped at the
lower right, which is believed by some to
in
tury. It
The
known
made
to the Japanese.
165
The
104
Battle of Sekigahara
(1539-1613)
as
ys
hanging
ink
scroll;
and color on
silk
584(465/8 x 23)
late Song-early Yuan
118.5 x
Private Collection
century
When Toyotomi
Hideyoshi died
in 1598,
left
to
(a
stringed instrument),
activities,
Many
Ma Yuan
(fl.
c.
style,
this
painter Sesshu
Toyo
in
and
Japan.
Muromachi
(1420-1506) of
(cat. 96;
simi-
man
at
(Museum
the
left in
1488),
who was
Toyo
(fl.
c.
166
struggle be-
month
of
1460-c.
fled,
possibly a disciple of
in
The
lesser-known Sesso
the
who
Mitsunari,
also
Southern Song
Mitsunari (1560-
himself.
The commissioner
interest in the
From
1600), a
ten a
bugyb).
two
essential
the battle.
The
left
man
mm
,1
tuenU thousand
kawa,
who began
Kobaya
puku,oi
disembowelment.
reens is the lamest and
selt inflicted
Tins paii ot
Kyoto.
I
w/\
troops
most detailed
,(
Rattle ol Sekigahara,
ontaining
moo
down
Many
of the pasted-
left) erro-
and the individual persons engaged in combat cannot be established with certainty. The painting and
written accounts also disagree on particulars such as Ieyasu's outfit. According to
one historical record, Ieyasu rode into the
individual daimyo,
wearing
lion.
among
the
left
armor and
may
political significance
battle-
in
Museum, shows a
may be seen as a precur-
also
ried spears,
last,
ys
is
stylistically attributed
this
number
(cat. 82).
Judg-
of surviving works,
stable
teenth century
among
six-
upper-class war-
105
Horse stable
pair of six-fold screens; ink, color,
and
each 149.5
one,
Muromachi
period,
c.
1560
six
well-bred and
and monks relax playing the games of go, shogi, and sugoroku
courtiers, warriors,
(double
six) in a
rafcjmi-matted seating
and
The
stable
stable.
was
first
early as the
Kamakura
period, in a depic-
and
and medicinal
herbs before a stable. A late fifteenthcentury narrative scroll, Seikdji engi emaki,
Two
its
From
ground with
room
their fore-
mansion,
observed by a man, perhaps a
daimyo or a high-ranking warrior, who
leans against an armrest, relaxed, and attended by boy servants. On the veranda of
the adjoining room are other spectators. In
the back of the room, his back turned toward the garden, is a tea master preparing
tea. A young attendant bringing a bowl of
tea to the spectators is distracted by the
excitement in the garden.
In the left screen a stable is shown
with six horses in compartments, each corresponding to one panel. Unlike the Tokyo
National Museum screens of the same
subject (cat. 105), this view does not include any animating genre scenes. This
work represents a second type of stable
hooves.
the scene
in a sizable
is
167
06
170
171
the stable
is
marked by
row of curtainlike
Kano Sanraku
(1559-1635)
gold on paper
half.
is
a hara-
from lying
on its belly and from violent movements.
The rope's ends (here invisible) are tied to
two horn-shaped projections on the lateral
beam. Gold clouds cover the right half of
the roof, the left half of the veranda, and a
part of the tatami-matted space. Behind
the stable grow disproportionately large
kake, used to prevent the horse
172
ys
century
the playing
The
sat in
The
rise
befitting a warrior.
tests that
Among the
incorporated
sports con-
mounted archery
field.
first
period,
Tokiwayama Bunko,
Kanagawa Prefecture
belly (save
Momoyama
and
large circle
When
the
inuoumono known
lord in attendance.
tary references to
despite an imperial edict in 1350 that temporarily banned it, texts were written on
this
es-
Edo
period probably
decline
in its
middle-
Edo period
popularity,
.1
retire Is a
though
in
the
ic-vival in interest
month
The
<>l
e, nliest
in. 16.
depictions
<ii
inuoutnono,
teams of
108
attributed to
(1547-1618)
on paper
sev-
ground.
The
screens
shown here
are generally
screens,
the finest.
that Sanraku
first
ter hearing
in
popularity.
many
In this painting
tions of
inuoumono
is
of the conven-
are portrayed.
The
and an inner
mounted archers
circle of sand.
On
the
responsible for recording the events
is
the
man
On the
The composition
is
and color
(6n/5 x 136)
each 157.0 x
345.5
Momoyama
Sekai Kv useikvo
Shizuoka Prefecture
Important Cultural Property
contrived to
The two
maximum
Unkoku Togan
nawa no inu
and sofo no inu, are clearly divided, one to
each six-panel screen. The artist has em-
scene of falconry
who paw
tivity
is
given
full play, as
the
dog in
movement.
a galloping
in
subdued
women and
mounted
depicted
the
is
wedge of
amw
women and
relax.
The
children are
left.
Although the
by
artist
is
not identified
have
173
174
175
"'S^l
^^^^^^^^^^^^I^H^H^H
'
4*
,
'
Si
'
RHHHv MHmp^p^H
^^^^^^^^^^^^^^H
'^^^pmi
^^^^^^^^^^^^^^^^^^^H
J10
been attributed
1618), a
Toyo
ated with
Togan
are the
manner of depict-
Kano Shoei
What
is
known
life
comes
Kyushu province of
moto
in 1584 in
became
a re-
an annual stipend of
200 koku. In 1593, the artist copied the
Landscape of the Four Seasons, a long
handscroll by Sesshu and a treasure of the
Mori family. The same source says that
Terumoto was so impressed by the copy
that the artist was allowed to use as his artistic name Unkoku, after the name of Sesshu's studio, and to adopt the character to
of
(1553-1625), with
Toyo
colorful
Momoyama
Togan
Edo
period,
first
own, and
also that
on
1473/5)
Bunko, Tokyo
Important Art Object
Eisei
The
conflicts
Minamoto
teenth century.
and
fall
The
Tale's
themes of rise
cast in
volatile.
Thus
No librettos, and
shown
(site
of the
famous
as his
and
style of painting.
1632-1653)
nection
119).
of Togan's
(1519-1592), or his
(fl.
more
der
Yoshishige
Heike
Yano Saburohyobei
this
Togan took the tonsure. A colophon brushed by Togan at the time the
occasion
.il
gave the scroll to the artist in token of Togan's succeeding to Scsshu's artistic tradition and that the artist was also i.',ivcn
Sesshii's studio, llnkokuken.
northern shore
(
Senji a 11 n v
ol
the
ip
hesitated t"
a cornei ol Byddoin,
176
River, wIik
rosi
v*SI
Then,
li
the
In mi
-^^
\
\
The
of the Genji clan, Sasaki Shiro Iakatsuna and Kajiwara Genta Kagesue,
emerged and raced each other on horse-
chored a
(Translated in Kitagawa
bound with
2,
mounted on horses
held a set of black and white feathered arrows, the center of each feather bearing a
riors
tanced Kajiwara.
In the screen the two horses trot toward the water's edge. Between the gold
clouds a section of the ruined Uji Bridge is
visible. Kajiwara's black horse braved the
churning water first, eighteen feet ahead
of Sasaki who from behind shouted that
mor
little
offshore.
warrior wore
ar-
black mark.
He
He was
his
moved
The
to cut
The youth was so handsome and innocent that Naozane, unnerved, was unable
to find a place to strike with the blade of his
Naoie.
One
sword.
He
my son,
Even when
my hand
for
will
and Tsuchida
1975, vol.
561-562.)
When
as Atsumori, an
outstanding flute player, only seventeen
years of age, and a son of Tsunemori, the
chief of the department of construction at
mous
flute
originally
saw that
wounded, I
The
at-
hyobei Yoshishige,
who
served
Hosokawa
The
Kumamoto
Prefec-
Kano
ys
be
evangelist.
helmet
it
Naozane found
re-
Kajiwara's horse's girths needed tightening. While the gullible Kajiwara, in mid-
his
let
hand of another,
1107-1123).
When
110
Maps
x 149V2)
He
suppressed his
Edo
Fukui Prefecture
Important Cultural Property
Jotokuji,
177
178
179
map
is
set.
A
Kano
The
attribution to Eitoku
not accepted.
Of some two dozen examples of maps
surviving from the seventeenth century,
work
is
in
is
that
Japanese.
The
a globe in 1580
speculate
familiar to the
Noand hung
bunaga owned
map
we may
map
room
in 1581.
tion
fully
the
map
coloristic
is
Europe, Africa,
and North and South America and the
continental land masses
Ocean
panel
five.
map, rendered
map
is
of the
based gen-
inscribed to the
is
left
And most
Nowafuransa
is
signifi-
Thirty Years'
War
panel two in hiragana (Japanese syllabicletters), reads Orankai, which is the Japanese reading of the Chinese name of a no-
predominantly French settlement was restored to France by the treaty of SaintGermain-en-Laye. The name New France
continued to be used until 1763, when the
territory was ceded to Great Britain. If the
inscriptions were written at the time the
map was produced, then the map post
madic
dates 1632.
the earliest possible date of 1592. The inscription, written on the right edge of
yoshi,
Korea.
early as IC02.
vo\ route
gland, Furansa
Amerii
a;
and Nowakineya
for
New
It
lias
moun
ol
green mountains
the northeastern
ol
ol
been asseitcd
in-
The
dale
is
is
problematic.
The shapes
ropean model, possibly the Dutch cartographer William Blaeu's map of Asia of
1635. The strangely shortened Honshu island and the abstract shapes of the islands
of Shikoku and Kyushu are in fact closer
to a map of Japan published by the Jesuits
in the 1640s than to any European precedents that the Japanese might have seen
in
The
earliest pos-
111
Twenty-eight
cities
from top
Paris,
to
bottom,
right to left:
Goa,
cities,
first
and second panels from the right. The depictions of these cities and figures are derived primarily from a map of the world by
Willem Blaeu (1571-1638), published in
1606-1607. The rulers of England and
China represented in Blaeu's map are
missing in the Imperial screen, however;
the view of Rome comes from Vita Beati
patns lgnatii Loyolae, a biography of Saint
Antwerp
in 1610.
or
Edo
period, 17th
century
Imperial Household Collection
Momoyama
places were
made
to satisfy a fascination
been unknown.
This set
is
the largest
among such
ex-
from the
iden-
Moscow, France
(Henry IV), Spain (Philip II), Turkey, and
the Holy Roman Empire (Rudolf II). The
third and fourth, seventh and eighth figures appear also, only minutely altered, in
catalogue 112. In vertical rows beneath the
Abyssinia, Tartary,
published in 1570
x 516.3
Momoyama
In the
combat
and gold
on
leaf
European trade with Japan in the sixteenth century brought with it more than
Chinese silks and other foreign goods
bought with Japanese
silver.
artists, Japa-
The map
and color
in
paper
Four equestrians
Ignatius published in
and myriad
112
countries
on paper
each 194.8
sia,
Momoyama-period
dai-
myo.
The
and
have been
Muslim
at
bals
from
Brazil.
ay
nations.
The
figures
and the Holy Roman emperor RuII. With only minor deviations, four
dolph
depicted
in
the pair of screens in the Imperial House(cat. 111). Models for these figures
were drawn from different, unrelated
sources, such as the small prints of Twelve
Roman Emperors, c. 1590, by Adriaen Collaert (c. 1560-1618), and the figures of
rulers on a map of the world by Willem
Blaeu (1571-1638), which was brought from
Holland and known in Japan during the
first decade of the seventeenth century.
hold
181
182
183
rf
>"' h
>1
V r >#_
(Rv
Pr^ar
'^td
fe
r
'^
41
.IT
-
'&**;<&*
|f
-j_ Si
*'^
piw?^
rr^ajibftM
Jitjfisi^ijjt
4
jbjg
*/4
^h^a
116
This painting,
now mounted
tween the
as a
now
fold screen,
mounted
as
an eight-
in a private collection.
These works were reportedly in the AizuWakamatsu Castle, the home of Leon
Gamo
myo, and his son Gamo Hideyuki (15831612), and remained there until 1644, when
they changed hands and were kept by the
Matsudaira family until the Meiji Restoramr
tion in the nineteenth century.
113
and gold
Bunko, Tokyo
Important Cultural Property
Eisei
dress, lifestyle,
lustrated in
these screens in
The
pan.
Momoyama
brilliant
Momoyama-period daimyo.
In the right screen two women
are
screen
is
less
centered, with
186
bly an oratory,
artists
of the
Kano
map
its
gold cross-shaped
school.
The themes
finial.
traders,
MR
peans.
114 Arrival
attributed to
Kano Mitsunobu
(1565-1608)
pair of six-fold screens; ink, color,
and
period,
c.
starboard side,
is
1593
and
each 160.5 x
Portuguese traders
its
which
115
Portuguese traders were the earliest Europeans to come to Japan, followed by the
Jesuits in the 1540s. The foreigners were
called nanbanjin, or "southern barbarians," and the art that deals with them is
called nanban art. This pair of screens, the
picts the arrival of
is-
prow and
the gate
same screen,
secular themes.
From
its
roof surmounted by a
a confessional
of the world on
with a circular
is
lis-
teners.
The
Momoyama
ures.
pean
hint of
tian
Momoyama
its
European musicians
on paper
each 102.5
figural groupings.
in
Nagasaki.
In the right screen, behind a row of
shops and partially hidden by gold clouds,
is a view of the Catholic mission situated
high on a hill. Included are a tatamimatted chapel, its altar marked by a roun-
Edo
'/h x 127
3 2 3-5 (63
Vs)
The
in
the
first
rakli
urban land
ho
quarter of the
six-
the 1580s.
citj
the sixth
116
month
of 1620.
Amusements
at
ys
Higashiyama
and
Matsushima
117
gold,
which
Edo
each 185.0
vided by the
kamo
River,
is
Jinja
On panel
six
is
The
left
on panel
six.
The
Edo
is
depicted
is
From
its
along its path, which has been interpreted to be the procession of Kazuko, the
riors
The
lively style
of the
that
it is
and gold
leaf
on paper
the west.
street.
Transmitted in the Kuroda family of Fukuoka, the daimyo of a domain in northern Kyushu, these screens depict the
scenic cove of Matsushima, a part of Sendai Bay on the Pacific coast of today's
Miyagi Prefecture in northern Honshu.
The bay at Matsushima, with its widest
span of a little over ten kilometers (eight
miles), is a meisho ("famous place" or
"place with a name") of long standing in
Japanese history. It attained national
prominence in the Edo period as one of
the three most beautiful sites of Japan (Nihon sankei); the two others are Amanohashidate on the Japan Sea coast, and
Itsukushima, renowned for a Shinto shrine
of the same name, on the Inland Sea. Vis-
that
islands.")
The
scenes represented in
The
is
the
187
117
Zen monastery of
town of Ma-
tsushima that
of the shore.
lies in
Provincial
What
is
new
in this late-seventeenth-
from the
more abstract and conceptual views of
Matsushima painted by Sotatsu (fl. 16021639) and his later follower Ogata Korin
an approach
totally different
YS
(1658-1716).
prominently displayed.
The two
118
Scenes of
Edo
ink, color,
and gold
two
to southwest.
The water
leaf
This pair of
is
moving out
to sea.
There
is
which
on shore and
sites
of local
188
on paper
painted in
deep blue, and the schematic mists that
float over it are rendered in gold and sprinkled with flakes of gold leaf. The view contains as many boats, as islets: cargo ships
and fishing boats with full sails are returnsure boats, are
National
Museum
gawa branch
Kii.
a period in
Edo
lived continuously in
as hostages. Car-
Edo
(present-
relatively
families
of Japanese History,
Chiba Prefecture
from
Edo
screens
more
distant views,
in
the upper
Nabeshima
in-
families.
known
is
to
many
.1
<
<
left
The
three
left-
from
a high western vantage point turned toward the east, continue this broad sweep
shogun.
.it
is
of the
passage' at the
.1
l<>|>
ol the adjoin
sc
merchant
ignored,
is
class,
and he
in this painting.
Almost
in this set
five
artist has employed a formulaic approach in drawing their individual features. Nonetheless, their movements are
skillfully rendered. Meandering, stylized
gold clouds form a low relief frame around
the individual scenes, helping to define
each one while simultaneously unifying
them and linking them to Edo Castle, the
center from which they radiate. Embedded within the gold clouds are roundels
filled with butterflies in low relief, in pairs
and singly. As this was a crest used by
many daimyo during this period, it may
have been an indication of the status of
the patron of these screens.
The date of the screens probably is no
earlier than 1641, when the Shiba Toshogu
the
AMW
debate.
ad on the
Sages
hill
is
The burgeon-
On the other side a twisting tree extends like a canopy from a huge precipice.
Beneath the cliff is a rustic retreat with a
brook.
thatched roof,
its finial
Unkoku Togan
(1547-1618)
and
slight
color on paper
each
Momoyama
Eisei
two men
sitting at a
Chinese scholars
right screen
peri-
They
also danced,
the
sang,
Bunko, Tokyo
A mountain
engaged
14W2)
through
odically retreated
119
visible
of a
tiled walls
tomb
interior. In
poem
in
The
subject.
Unkoku Togan
(cat. 108)
painted the
Seven Sages of the Bamboo Grove on sliding door panels at the Obaiin subtemple of
Daitokuji monastery.
panels are
Eisei
Bunko
screens.
Here the
figures are
crisply
formed an almost
Chinese art. It had
archetypal
appeared
theme
in
century
189
Tf^tfa
*mz&
4\(
!
*r
irr rH
'
&*^%
in
119
192
193
,7ifc
-7m
^p
120
1%
197
198
'
->
%
5&
199
Hf
1
ra
M
J
24
120 Flowers
Seasons
Studio of
Kano Motonobu
(1476-1559)
and
each
Muromachi
period,
half of 16th
first
Agency
sixteenth century.
It is
birds,
and
paradise
is
indicated.
Spring and
right
The cascade
on the
left
screen.
different flowers
one
thirty-
garden, which
is
more
like a
man-made
The
screens are
known
as kinbyobu,
disal associations
evoked by them.
executed in yamato-e, the
This work is
indigenous mode of painting characterized by details rendered in opaque colors
and conceptualized forms. But there are
features of the Chinese kanga mode of
painting, as in the descriptive forms of
flowers and tactile shapes of the rocks
200
sliding
Momoyama
(72
period,
Ax
c.
543/8)
1615
Kano Eitoku
(1543-1590)
and
probably
owned by
grasses or
The
screens,
the Hachijo no
Miya
se-
quence of panels.
left. Al-
121
a precursor of the
Tokyo
Autumn
attributed to
and kanga is a specialty of Kano Motonobu and his studio. A recent study has
firmly attributed this work to Motonobu's
studio and dated it to the first half of the
Imperial Household screens from the late
ys
sixteenth century (cat. 122).
century
122
Myorenji, Kyoto
month
blades of
autumn
chill.
Beyond the
hills
are dis-
Although this painting has traditionbeen attributed to Kano Eitoku, written evidence documenting the making of
ally
new
sliding
Mitsunobu
(c.
1565
1608).
ay
12}
on paper
Momoyama
live at
(587/8 x 1324A)
in
period,
priests at
or as rain deities.
In this
is
of the
trast to
Momoyama
period. In con-
On a
re-
pair of paintings in
111.0 x
Momoyama
Kano Motonobu
Yusho turned to the
works of Chinese monochrome ink painters of the Song and Yuan dynasties, particularly that of Liang Kai (fl. c. 1195-c. 1224).
After mastering the techniques of monochrome ink painting he began also to paint
the highly colored, lavish
125
Sekai Kyuseikyo
Shizuoka Prefecture
Important Cultural Property
in
Omi
Province
where
his
for-
re-
light
with gener-
Kano Tan'yu
(1602-1674)
and
each 207.0 x
Momoyama
Tofukuji was
and
Edo
1
159.5 (Si /* x 62V4)
period, 1626
Kyoto City
at
paintings.
Yusho's residency
and
screens at Myoshinji.
124
Zen temple
a lay priest
is
the inscription,
clouds
became
plum blossoms
of early spring and distant snowy mountains. Such close juxtaposition of different
seasons was commonly found in landscape
spectively.
later
(1476-1559). Later
in
dragons are a
some.
bols of East
He
Buddhism
Tofukuji, an important
Kyoto.
talent as a painter
protectors of
century
Nagamasa
The
of a
completed
in 1603.
It
was
originally built as
Tokugawa shogun,
during his residency in Kyoto.
After Ieyasu's death in 1616 the buildings
went through several rebuilding and refurbishing phases, the most notable being a
who used
it
201
125
(1596-1680; cat.
19).
Emperor Go-Mizunoo
The Ninomaru Palace
much
course of this work some buildings were removed from the site.
The interiors of the Ninomaru Palace
and
in the
Kajibashi district in
by a team
of painters of the Kano school, headed by
the twenty-four-year-old Kano Tan'yu
kyo),
blocks,
were decorated
(1602-1674).
Over the
in 1626
have been damaged and extensively repainted, especially in their details, but the
overall composition has retained the style
of the young Tan'yu, who was inspired by
the heroically
(1543-1590).
Kano Takanobu
which became
Edo (present-day
his
home and
may be
political
at
monopoly over
official
202
and including
later, in 1617, at
daimyo.
age
ink,
period, 1634
Nagoya
nally
headquarters of the Matsudaira, the daimyo of Owari Province (now Aichi Prefecture)
and
(liter
era of Japan
The
six
intention was to
months ol
pm\ idc lod^in^
(1604-1651),
Edo
door panels;
ally
new
(1602-1674)
each 192.0
The
power
color,
To-
studio.
he began the
decoration of the sliding doors at Osaka
Castle. The Ninomaru decoration campaign followed soon after, from 1624
to 1626, and marked the beginning of
Tan'yu's rise to preeminence among mid-
school's
Kano Tan'yu
Kano
Exemplary emperors
126
service to the
twentieth century.
entire
<
On 14
Maj
19
,.
the
more
wooden
doors,
and
ceil-
facing west.
with
its
of the Exemplary
Emper-
Ming
Kano Sanraku's
court.
right,
painting
old
the
style.
at
Nijo Castle
ys
(cat. 125).
127
Bamboo
example of painted
translations of the Exemplary Emperors
color,
and gold
door panels,
on paper
ink,
leaf
theme.
trate
at
when he executed
tant Japanese
Edo
The
left
pasted onto a pair of six-fold screens (private collection, Japan) are the earliest ex-
sliding doors
rewarding provin73-49
cial civil magistrates, so that they would be
encouraged to stay on in their posts and
effectively and benevolently administer
the affairs of the populace. The emperor,
(r.
The theme
ors,
Nagoya
bc) generously
seated on the throne, entertains two kneeling magistrates by offering food on large
produce an atmospheric
effect.
The
surg-
period,
c.
1614
The
maru was
The
hon-
pleted in 1614.
Its interior
decoration
was destroyed by
aerial
bombing. Fortu-
203
126
sliding doors
two, possibly
Kano Koi
(d. 1636).
He was
and thus
its attri-
204
artist
128
throughout the Muromachi period. Although the theme was Chinese and Daoist
in origin
the forces that cause clouds and
winds to rise the Japanese fascination
with the subject was largely inspired by
each
Edo
century a
Kano
Eisei
155.5 x 361.5 f^ 1
'A x
period, after 1640
on paper
H 2 ^8
Bunko, Tokyo
(1584-1645)
Miyamoto Musashi
ys
Miyamoto Musashi,
Born
in
Harima
two swords.
HydgO
(part of today's
s.iw
ini
luding
one
in 1610
mous swordsman,
ninji in
century.
listed in
cal
Edo
machi period. Over twenty-five ink paintings of various subjects by Musashi exist,
many of them stamped with his seals, including Bodhidharma and other Zen-
Kumamoto
transformation.
Where Musashi
It is
129
Plum
trees
studied painting
likely that
he was
is
ys
(fl.
mid-iyth century)
and color
on paper
156.2 x 363.0 (6i'/2 x 143)
self-
artist's
Soga Nichokuan
as a sign of humility.
unknown.
di-
at
Prefecture
wa
Soga Nichokuan was the son of Soga Chokuan, an artist active during the Momoyama period in the port city of Sakai
(south of present-day Osaka). Although Nichokuan's dates are unknown, there is evi-
205
^
'
*rr
SJ&^
127
J28
206
1
-V-
1.
/
'
207
129
'3
208
fo-
209
130
attributi d to
Sakuma Sakyo
.6 57 )
(.581
and gold
leal
on paper
1628
Send, 11 City
Museum,
Miyagi Prefecture
Important Art Object
The
Sendai.
was
castle
built as a private
Masamune
daimyo of Sendai, so
(1567-1636),
that he could
spend
dai Castle
autumn
stylis-
artist
still
in his
painter
Kano Mitsunobu
known
and
(1565-1608),
sliding
door paint-
daimyo.
The
date
Masamune's employ
but
ture,
ists
it
for large-scale
headed
Kano Sakyo,
appar-
ently
210
mode
Mitsunobu's painting
ol
Kano
Kyoto around
the composition and
in
make Sakyo's
inscriptions
els.
'lies
Edo
period.
Date
are
various
Ko
and Shin kokinshu; two are Zen
at
referring to an answer
verse form
111
made
(c.
740-808). Se-
cord of life!
Threading through the jewel of nix soul,
If you will break, break now:
shall weaken if this life continues,
Unable to bear such fearful strain
(translated in
1975, 301).
Nor
it
a thing
is;
stores everything
there
is
there
is
the
there
is
a pavilion.
moon;
[left
It is in
that a
winter
mountain hermitage
grows lonelier
for
without limit;
a flower;
humans
still,
cease to visit
[left screen,
McCullough
1985a, 77).
third panel]
131
ys
Mythological scene
Kano Tan'yu (1602-1674)
hanging scroll; ink and color on paper
109.0 x 31.9 (427/8 x 12 'A)
Edo period, after 1638
Tokyo National
Museum
The
Prinee-cormorant-rush-thatch-
which
first
Ancient Mat-
now
legendary
first
is
about Hiko-
211
ii
to the
in or-
look for it. There he marries Tbyolama no Mikoto, who is the princess of
the sea god. Wlien his return home is imminent, the princess asks Mikoto to build
a hut on the beach, where she will be delivered on the clay when the wind is rough
and waves churn high. Mikoto had hardly
completed thatching of the roof of the hut
with cormorant feathers when the princess went into labor. The princess, turning
into a serpent, is seen by Mikoto and then
newborn wrapped in
the painting the infant is on the
owned by
Shinto
132
ys
scroll;
ink
is
fifteen years old in Kyoto, reportedly under the protection of the Buddhist sanctuary of Honganji. He is said to have studied
painting with
Kano Naizen
(1580-1616),
an
artist
is known about
he was forty years old,
when, around 1617, he went to Echizen
Province (Fukui Prefecture), where he was
to remain for twenty years. He established
art
form
in
Matabei's
Kyoto. Little
life
until
reached as
summoned
far as
to
Edo
reads:
ure familiar in Zen Buddhism as a reincarnation of the Buddha Maitreya (cat. 80). In
China and Japan, Hotei represents spiritual freedom from the conventions and
rules of the world. Executed in pale ink
and rendered in spontaneous brushwork,
the figure stands against a neutral ground.
On the lower right are stamped two seals:
Dbun; the
mochi.
better
is
212
mums
The
their carriage.
yet
is
unidentified. This
tion of yamato-e in
its
tradi-
preoccupation with
noticed in
many
of his
ys
period,
Edo
period,
c.
1637
Gunma
Prefectural
Modern
Art,
Museum of
Gunma Prefecture
member of the
1623-1624
known
'
painting
133
A warrior's son,
one
in a disciplined mode of
known as hakubyb, or plain drawing, which became fashionable as an archaistic mode within the conservative
Executed
134
Heaven.
Museum
than 1624.
later
works.
The
you go back
his
at
bei's
Why do
stamped
Tosa school from the late sixteenth century to the early decades of the seven-
Edo
u (39 7//s ) x 1 3 A)
period, c. 1624-1633
Tokyo National
bei's seals in
on paper
101.3 x 33
bellion
execution. Matabei,
paper
Edo
YS
Hotei
hanging
later
a small
served
rushes. In
Osaka Prefecture),
hohode
as the Ka-
the country, going as far north as the province of Mutsu (part of today's Iwate Prefecture);
Kumano
he celebrated
Some
in
ninety-four
.11
Saigyo, clad
in
133),
the itinerant
All the
in
the
paintings
I'-
(1
at
11
mii
this
1
}.)
in
233
134
213
vith deliberation,
I,,,-..
.is is
in
ink, tin
a large circu-
is
"When we see
the
moon ..."
at
Edo
YS
135 Flowers and plants of the
first, fifth,
Edo
x 41.0
who
in
Yamato
The theme
one of his
finest works,
is
related to the
to avoid illness.
The
picts a footed
first
month
de-
or-
New
grow
214
Year's decoration)
in
the vase.
The
as
and shirahachi,
fifth
kbryb
(Summary
of the laws
ments.
He
prints,
emerged
learning. Sugita
as a
Genpaku
new branch
(1733-1817)
Obama
of
and
from the domain of Akita in northern Japan. Gennai himself was called to Akita in
1773 for a geological survey of the domain
that produced copper, where he laid the
of painting) and
(Understanding paintings).
This painting
is
signed
Minamoto
name
follow-
Minamoto. A
the signature
is
In the
to reptiles
in
the
album shown
here, in addition
caterpillars, butterflies,
was on the
rise,
and
shown
here,
have attempted to make associations between disparate things; for example, the
beehive illustrated here resembles some
deep-sea fish. These studies differ from
Shigekata's counterparts; for Shozan, the
exterior forms are objects of fascination.
The studies in Shozan's albums served as
source material for his full-fledged
western-style paintings and those of othei
below
roman alphabet,
artists in
Zwarr Wit.
Another album
The album ex-
of insects.
flies.
translated Tafel
Gato
floral studies.
and
of anatomy,
who
Gaho
domain
painting).
silk
studies) soon
Yanagisawa Kien,
Two
Private collection
spiration
ll>/8)
Private collection
treatises
each 99.0
ay
4- (44 'A x 1 5 A)
period, 2nd half of 18th century
112.5 x
home
pears,
and knife
Satake Shozan (1748-1785)
hanging scroll; ink and color on
I left
Edo
136 Iris
other;
and
insects
paint-
were our
The
a red
parting words
wonder
glories.
month shows
and morning
threads of five different colors and festooned with blue irises, pink azaleas, white
camellias,
reliel
sci ibes
month
the book
ys
sy
Ji
F
J
3.
dl'
'
''''
135
215
137
136
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38
amphibians, and
fish
Masuyama
Sessai (1754-1819)
Masuyama
was
and
spired by
each
ings.
Edo
us/4)
Museum
life
paint-
Gennai
Contained
He was
period, 1808
Tokyo National
domain of Akita
in
the
north and one the harbingers of Westernstyle painting. Sessai was especially impor-
Kimura
Kenkado (1736-1802) and Kuwayama
Gyokushu (1746-1799), who painted in the
stvle of
Chinese scholar-amateurs.
ys
lected.
Some
insects are
viewed from
219
J* it*
i;'U
ifli
!>!
(,;
*l*
VHi
B
<
^B
220
39
-v
r-i
.-x
^^A
it.
If
^"-l-.-^
,-fl
^^^.
it
B
J&
K.
5"
&
'*v
IL*
,J
'!
A
and insects
Hosokawa Shigekata
(1720-1785)
smaller
temporaries
attributed to
insect
Edo
album
);
period, 1756-1785
Eisei
Bunko, Tokyo
moto Castle
Masuyama
Sessai,
daimyo of
domain in Ise (cat. 138), and Satake Shodaimyo of the Akita domain in north-
album
all,
in-
each
ys
zan,
ern
Honshu
Shigekata
left
The
larger
album contains
The
studies of
have
been cut from either a booklet or a
handscroll and pasted on the album's
leaves, which are dyed reddish brown with
persimmon juice. Each work is accompanied by an inscription, either written directly on the work or on an attached piece
of paper, identifying the species and giving
the date and place where it was seen or
animal species.
illustrations
221
40
Til
140
Album
of assorted paintings
Edo
to
silk
ist is
ily
is
pasted
1716) in
album
Edo.
The
Eisei
background.
taught by
Kano Takanobu
(cat. 18);
artist;
ist
works
The
his-
is
four
Jakuchu (1716-1800),
bum, however,
The
paintings serve as a
artist
present owner.
sponse by the
re-
the album, and occasionally the artist's signature accompanies a seal. The seal Tokakuin' in (seal of Tokakuin) on the painting
Beetle
and corn
illustrated
here
may
give
a decorative naturalis-
of Kyoto.
The album
is
in
two boxes.
is
The back
of the
lid
of the inner
himself.
Bunko, Tokyo
Edo
ys
square
relief,
Bian Wenjin
The
to 1893,
Hoitsu.
shi.
contained
and color
Two
tic artist
a collection of paintings,
1403-1435)
scrolls; ink
ings:
In the
illus-
(fl.
hanging
on silk
each 31.0
Ming, 1st
each
side. The covers are elaborately made,
with the corners capped by a silver openwork design of pine, bamboo, and plum.
thirty-six to
Hi-
Prefecture),
He was
mediums on either
mounted on both the front
subjects, in different
or paper,
pair of
Hyogo
taka
daimyo of
Bian Wenjin
silk
Edo
141
two
this)
accompaon the
Painting
Academy
of the
Ming
court,
who,
223
142
224
143
in
who
whose monumental
style
is
reflected in
(cat. 142).
142
on
in
c.
1497 and
During the
af-
Toyo
(1420-1506)
known
Kyakumi ichimi (Guest arrives, shares one taste), which comes from
an inscription on a famous ink painting
by another
title,
143
YS
Turnip
attributed to
Bunko, Tokyo
Hu
Tinghui
(fl.
1st
hanging
scroll;
ink
and color on
silk
Higo
(today's Kumamoto Prefecture). It was
painted by an elusive artist, Li Yihe of
Shanhan (in Fujian Province), as signed on
the upper left of the center scroll. Although Li Yihe is unrecorded in Chinese
sources, he has been identified as either a
Ming Dynasty Chinese painter or, as in
Ueyama
Edo
Hosokawa daimyo
periods.
ries.
Eisei
latter
silk
in the
Ji (fl.
tradition established by
whose influence
ter),
Ming academic
family of
Ikuichi collection,
Nara
Chinese
artist
companion pieces
are signed
by the Zen
him
monk
aesthete Kogetsu
Sogan (1574-1643) of Daitokuji, followed by
in 1635
37).
ys
Prefecture
Ueyama
Ikuichi collection,
Nara
Prefecture
known in Japan since the seventeenth century. The painter and connoisseur Kano
Tan'yu (1602-1674) reportedly made a
sketch of a painting by this
artist.
a triptych assem-
bled by
Turnip,
Hu
right
cannot be identified;
lector's seal.
Hu
it
may be
a col-
among Chinese
225
frV
144
144
Western dogs
Sakai Hoitsu (1761-1828)
Unkoku Togan
scrolls are
on wood
118.5 x
Edo
M^7 (465/8 x
^S l A)
Buncho
Tokyo
commemorate
it,
restaurant.
one of the
book Honchd
(1763-1840) reproduced
two Toshuku
226
The Toshuku
(1547-1618).
lost,
period, 1814
now
scrolls in his
1810), also
noting
them
sp.i< e
145
Tethered horse
Kano Sanraku (1559-1635)
145
ink, color,
and gold
leaf
or
on wooden
title; i.e.,
panel
[corresponding to
Edo
edge
period, 1614
Myohoin, Kyoto
As late as the Kamakura period live horses
were offered to Shinto shrines as gifts to
deities by those who believed in their protective power. In the
Muromachi
period
1614].
Along the
left
is
painters.
ys
Named ema
usually of
modest
own
size,
no
painted by
rior
in
Kano Sanraku,
turned painter
former war-
who headed
the studio
of the Shuridokoro,
227
Arms and
Armor
229
black-lacquered iron.
metal
tier
century
Aomori Prefecture
kuwagata.
This set of armor
National Treasure
Oyoroi
(literally
armor of mounted
that time.
constructed
chiefly of leather and iron lames bound together to form horizontal tiers. The lamellar tiers are covered with lacquer to lend
strength and rigidity and then laced together vertically, with distinctive, thick,
red silk lacing in this example, to create
it is
are then
the top.
The conventions
followed in compos-
The upper
lower part of the cuirass, a four-tiered kabukidb, protects the front, back, and left
side of the lower part of the torso. The
right side of the
body
is
The
tically into
is
divided ver-
is
Two
smaller
the lamellar
tiers
to provide a
smooth surface
the bow.
It is
for
drawing
shishi,
Oyoroi armor
cuirass h. 33.3 (13 */&)
Nanbokucho period, 14th century
Bunko, Tokyo
Important Cultural Property
Eisei
which the members of the warrior class aspired. The two motifs often appeared together on armor, particularly in the
Kamakura and Muromachi periods.
The helmet, typical of those worn ,is
designs.
missing.
now
is
of the hoshi kabuto type, literally "star helmet," a reference to the hundreds of rivets
that
bowl
230
The
The
in carefully
overall extrava-
147
protected by a
The
waidate,
and back,
parts.
waidate.
front, side,
orchestrated clusters.
These sections
is
from the
large sections.
sus-
Typical of oyoroi,
is
Kushibiki Hachimangu,
loose-fitting defensive
lost,
a tsuruboshiri,
osode (large
made
ot
n.imm
(stai
helmet)
is
231
147
232
>
233
rhi
:ti
with
chrysanthemum,
found on the kyiiki no ita. The righthand flap of the shikoro has lost several of
its lacquered lames, the vivid reminder of
ys
a sword blow during a fierce battle.
also
148
Domaru armor
iron, leather, lacquer, silk, gilt
cuirass h. 29.5
Muromachi
first
metal
(11 5/8)
number
made domaru more
flexible than byoroi. The pair of bsode have
seven lamellar tiers each. The lack of a
Dividing the kusazuri into a larger
of smaller sections
to the
helmet and
trast),
and nanako
silk
The
lacing
ar-
re-
uppermost
tiers
is
The
in
lief
cludes a
Domaru armor
neath
K67.11
(11
shakudb,
Vh)
Kyoto Prefecture
mous
armor
is
back
a three-tier section;
below
amw
Haramaki armor
150
first
this, a
skirt),
has retained
metal
period,
Museum
National
History,
of Japanese
Chiba Prefecture
This
in
mor
of the
common
foot soldier. In re
in military
technique
bersome byoroi armor allowed, highranking warriors began to wear the more
flexible haramaki with a helmet and pail ol
are
in-
a set ol
made from
exam
tact. In addition,
Nasu
<
cuirass
of the
listed as a possession
clan.
numeral
Kobunka Kaikan,
akodashaped
in-
a horizontal
mon was
that required
in a
Muromachi
sword-shaped projection.
A shrine legend records that this armor was used by Shimazu Takahisa (15141571), ruler of a large domain in southern
Kyushu, whose son Yoshihiro (1535-1619)
was responsible for starting the first Satsuma ware kilns (cat. 252). The Kagoshima
Jingu owns another set of domaru similar
to this one except in the colors of the lacings used to join the tiers together.
AMW
used
the armor to
chrysanthemum and
Muromachi
also
149
is
cuirass h. 29.0
needed.
wrapped
is
(in
in byoroi
edge the
pe-
gold
in stencil-dyed leather
Muromachi
sponse to changes
The
234
osode intact.
is
its
in
armor characterized
tective skirt,
lacquered helmet is of the suji kabuto, or "ridged helmet," type; here the
ridges are covered with gilt metal. Its
up more than
The
the middle
period,
is
Kagoshima Jingu,
Kagoshima Prefecture
Domaru
four-tier section fits around the body. Suspended from the shoulders is a pair of
gybyb, made of iron plate wrapped in
stencil-dyed leather, which protects the
skirt),
iIik
149
235
cuirass
50
bound
On
is
echoed by
are
tiers
by, in
236
bottom are
lacings
As was
common
in
The metalwork
of
151
gilt
many
of the parts.
chrysanthemums
Haramaki armor
Muromachi
first
period,
National
Museum
ot
Japanese
hstory,
Chiba Prefecture
Important Cultural Propert)
In
its
most of the
in
haramaki
in
between
cuirass.
This
set is
also ex-
sing.
AMW
152
51
Haramaki armor
iron, leather, lacquer, silk, gilt
metal
Momoyama
Bunko, Tokyo
An example
wrapper"
of haramaki,
this set of
Hosokawa Yusai
literally
"belh
(Fujitaka, 1534-1610).
The
is
kuxd mon, the crest of the Hosokawa family, a design of one large circle surrounded
b> eight smaller circles. The kote (armored
sleeves), whose gloves are also decorated
with the kuxd mon, as well as the haidate
(protective apron) and suneate (shin
guards), were added when the set was
handed down to Hosokawa Tsunatoshi
(1643-1714).
ys
153 Tosei
gusoku armor
shakudb,
silver leaf,
gold leaf,
wood
bear
fur,
Momoyama
"modern equip-
It
was
and
produced during
in materials
first
move
easily
wearer a
dis-
owned
237
flT(WI(fl(WWifhH
wtmtm
* >' * **#flW<i
'** ti
..^'^|fflr$l*"
*"
'..
.-
"
.....im*uiiu;:*..J
.....(
1S2
238
t|;fr*-f^
* I
i*
-.
*t* T*t*Y'
iji
<.......
<
153
239
is
form
a representative
white
satin, red
Momoyama
The
notched
are
made
of
lier
tiers
cuirass
is
tied
from
is di-
Helmets of the
gusoku were
tosei
of-
helmet is made
from sheets of iron, covered on the out-
A pair of gold-leafed
Shizuoka Prefecture
Important Cultural Property
is
bent up
small fukikaeshi.
tiers
at
number of
and the hands with gloves hammered from sheets of iron. These silverleafed parts are all connected with a
latticework of iron chain mail, and the
whole is attached to a ground of white figsplints
is
rest of
the set in
made
combined with
240
iron
<
li.iui
ing his great triumph at the Battle of Seki(cat. 104), was treasured as a
symbol of Tokugawa dynastic power. According to shrine records, Ieyasu had the
armor made after a dream in which he saw
Daikokuten, a god associated with wealth
and war. In Japanese the helmet shape is
described as being in the style of a headdress traditionally worn by Daikokuten in
sculptural and pictorial representations.
The armor became known as the "dreaminspired form" and served as the model for
many copies made by succeeding generations of Tokugawa rulers, of which cat. 155
is one example. Following Ieyasu's death,
the armor was transferred to Kunozan
Toshogu, a mortuary shrine dedicated to
Ieyasu, in Shizuoka Prefecture. In 1647, it
was moved to a storage site within the Edo
Castle precinct and, in 1882, was returned
to Kunozan Toshogu where it remains
gahara in 1600
today.
The
tiers. It is
mail,
which
set
is
set.
This qual-
and
ured
The
Kunozan Toshogu,
amw
gusoku armor
154 Tosei
into
large,
verti-
panels.
family.
tiers
The
of iron, or
a gridlike pattern.
skirt)
in
made
of three
and
wood shigami
(cat. 160),
.1
circle,
has survived
The
present
brown hue.
its
amw
241
55
155
Overall, this
wood,
a faithful
reproduction of
though the
fittings neces-
element to
cuirass h. 39 (153/8)
Edo period, mid-iyth century
This
set of tosei
gusoku
is
copy of cat.
owned by
Iokugawa Ieyasu (1543-1616). It is said to
have been made for the fourth-generation
'Iokugawa shogun letsuna (1641-1680) in
1656, when the original was still being
the greatly treasured armor
242
is
set,
gold leaf
Kunozan Toshogu,
Shizuoka Prefecture
154,
the earlier
Kdo
Castle precinct.
AMW
156
156 Tosei
gusoku armor
bear
fur, gilt
hemp,
made
of iron
hemp
cloth.
The
metal
iron
cuirass h. 37 (i4'A)
Edo period, 19th century
Kunozan Toshogu,
Shizuoka Prefecture
This
set of tosei
twelfth
1853).
The
The bottom
The upper
tier
fur.
part
is
of the seven-
The
skirt) is
sode (upper-arm
243
157
la<
quer,
silk, gilt
metal
cuirass h. 37 (^A)
Edo period, iSth-igth century
kunozanToshogu,
son
it
was customary for the Iwai house, overseers of the shogunal armor, to present
him with a set of armor. This set is one
such example. Although six similar sets are
extant and their provenance is unclear,
this one is traditionally said to have belonged either to the ninth shogun, Ieshige
(1711-1761), or the eleventh shogun, Ienari
(1773-1841). It is made of two hinged
halves, with lamellar tiers laced in red, and
the helmet is of the suji kahuto (ridged)
hy
type.
158 Tosei
gusoku armor
is
of
yak hair
Tokyo
lames, also
The
haidate
is
hammered
able nose.
iron
A plume
mask with
trails
sets of
159 Tosei
armor,
known
in
this set
cuirass h. 39.0
Momoyama
(15
Agency
century
guard
is
An early
seventeenth-century portrait
of Sakakibara Yasumasa depicts the warrior wearing this armor (cat. 33). In the
painting,
Yasumasa
sits
cross-legged on a
removed, allowing
a clear
view of the
sit-
amw
Tokyo
wood, gold
leaf
daimyo of a domain
(present-day
Gunma
in
Momoyama
skirt). Sil-
Honda lakayuki
Prefecture). Lavish
is
The
V4)
ver
(15
period,
century
Kozuke Province
tiers
period, similar
combined with a
horn-shaped kuwagata, whose twin prongs
would flank it on either side, as in the Ka-
period,
single
is
Muromachi
Vs)
and the
In the
style.
ter's face.
Prefecture).
similar in construction
cuirass h. 39.0
somewhat
is
representative.
same
silver
Japanese as nan-
gusoku armor
helmet,"
a detach-
Western armor began to arrive in Japan from the end of the Muromachi period. Japanese warriors adapted them by
adding typical Japanese parts: kusazun
(protective skirts) were suspended from
the cuirass and shikoro (neck guards) from
gourd and
floral
the haidate (protective apron), made of five tiers of cardshaped small, black-lacquered leather
is
five tiers of
century
The
in
period,
made from
with linen.
pro-
made
Momoyama
The powerful
is
five tiers
cuirass h. 45.0(173/4)
Agency
body
half of the
the
in
peonies.
Tokugawa shogunate
household celebrated his coming of age,
a
The lower
Shizuoka Prefecture
When
composed of
tiers
made from
is
Collection, Tokyo
set
origi-
and a powei
daimyo of Ise Province (a large part of
present Mie Prefecture). Attac bed to the
is
sinking
wood and
made
hardened with
coats ol black lacquer. The grimacing
horned head (slngami) .it the front oi the
helmet, carved from wood, covered with
black lacquei .n\t\ gold leafed, was
type
of
layers oi papei
,1
244
in the
shape of
The
five-tiered kusazuri
is
sec lions.
divided into
is
the haidate
(protective apron),
made
o( iron
(ham
in.nl
(not
pi<
245
159
246
60
247
161
248
62
249
The
set
is
omplete, with
all
of the
and the
the nimaidb type, with two
protei live parts,
lions.
The
tiers
are
made
cui-
i.iss,
V ompanying the
i
set
is
a portrait
of Tada-
name
of
its
it is
162 Tosei
silver leaf
period,
century
Museum,
Masamune's
ar-
mor, the kusazuri (protective skirt) is divided into nine sections, each with six tiers
of single, black-lacquered iron plates.
tiers are
The
silk lac-
The
other parts maintain this insistence on black and functional severity: the
haidate (protective apron)
is
made
of
six
The black-lacquered, ridged suji kabuto helmet continues the austere elegance typical of the whole set. It lacks any
decorative embellishment around the hole
The shikoro is
of four tiers of thin horizontal iron
strips and the top tier is turned back to
at
made
Bunko, Tokyo
This
This
the cuirass
is
Hosokawa Sansai
trasts
in this set,
is
case in
jacket) of white
facing
is
sleeve
is
made
black-
tions,
silk
lacing
(1159-1189) achieved
triumph.
appendage
is
The
broad,
formed from
thin sheet of
the iron
quered
in
Nagmasa
is
lac-
when Kuroda
Nagamasa
trea-
1614-1615,
many
repairs. In
,111
(c
earl}
at. 32)
seventeenth
Nagamasa
is
jinbaori (battle
kusazuri.
Sansai
Minamoto Yoshitsune
Hosokawa armor. A
left
skirt),
left sides,
is
and
(1563-1646)
century
century portrait
250
Fisei
silver-leafed
figured
ceived by
wood,
period,
Edo
Momoyama
on
full
wool
fur,
Momoyama
Miyagi Prefecture
ing.
gusoku armor
gusoku armor
wood, bear
in the elev-
AMW
The
a jacket
an Ichinotani helmet.
en-
cuirass h. 38.0(15)
Sendai City
163 Tosei
as well as
it,
AMW
[1535].
161
leather crescent
date:
amw
(cat. 31).
spread-legged on a stool
iron
of
horizontal panels
hammered
is
when
easily,
it
ing
on
ornament break-
not
made
251
I',
252
164 Tosei
gusoku armor
165 Tosei
wood, gold
gusoku armor
wood,
gold leaf
wood, gold
Momoyama
Edo
leaf,
Ii
yak hair
period, late 16th centur\
Naoyoshi Collection,
Shiga Prefecture
metal
leaf
Naoyoshi Collection,
h Naoyoshi Collection,
Ii
Shiga Prefecture
Shiga Prefecture
253
167
gusoku armor
7'o.vc'i
iron, leather,
li
iiii.iss
silk,
wood,
h. 40.2 (157/8)
Edo
Naoyoshi Collection,
li
Shiga
168
quer,
lai
al
I'm l<i
lure
Haramaki
iron, leather, lacquer, silk, gilt metal,
wood, gold
cuirass
Edo
leaf
29.6 (ns/s)
h.
Naoyoshi Collection,
li
Shiga Prefecture
cuirass h. 29.7
Edo
V4)
(11
Naoyoshi Collection,
li
Shiga Prefecture
These
six sets
among
more than
fifty
down through
the
li
that have
the
been passed
successive generations of
daimyo of Hi-
kone, a city in present-day Shiga Prefecture. Historical tradition traces the li clan
onward
pair of
tall,
projecting
helmets
sides of the
peaceful
Edo period
for families to
copy
The prototype
fied with the
li
for the
family
is
said to
worn by li Naomasa (1561-1602), twentyfourth head of the li family in the ancestral line descending from Tomoyasu and
the first li daimyo of Hikone; cat. 164 was
owned by Naomasa. Early in his career,
Naomasa is said to have adopted from
Yamagata Masakage, a general celebrated
for his military
The
cuirass,
is
sections,
beneath which
is
a haidate (pro-
and then,
to
254
many
sets of
li
ar-
167
169
tory of the
five-
first
i,
the
name
iron
The
distinctive red-lacquered
armor;
Ii
es-
wood
decorative
parent, the
ation
the cuirass
ber of
leather cords in a
tiers in
is
increased to
among
armor
were established. This style would continue to be used throughout the Edo pe-
riod.
silk lacings.
such
Ii
sets, reflects
its
Ii
is
The
Ii
the
with a shallow, five-tiered iron shi(neck protector) and the wakidate, the
employed.
it is
fitted
kow
tall
and the
tairo, literally
when he
the weakened Tokugawa shogunate. Seeking to direct his country into the international arena, he-engineered the signing of
a trade agreement with the United States,
antagonizing conservative Japanese and
thereby provoking his assassination in i860
at
Edo Cas-
tle.
Ii
sets of red-
for children
255
of the
Ii
warrior families.
They
served as visual
re-
In
of the
all,
Ii
of Hikone until
it
af-
amw
an elegant
arched shape. The surface texture of the
blade is of a type described by sword connoisseurs as itame, or
temper
The
is
a shuji repre-
Myoo as
is
sword
tip.
On
is
inscribed,
Made
by Yukihira of
Bungo province.
Long a celebrated work, this tachi
blade was given by the daimyo and literary
figure Hosokawa Yusai (also known as Fujitaka, 1534-1610) to Karasumaru Mitsuhiro
(1579-1630), to
whom
he
also transmitted a
on the
to select disciple,
grain.
from teacher
Yukihira
wood
The accompanying
early 13th century)
leather
mounting
hy
steel
Kamakura
(31
'A)
171
Mitsutada
Bunko, Toyko
Eisei
Yukihira of
said to
have been
13th century)
Bungo
Kamakura
Prov-
Fisci
(fl.
steel
National Treasure
The swordsmith
Katana blade
13II1
century
Bunko, Tokyo
National Treasure
a disciple of Ieishu, a
period,
late
Originally
at
.1
he was active
The
tachi
is
in
256
centimeters
made
into a
riod.
The tang oi
tins
lliiust
through
tin
17]
inlaid inscriptions.
On one side
is,
Mitsu-
who
yama
Prefecture)
tachi.
Katana blade
Yosozaemon no
(fl.
Jo
Sukesada
16th century)
steel
Muromachi
(25
/.,)
period, 1534
In the
Toyotomi Hideyoshi
treated the blade.
tang
nj
172
is
inscribed,
(1537-1598),
who
nity in Japan;
it
ex-
mid-Kamakura
period.
is
The
sur-
a fine itame
temper
line
is
Muromachi
hy
it
became
commu-
especially active
prominently.
Fudo Myoo
is
is
en-
the shuji
warrior.
ince.
An
month of the
J-J
third year of
Tenmon
[1534].
hy
172
257
LitSUgU
((I.
Wakizaslii blade
173
1646)
(1534-1619)
Edo
(13 V4
steel
)
blade lenth
Museum
Tokyo National
111
Omi
Province (present-day
is
Edo and
famous
swordsmith of the Kamakura period, and
his son Sadamune, the Yasutsugus style is
characterized by an irregular temper line
early fourteenth century), the
themes
as dragons,
On the
carvings by Kinai
Buddhist deities
and Bishamonten; on the reverse is a carving of the Kurikara dragon about to swallow a ritual sword. Engraved on the front
of the tang is a depiction of the hollyhock
mon, which the Tokugawa allowed the
Yasutsugu smiths to use; below it is an inscription that reads, With foreign iron, at
Edo, Bushii, and on the reverse is inscribed
Echizen Yasutsugu, meaning that Yasutsugu of Echizen Province made the blade
at Edo in Bushu (Musashi Province) using,
along with native iron, rare imported iron
from the West.
hy
28.5(11'/.,)
Momoyama
seventy-two
in 1534 in
ple of
Mino Province
176
Edo
Masatsune
lived near
Mino
The
province.
surface
Echizen no kami Sukehiro was apprenOsaka swordsmith Tsuda Sukehiro; he was adopted by his teacher and
inherited his name. In 1657 he received
the honorary title Echizen no kami from
the court, and ten years after that he entered the service of Aoyama Inaba no
ticed to the
On this
tanto, a short
At
first
served as
dare), like
ally
he pioneered
distinctive style of
temper
line
reminiscent
known
slight curve,
175
Katana blade
Musashi Daijo Tadahiro (1572-1632)
lines
ple.
The shape
as
exam-
and
was
it
Enpo
fifth year
[1677].
of
hy
steel
(23 Vs)
177
temper
straight (suguha) or
early 17th
steel
Agency
lokyo
Osumi no
J6
kawa Kunihiro
Ion
e.uK
of the
Momoyama
period blade,
is
(fl.
well
Katana blade
Osumi no Jo Masahiro
century)
became
258
who
texture
grain)
period, 1677
to
Katana blade
steel
changed
hy
(part of
given the
a joint effort of
259
oi the
hiro,
month
the third
Keicho
178
my
[1606].
Kamakura
The name
for this
to the chains of
woven
used for the pair of hanging straps. Magnificent yet austere, this
among
popular
mounting was
hilt is
covered
made
is
of
silver.
The
iron
exhibition, the
179
Hyogo gusari no
wood, rayskin,
tachi
gilt
mounting
copper, silver
Kamakura
Niutsuhime
Wakayama
Jinja,
Prefecture
Niutsuhime Jinja in Wakayama Prefecturehas long been venerated as the Shinto pro-
is
this
hyogo
example
Its hilt,
made
of
late Kamakura
wood covered
with rayskin, is edged with gilt copper decorated with a high-relief peony design on a
nanako
(raised-dot) ground.
The kahutoJ
260
75
176
80
end of the
hilt) is
cov-
hilt entirely, a
fied
silver-covered
gilt
wooden sheath
openwork
floral-scroll
shown
in this exhibition,
is
far
weave with
kozuka
mounting
The
at
sword, or tachi.
varies
from
inches).
The
25 to 35
The
centimeters (10 to
typical
V4
13
mounting features
ex-
its
cles; this
is
called
ruddy
Momoyama
worn
Museum
Tokyo National
copper
Muromachi
is
sheath.
HY
silver, gilt
chrysanthemums.
is
in
the kogai
181
wood,
high-relief
sheath
removed
The wood
The
typi-
overlaid with a
is
hilt is
laid
is
Muromachi
the
Daimyo used swords of this type for ceremonial purposes, as rewards or gifts, and
as dedicatory gifts to temples and shrines.
The itomaki no tachi characteristically had
metal fittings of shakudb (or sometimes
gold) decorated with family mon (crests)
on a nanako (raised-dot) ground. The
length of the sheath was decorated with
the same mon and with auspicious motifs
such as paulownia and phoenix in maki-e
lacquer. The hilt was covered with rich
The metal
mon
in
maki-e
lac-
decorated
with paulownia crests, crafted in high relief and thinly covered with gold using the
iro-e technique on a nanako (raised-dot)
shakudb ground. Not included in the exhibition, the Kamakura-period steel blade
normally in this mounting was made by a
swordsmith of the Ichimonji school of
quer.
Bizen Province.
hy
261
-Us
L
4f%
J8J
182
182
(4
mounting
leather
length 105.5
Edo
183 Kazaritachi
gold,
enamel,
lacquer, leather
1
'/ 2
Tokyo National
bags)
Museum
with white rayskin and has a row of ornamental studs shaped like tawara (straw rice
hollyhock
mon
in gold
The
hilt of this classic early Edo-period itomaki no tachi (cat. 181), covered with a gold
brocade cloth, is wrapped with brown silk
cord. This same wrapping is also used on
part of the sheath. Along the length of the
sheath are many hollyhock mon, the crest
of the Tokugawa clan, in gold and silver
maki-e and thin sheets of metal. The vari-
Tokugawa shogunate.
developed
in the
Heian
openwork metal
owned by
kazaritachi,
period as a
hock mon
is
The
hy
moyama
period,
members
of the imperial
accommo-
262
is
is
some
covered
maki-e lacquer on a
Along the sheath
are four
crests
green enamel.
Representative of the refined style
and outstanding craftsmanship of the
is
inlaid with
early
modern
is
said to
184 Kazaritachi
mounting
Edo
(39'/.))
l.ik.ih.isln
liisliio
rutin
lollection,
Tokyo
ita
type,
sm
consuming
is
a representative example.
tically
made except
fittings
sions,
silver,
HY
185 Silver
Edo
Eisei
Bunko, Tokyo
covered with white rayskin. Along the lower part of the hilts are
rows of five cherry blossom-shaped ornamental studs, and at the center are menuki
consisting of three kuyb mon, the Hoso-
metal
gold, leather
The
mon
in
fittings encircling
maki-e
The
the mounting at
length 96 (373/4)
Edo period, late 18th century
Bunko, Tokyo
mon on
nanako
(raised-dot) ground.
Edo
The
shaped like a
fundb (balance weight), and the hanging
cords bound with seven metal rings, howthe kazaritachi.
tsuba,
the
namented
sword.
Eisei
hilts are
are iden-
The
kuyb
186
of gold, to
They
mountings
wood, rayskin, silk, lacquer, shakudb,
gold, silver, horn
length top, 92 (36 >/.,); bottom, 56 (22)
occasion.
manufacture, simplified
came to be used. One such
to
styles gradually
The
hilts
263
mountings
wood, rayskin, lacquer, silk, shakudo,
gold, horn
length top, 89 (35); bottom, 63 (243/4)
hilts)
are deco-
and
silver on a shakudo ground. The menuki
(hilt ornaments) are modeled with a phoerated with auspicious designs in gold
nix design.
The
long one
is
These
ac-
plum blossom
crest of the
Maeda
family,
these fittings,
Goto Korei
(fl.
late eigh-
sword guards, are decorated with conventional symbols of good fortune, such as a
mallet, symbol of the god of wealth, a
money pouch, jewels, and scrolls in gold
on a shakudo ground.
iiy
264
Edo
189
Katana mounting
wood, lacquer, rayskin, sharkskin,
silk, horn
Momoyama
Eisei
Bunko, Tokyo
(cat. 187),
beshima
in
tal
The name
century.
mounting
of the
m.i\
I.
wound
skin ,ind
will)
hilt
copper.
The sheath
is
made
ot
blackened
to h
overed with
de< orated bj
.1
which sharkskin
black lacquei and polished so thai the
nique
in
is
<
!** ****
190
191
192
are engraved
dignified
igo
plate.
hy
Katana mounting
On the brass
moon;
The
black-lacquered sharkskin,
bottom
is
openwork
gold and cop-
a large
half, in
Zhang Guolao,
the Chinese
who
said to
upon which
are
in
the form
crest of the
wood, rayskin,
silk,
shakudb, gold,
silver, brass,
Momoyama
Ii
which are
The
tsuba are
made
of
hy
lacquer,
horn
mountings
wood, rayskin, silk, lacquer, iron, gold,
horn
length top 105.8 (41 5/8); bottom 79.5
Naoyoshi Collection,
Edo
Shiga Prefecture
Ii
Ii
Ii,
shakudb.
daisho mountings
(25V8)
is
in the
tsuba
ily
diagonally.
menuki
lacquered rayskin-covered
hilt,
shell.
High-relief
horn.
and
sheath
silver
191 Set of
and
The
The
per, stands
Naomasa
Ieyasu, was famous for the redlacquered armor and swords that he wore
Naoyoshi Collection,
Shiga Prefecture
kugawa
Ii
clan (cats.
265
3 lUZa
vv^*i
M
ti
195
266
93
decorated
with a high-reliet depiction of a dragon.
In the mid-Edo period many different
methods were used to decorate sword
sheaths. Here diamond-shaped pieces of
rayskin are placed on the sheath, covered
with black lacquer, and then polished, reis
narratives.
The
sword refers to the Tanxi tale from the Romance of the Three Kingdoms, in which
Liu Bei of the Shu kingdom, riding the
horse called Dilu, was chased by his en-
miraculously, Dilu
Edo
The
decorated with
a depiction of Mencius and holds an inscription that reads Eishun, the artist
name used by the mid-eighteenth-century
metalworker Nara Joi during his earlier
years.
hy
is
moyama
ted in the
Koshigatana mounting
wood, silk, shakudo, gold
length 47(i8 A)
l
Momoyama
Hosokawa
Kumamoto domain
moto
family,
daimyo of the
present-day
(in
Kuma-
is
The
Hosokawa
family.
The
with
a high-relief
is
(collar) at either
end of the
hilt are
deco-
on
nanako
hock mon
(raised-dot)
in gold
mon
ground of sha-
maki-e and
is
shell.
The
sheath.
195
Katana mounting
wood, lacquer, rayskin,
leather,
Momoyama
Tokyo National
Museum
decorated
hy
with peonies.
194
is
(1563-1646).
Katana mounting
wood, lacquer, rayskin,
shakudo, horn
length 97.3(38'/,)
Edo
193
Tokugawa,
Tokyo National
Museum
this
for
mounting made
a famous tachi
the
in
hilt)
are
(collar
made
On
sword guard, are two oxen facing counterclockwise, boldly sculpted in the round, hy
267
196
Sword guard
iron
diam. 9.3
(35/8)
Muromachi
The
also symbolizes
knife)
197
iron
Gunma
Prefecture
mid-Muromachi
in
the
is
pagoda and on
the other crossed sickles, both m skillfully
executed openwork. The sickle probably
represents a sharp sword and the pagoda a
memorial to warriors who died in battle, hy
268
199
diam. 8.9
is
a three-story
'A)
Muromachi
diam. 9.2(35/8)
Muromachi
Museum
tsuha
and the
is
left
one
small.
When
the
Museum
is
decorated with
broad
Minamoto
my
.1
rule, they
try
Tokyo National
large
Sword guard
iron
(3
Muromachi
tang hole
Sword guard
iron
Tokyo National
Sword guard
diam.
198
.1
veneration of
patron god
"I
11 11
<
it
us, siu
k\ot<>,
li
.is
111
V.<
**
201
in
combination
ar-
fittings; al-
continued to be made
out the
Edo
period.
ized by delicate
in
Kyoto through-
They
are character-
openwork designs of
This example
petalled flower;
consists of
its
is
shaped
fine
like a four-
openwork
interior
and left of the tang hole, a plum blossom above and below the tang hole, other
motifs such as clover, a bamboo hat, and
plovers. The mybga plant, an unlikely
seeming decoration for armor and weapons, nevertheless appears often, since
Muromachi
name
is
homonymn
"divine protection."
Yamada Hitoshi
Collection, Tokyo
Kaneie
From
it
the
Muromachi
period, Kybsukashi,
and
gold
diam.
8.3 (3
Momoyama
/.,)
for
its
words meaning
hy
Bunko, Tokyo
Important Cultural Property
Eisei
Kyoto
in
from the
late
Momoyama
or
(fl.
right
diam. 8.o(3>/8)
period, 16th century
Sword guard
century)
201
Muromachi
by Muromachi-period ink paintings, he depicted such subjects as landscapes and figures. The designs on his relatively thin
iron tsuba were carved in relief, shaving
269
202
ffeiTSA
'.-.A
.i.
JF
204
off the
laid
in-
and shakudo.
Depicted on the front of this elegant
iron tsuba is an autumn view of Kasuga
as gold, silver,
upper
right a
pagoda and
torii
gate behind
knife)
here
filled
with shakudo.
On
the front,
an inscription
that reads Resident ofFushimi, joshu
[Yamashiro province]; Kaneie.
my
flanking the tang hole,
270
is
202
Sword guard
Kaneie
(fl.
century)
iron with inlaid gold
diam. 7.9
and
silver
(3 >/s)
Momoyama
Bunko, Tokyo
Important Cultural Property
Eisei
Also by Kaneie
iron tsuba
is
is
an inscription that
cally
203
Sword guard
Umctada Myoju
(1558 1631)
Momoyama
Kawab.it.
Kanagawa
1
liiul.ik.i
lollection,
Prefe< ture
oi ih<-
most famous
and c.nlv
.1111.1
205
Edo
metal
fittings.
He made
known for
many
a great
hy
work by Myoju.
in inlaid
is
a representative
On both
shakudo,
is
rendered
an oak tree with leaves
art.
on the
artist's
Umetada on the
left.
The shakudo
(fl.
mid-r/th
appeared.
century)
Following the
Edo
name
right,
is
en-
and Myoju
fillings in
the
Bunko, Tokyo
Important Art Object
Eisei
The metalworking
ince (present-day
Kumamoto
Prefecture)
developed under the protection and patronage of the Hosokawa daimyo of Kumamoto, producing objects for the sword
mountings for which Higo was famous.
Various types of metal fittings were made,
Kumamoto
move
of the
Hosokawa
sides,
Hosokawa family
The
in 1632,
crest,
all
name, Matashichi, is
inlaid in gold between the tang hole and
the kozuka (knife) hole at the left.
hy
laid gold.
artist's
271
207
205
Sword guard
Hayashi Matashichi
left
(fl.
tashichi,
mid-iyth century)
is
artist's
name, Mahy
inlaid in gold.
Among
the extant
is
a par-
work.
HY
diam. 8.0
Edo
(3
Vs)
(fl.
Bunko, Tokyo
Important Art Object
Eisei
On
this
Hayashi Matashichi
mid-iyth century)
diam.
diam. 8.0
Edo
Edo
inlaid gold
Eisei
(3
'A)
Eisei
Bunko, 'Ibkyo
Bunko, Ibkyo
The
[apart
As early as
tin
served
theme
The blossoms
272
8.4 (3 >/4)
skillfully
deli
grasss plain
1
.is
.1
<
leian period
apital,
Musashino
209
ing,
and
in
the
Momoyama
period the
well.
and gold
This pair of iron tsuba, large and small
is finely deco-
pampas
moon
diam. 8.2
(3
enamels
Momoyama
openwork, and
Goto
Hirata Dojin, born Hikoshiro,
is
said to
have learned the cloisonne enamel technique in Korea when he accompanied the
Japanese armies at the end of the sixteenth century. His son, Narikazu, served
the Tokugawa shogunate as a craftsman
specializing in cloisonne, a position that
HY
hy
enamels.
V4)
grass,
ornamented with
in
is
Ichijo (1791-1876)
shakudb with
diam. 8.0
Edo
(3
inlaid gold
Vh)
Tokyo National
Goto
Goto
was born
Ichijo
Jujo, a
of the main
shogunate;
Museum
in
member of a
Goto family
collateral
branch
exe-
273
211
212
motifs, landscapes,
and
figures,
274
210
Sword guard
Tsuchiya Yasuchika (1670-1744)
iron with inlaid gold
diam. 7.7
Edo
(3)
Ibkyo National
Museum
figure stands in
.1
is
fol
em
mount. minus
The tang
hole
is
Sword guard
Tsuchiya Yasuchika (1670-1744)
copper with inlaid gold
and kdgai
(skewerlike implement); to its left on the
front is inscribed the name Tou, one of the
artist
HY
names,
is
characters.
diam. 8.5(33/8)
Edo
flanked by open-
Edo.
211
Kanagawa Prefecture
Important Cultural Property
212
Sword guard
Nara Toshinaga (1667-1736)
iron with inlaid gold
diam. 7.4(27/8)
Edo
This oblate copper tsuba, an excellent example of Tsuchiya Yasuchika's (cat. 210)
late work, has a skillfully carved openwork
design of a flock of plovers flying
diagonally across the right with a drying
fishnet at the left. The design is given variety with the touches of inlaid gold, and the
holes are
Eisei
Bunko, Tokyo
two being Tsuchiya Yasu211) and Sugiura Joi (1700-1761). He was active in the
city of Edo during the mid-Edo period,
school, the other
275
213
213
left tsuba,
7.6
(3);
(27/8)
Edo
Private Collection
on
kudo ground
in
nanako
high
and gold
relief, inlay,
is
comprised
oi
.1
pan
oi tsuba,
Inlt)
pan
daisho mountings.
a nanako shakudb ground and de<
rated with a pun tree and gold long tailed
bird motif. The tsuba are engraved, \uga
kusai Ishiguro Masayoshi [kab], and the
for a
ot
All are
given
fuchi, Ishiguro
276
1774)
shakudb, gold
Masayoshi
[kab],
my
214
Mitokowmono
sword
Goto Tsujo
decoration. In the
(fl.
c.
1690)
3.0 (1 /s)
Edo
kozuka (not
(37/8); menuki,
each
The mitokowmono,
literally
"things for
three places,"
tings with
the set
is
composed of a
Muromachi
period only
the Goto family produced matching mitokoromono sets, but by the middle of the
Edo period other craftsmen began to produce them as well. This set was made by
the eleventh-generation Goto metalworker
Tsujo (Mitsutoshi), and is characteristic of
the work of the Goto school (cat. 215.)
Both the kogai and kozuka are decorated
with gold orchids in high relief on a
nanako (raised-dot) shakudo ground; the
gold menuki take the form of orchids,
hy
name, Masaoku,
fl.
c.
1460),
who
served
Muromachi
period.
upon standard
Goto
menuki
ments;
cat. 214).
and
hilt
orna-
Edo period the Goto products became known as iebori, literally "house
In the
zuka), a
skewer
hilt,
or-
openings
on either side of the sheath. The long tapered end of the kogai was used to fix a
warrior's hair, while its spoon-shaped end
was shaped to be used as an ear cleaner.
Menuki, positioned on either side of the
215
Sword
fittings
by nine consecutive
generations of the
Goto family
c.
9.6
(3 V.,)
each
Muromachi period-Edo
period,
ljth-iSth century
seventeen generations of Goto, listed below by artist name, followed by the given
name in parentheses and approximate period of activity:
family of sword
277
2.
isaoku),
Sojo (Mitsutake),
fl.
(M
ujo
1500
c.
fdshin (V)shihisa),
fl.
c.
1530
K6j6(Mitsuic),
tl.
c.
1570
6.
Tokujo (Mitsumoto),
fl. c. 1600
Eijo (Masamitsu),
7.
Kenjo(Mitsutsugu),
8.
fl. C. 1620
Sokujo(Mitsushige),
fl.
fl.
c.
Ieijo
9.
fl.
c.
1610
1630
(Mitsumasa),
1650
Renjo (Mitsutomo),
10
fl.
11.
c.
c.
1680
Tsujo (Mitsutoshi),
fl.
c.
1690
Jujo (Mitsumasa),
12.
fl.
c.
1720
Enjo (Mitsutaka),
13
c. 1730
Keijo (Mitsumori),
fl.
fl.
c.
1740
Shinjo (Mitsuyoshi),
15.
fl.
c.
1750
16.
Hojo (Mitsuaki),
17.
Tenjo (Mitsunori),
fl.
fl.
c.
c.
1820
1850
This
set consists of
knives) with
out,
fur-
&t w*
Sr-. ^V ,^
(cat. 170.)
The
(c) is
a characteristic
278
215
sao was
tenth-generation
horizontal plane.
traditional
Fudo Myoo executed by the fourthgeneration Goto head, Kojo. The sao was
again made by Jujo (Mitsumasa), the
twelfth-generation Goto head, whose in-
tion
The
Goto
sao, as inscribed
style.
Shinjo (Mitsuyoshi),
made
the
entirely
scription
reverse,
mon
example
(f);
Kenjo
The
reverse
is
inscribed,
Gofo
[kao].
Goto
school,
in-
with a scene of fishing, a motif often employed in the arts from the Muromachi period, here consisting of high-relief
Goto head,
Teijo,
[kao].
who
inscribed
hy
279
216
Many
216 Saddle
wood with
lacquer on
30
shell
(ll'?/i6)
29.8(11^/4)
and the
bars,
which form
and back,
re-
wagura or yamato-
The pommel
pommel and
cantle, as
is
has a scalloped
One
Eisei
tradition has
it
Animal
in
(r.
1546-1565) presented
it
to
lo-
made of red oak and paulowwood, would have provided the rider
This saddle,
nia
camp
saddle),
rims of the
Kyoto.
gave
Bunko, Tokyo
National Treasure
belonged to the illustrious general Minamoto Yoritomo (1147-1199). Thirteenthcentury epic narratives that describe
battles of the late twelfth century mention
saddles with similar designs of oak and
owls, suggesting that this design was
widely used in the twelfth century. An excellent pictorial record survives today in a
masterly late twelfth-century ink drawing,
the
shell
Kamakura period
wood with
a later addition.
cealed.
of the
Saddle
The edges
National Treasure
is
217
lacquer on
type of saddle
off,
Heian period
(0.7
1.0
The
rims
The
quel, and
pommel and
cm and
now
saddle
may
sil
lost.
is
pommel and
k ia<
exten
decorated with inlaid 11 idesi enl
seashell in the raden technique. Originally,
the seal also was 11c hlv dec 01. ted with in
lew sprinkles foi
laid shell. Iwcepl loi
most
the pine leaves,
ol the shell in this
its
cantle
.ii
sively
the
losokawa's vassals.
ys
.1
marmoratus) or awabi (abalone). The lacquer surface, worn and chipped in some
places, has lost much of its original brilliance and has been partly retouched.
.1
280
217
218
281
>~
'
219
acters written
erable
ters are
of later repair.
in the
ashide
(literally "reed-script"), in
eral
one-syllable
by Jien
cluded
(1155-1225).
in
This
poem was
in-
kin wakashii
(New
collection of ancient
if
which
characters are:
Waga
wa
koi
some
right
The poem's
lower
symbolism
left
on the
pun on
homonym
that
is
The
imagery
the
poem mesh
with the
military
famous examples
cantle.
in
Such wagura
rounded
Japan.
The
saddle
is
very elaborate.
The two
sides ol
in
two
differ-
left
<
hai
made
of ex-
282
Tokyo
koi (love),
cantle;
or
shell
cantle;
wood with
(11 '5/16)
Kamakura period
30.0
Agency
means "to
traces
Saddle
lacquer on
For example, the wind exposing the whitish undersides of the kuzu leaves (urami,
guage creates
218
shigure, in the
nyms
show
matsu o shigure no
somekanete
Makuzugahara ni
kaze sawagunari
ventions.
parts
On the
220
Even the
dle,
saddlecloth,
is
with
full
filled
shell.
The
is
stylized treat-
as these
characteristic
The
Kama-
to the reeds.
with gold.
wood mounted on
SN
1577.
wood
27.8 (icV4)
Edo period, i7th-i8th century
Tokyo National
The
front
Museum
and stirrups
a black
intricacy
and complexity of the cherry blossom design is comparable to that of the shigure
saddle (cat. 217), suggesting that both saddles were created during the same period.
This saddle formerly belonged to the
Asano family, overlords of Aki Province
(present-day Hiroshima Prefecture).
mr
219 Saddle
on
on wood
glass.
An
inscription
The
Momoyama-period
design.
It
consists of
283
--*'
,i11Hii
Lacquer
285
The
Tale of Genji
silver,
Momoyama
Agency
A x 13)
Tokyo
The
level
decorative motifs
Nenohi, by which
The
name
this set
is
known.
moonflowers on
a fan, a carriage,
and
,1
fan
286
The
which powdered metal, usually gold or siland lacquer are used to create designs.
ver,
known
as
Hon'ami Koetsu
255).
SN
:::
on
Kokei sansho
makie and black lacquer, gold, silver,
tin, and mother-of-pearl on wood
65.5 X 72.8 X 32.7 (255/4 X 28>/8 X 127/8)
Momoyama
set
is
and
the original.
sn
to
to
realm.
Once,
Tao
Yuanming and the Daoist Lu Xiujing visited him; the three became so engrossed in
conversation that in seeing his two friends
off,
bridge,
wood fence and the sides and back with dianthus. The decoration is executed in gold
287
11.2
silver
on wood
Momoyama
Myohoin, Kyoto
silver
not ac-
on wood
as-
Both the bundai (writing table) and the suzuribako (writing utensil box) are decorated with a combination of bamboo,
decorated with autumn flowers and grasses in takamaki-e (relief maki-e) lacquer and cut gold and silver
leaf on a black lacquer ground. The sides
on which poems
would be brushed. This example is said to
have been owned by Toyotomi Hideyoshi
(1537-1598);
its
top
is
in
The
reminiscent
of the so-called Kodaiji maki-e, popular in
the Momoyama period, which was associated with Kodaiji, a Zen temple in Kyoto
established in 1605 by the widow of Toyotomi Hideyoshi. The techniques actually employed are mostly traditional
Muromachi-period ones, however, so this
style of the
decoration
288
(35/8 x 23'/} x
137/8)
is
a transitional
sn
style, in
is
repre-
Momoyama -p<
noil
r (relief
leaf,
.1
224
289
225
box
8V8 X 95/16)
and black lacquer, gold,
tin, and mother-of-pearl on wood;
copper
maki-e, red
mother-of-pearl on
Edo
wood
Ishikawa Prefectural
Museum
Edo
of Art
Bunko, Tokyo
Eisei
Edo period, the arts prospered under the Maeda family, daimyo of a rich doIn the
main
Maeda daimyo,
Toshitsune (1593-1658), the Kyoto maki-e
the third-generation
artist Igarashi
Doho was
invited to Kana-
at
the
and warrior
is
classes,
and
reflected in the
decoration of this suzuribako (writing utensil box), with seven women transplanting
"purple trousers." The designs are exein takamaki-e (relief maki-e) lacquer,
the overlapping
nique,
is
attributed to
full
Doho.
It is
deco-
pampas
grass,
cuted
den).
The ground
nique known as
is
in
(ra-
box.
ikakeji, in
which
fine gold
movable
The
reverse of the
lid
and the
their beaks.
The
fly-
in
sn
lid
interior
is
and the
ol
sides ol the
,1
muiid
oppei
re-
ing cranes,
flowers as chrysanthemums,
290
,m inkstu
si
attered
k,
1
shown
in
the photograph
hrysanthemums.
,1
design
is
ol
sn
226
A*
291
227
On the
first
shelf
maki-e, red
incense
game
wood;
bottom
shelf
gilt
kurodana
30^2 x
15V8)
the early
Edo
period.
is
sil
and on the
A clothes
rack
395/8 x 173/8)
Edo
is
were established by
typical trousseau
is
on
its
This
set
when
is
executed
etuuhiji, in
tei
292
plantain
mon and
a Floral
roll
v\-i
sn
HMHMHP
228
wood;
silver
(313/8 x
39
x 155/8)
39.1 (267/8 x
305/8 x 15V8)
Edo
incense
game
related objects.
peony
The
floral scroll
cular crane)
mon
and
writing-
design consists of a
of the
Nanbu
(cir-
clan in gold
The
fittings are
made
of
silver,
sn
293
229
maki-e lacquer on
Edo
119/i6 X 89/i6)
Edo
x 10)
Eisei
Tokyo National
owned
is
nishings
of powder and
oils.
this set of
On
the
left is a set
of
is
owned by
gawa Harutomi
be-
cosmetic
utensils. It includes a folding mirror holder
and two mirrors cast from nickel engraved
with the name Fujiwara Iesato, a famous
mirror-maker of the late Edo period (right).
At the center of the set is the kushidai, literally "comb stand," which holds not only
combs but also various brushes and boxes
lieved to have
(1771-1852), the
married to Nariyori, the sixth son of lokuIenari (1773-1841), the eleventh shogun. Included here are a kyodai
(mirror-holder on a chest of drawers) and
its mirror, many containers and the uteri
sils they hold, a kushidai (comb stand) with
its various combs, brushes, and boxes ol
gawa
powders and
and
[nashijij.
on
294
Museum
Bunko, Tokyo
This cosmetic set
The
wood
a black lacquer
chrysanthemums
ground.
sn
oils,
a set oi
equipment
for tooth
maki-e lacquei on
peai
skm ground
sn
^7^
230
295
ill
232
296
233
231
was popular in both court and temple circles, and eventually was embraced by the
warrior class. Shogi is believed to have
originated in India, though it spread
widely and developed in a number of dif-
Shogi set
maki-e lacquer on
wood
h. 23.o(g l/i6)
Edo
Tokvo National
Museum
is
it is
when
232
Go set
it
not clear
Kamakura
riod,
or
is
maki-e lacquer on
wood
Edo
Tokyo National
Museum
is
preferred today.
go are
the
Nachi
Although
it is
Tokugawa ruler of
Wakayama domain in Kii Province
the tenth-generation
(cat. 230).
The
box
silver,
game
ebony
7'/s)
Edo
related to
period
h. 28.2(111/8)
Eisei
Bunko, Tokyo
have used
this set.
silver.
The
wife of Shi-
sn
Tokugawa house.
Go (also
called igo)
is
thought to have
JaIt
297
234
wood; silver
box 20.5 x 24.3 x
18.8 (S
/^ x
99/16 x
Edo
Eisei
Bunko, Tokyo
made
of
The
silver.
bridal trousseau.
sn
wood
bird decoration.
(left)
sn
161/4)
235 Shell
matching game
153/4)
143/8)
Edo
Edo
Bunko, Tokyo
298
Eisei
The
151/8)
color on shell
The
1651),
sokawa
73/8)
is said to have
been used by 'Ibkugawa Icmitsu (1604-
tire set
is
en-
236
299
237
4 /4)
b
J
13.5 x 33.4 x 33.0 (55/16 x i3 /8
tray
wood
wood
Edo
Eisei
Bunko, Tokyo
waves
13)
This picnic
11V16)
Edo
cups.
The
box
and
chrysanthemum design
primarily in
This
Kumamoto
Prefecture).
On a black lac-
depicted
in gold
was given
mon
is
known
names, such
in
Japanese by several
daimyo of a do-
sn
wood
takamaki-e
(relief maki-e)
and
silver
lacquer on a
The
lid
of the
covered with a
nashiji background and a framed picture
from The Tale ofGenji and the sides of
each tier hold framed flower and bird deis
The drum-shaped
is
and hanami
(family
hiramaki-e
ward,
gejii
deco-
all
Bunko, Tokyo
.1
octagonal box,
a l>ox
shaped
is
sign
on
have
mug
watei on
.1
plum
nashiji
300
design of
a
tin- sides.
)n the
wood
grain ground.
sn
301
nx
Ceramics
303
240 Jar
Shigaraki ware
h. 27.5(105/4)
Muromachi
period,
i5th-i6th century
The
stoneware vessels of the Shigaraki kilns (in present-day Shiga Prefecture), like those of Bizen and other similar
kilns in the medieval era, were
rustic
utilitarian
mouthed
tsubo
jars),
(jars),
kame
ing from a
Its
shape
is
(1423-1502)
flat
The
shoulder
form of tea, which was based on the innovations of Shuko and refined during the
sixteenth century by Takeno J66 (15021555) and then Sen no Rikyu (1522-1591). As
traced through contemporary tea journals,
the most typical Shigaraki component of
the range of tea utensils was the mizusashi
(fresh water container), though kensui
(waste water jars) and hanaire (flower containers) were also used. Most of these vessels were originally utilitarian, though by
the late sixteenth century pieces were be-
Among the
is
a distinctive
made
incised pat-
between two
Three
ing
Muromachi-
simple, broaden-
Murata Shuko
men
period tsubo.
(wide-
by tea
jars.
The body
is
known in
The
ing and
wood ash
middle of the body. From the late sixteenth century, smaller versions of this
type of jar were produced specifically
for use as flower containers in the tea
amw
setting.
Sake flask
Bizen ware
241
h. 30.2(117/8)
Momoyama
Okayama
Okayama
daimyo, recorded
Date
use
The continued
Prefectural
Museum,
Prefecture
The
day
Okayama
Prefecture) supplemented
wares with
tea
(flower containers),
and
fine tablewares.
While
utilitarian
304
w
:! I
240
305
24}
306
242
di-
other objects.
(jars),
Mino
h. 19.2 (7 >A)
Momoyama
late 16th
Archaeological excavations throughout Japan have revealed that in the medieval period, the Bizen complex was only
one of more than thirty in Japan where
utilitarian stoneware objects, primarily
tsubo
kame (wide-mouthed
were
jars),
Nezu
period,
century
Tokyo
and
fired.
Ready access to ports on the Inland Sea allowed the establishment of a distribution
system to markets around central Japan.
Further consolidation seems to have occurred by the late Muromachi or early
Momoyama period, concentrated around
three large kilns to the north, south, and
west of the village of Inbe in Bizen, where
production continued through the Edo
period.
amw
307
243
Bowl
Mino
diam. 27.5(10^/16)
Momoyama
period,
Suntory
244
Museum
century
of Art, Tokyo
Bowl
Mino
ware,
diam. 28.5
(11 '/^)
Momoyama
period,
century
245
Bowl
Mino ware, Nezumi Shino type
diam. 24.9
(95/4)
Momoyama
period,
Suntory
Museum
of Art, Tokyo
246 Teabowl
Mino ware, Black Oribe type
h. 8.5 (33/8)
Momoyama
period,
244
308
<-
245
246
309
247
247
Covered dish
Mino ware, Green Oribe type
h. 6.3 (2 'A) x
Momoyama
1. 27.9 (11)
period,
Tokyo National
In
Mino
Province,
Museum
now
tea-related wares
were embraced by an
whose
membership included prominent military
During this same period, Mino's importance as a center for ceramic activity
was matched by its significance as the
stage for major political personalities and
events. In the sixteenth century, Saito Do-
san
(d. 1556)
come
overthrew the
'Ibki
clan to be-
to
isfy
1582).
310
against
a unified Japan.
in
Nobunaga was
interested
preeminence
descendants
that
was maintained
for 250
l>\
Ins
ycaiv
in
ample
kiln)
was
a sin-
op
from
its
Museum
[bkyo National
of
Nezumi
Shino,
was applied
(cat. 244)
a tj
oi
is
an ex
Mino
whole essel.
The areas not covered with the iron slip,
such as the mass at the center of this dish
and two parallel oblong shapes on the rim,
demand
for
Mino
tea-related
cal
Nezu
in
it
is
visible be-
The
stolid
sashi
It is
Two
hung
to
clover.
247)
at
ith
pe of ham-
t\
slip
fan
.1
(eat.
|s
blend
oi
natu
in
the
lid
collect
In associ-
become waves, w
Museum
and
is
bla< k glaze
large
on either
mass
of green.
The Oribe
potters often
employed
dishes,
known
as
with iron slip. In contrast to the decoraon the face of the dish, the exterior
has been treated in an energetic, non-
dles.
tion
representational manner.
The
kilns,
wares decreased.
tired white.
id
The overed
tance as the
edh
(nezumi). Iron
.1
<
mouse
ith
pe
shapes and
sometimes graphic designs, [ere, one side
of the outei wall and the bottom of the intci linnet urn with irregulai
slip; its
branches
fill
rior.
tational decoration
is
prominent.
ware was fired at
Mino
number of the Mino
kilns. The
name of the ware refers to the great Momoyama period tea master, Furuta Oribe
(1544-1615), born in Mino and awarded a
small
domain near Kyoto by Toyotomi Hideyoshi (1537-1598). Oribe's exact relationship to the Mino kilns is unclear, though
name
is
advanced ideas regarding aesthetics. Perhaps no shape is more representative of the tea wares Oribe is said to
have favored than that of the kutsugata, or
shoe-shaped, teabowl, here represented by
one from the Umezawa Kinenkan in the
Black Oribe mode (cat. 246). Its exaggerated warp was added after the basic form
had been thrown on the wheel. The lacquerlike black glaze was a technical innovation
made
earlier at the
Mino
kilns at
Karatsu ware
Momoyama
period,
century
249 Jar
Karatsu ware
h. 15.8(6'/,)
Momoyama
period,
thought to
reflect his
Amagane, the
perhaps more important, the cover was regarded as another surface for decoration
and as a dramatic device, concealing not
only the edible contents of the dish but its
interior decoration as well.
amw
also
Oribe-style
fit
Idemitsu
Karatsu ware
tery of
Museum
is
century
of Arts, Tokyo
in
northern Kyushu that falls within presentday Saga and Nagasaki prefectures. As at
other locations in western Japan, a great
flourish of ceramic activity occurred in Hizen following the Korean expeditions of
1592 and 1597, the unsuccessful attempts
of Toyotomi Hideyoshi (1537-1598) to subjugate the Asian mainland. Many of the
military leaders in these invasions were
31
248
1618),
made
way
their
Hizen and
to
many
of
its
es-
variously
Even
prior
been made on
a limited scale in
Hizen
at
is
well re-
hundred Hizen
kilns
where
one
a variety of
bowls (cat. 246), popular in the early seventeenth century and associated with the
prominent tea master Furuta Oribe (15441615). Oribe, who helped to popularize
Karatsu wares by using them himself at
like strokes at
parallel grass-
The tsubo (jar) from the Idemitsu Museum of Arts (cat. 249) is of a type commonly made for utilitarian storage, though
Hizen
this
Nagoya Castle in
eighteen months from 1592 to
1593. The castle was the expedition operations base, located near the port of
Karatsu (not to be confused with Nagoya
for
atop a ring foot, tapering from jts pronounced, bulging mid-section to the
Hideyoshi and a
tea enthusiast, also served the war effort
from Nagoya Castle and after the first
campaign was appointed daimyo of the
Karatsu domain, where he supported ceramic production.
The two examples of Karatsu ware in
the exhibition are decorated with designs
painted in underglaze iron oxide. The
large dish from the Umezawa Kinenkan
(cat. 248) is potted from sandy clay, its shallow curving bowl stepped up to a wide undulating rim pinched at irregular intervals.
Typical of many large Karatsu dishes, the
(1563-1633), a retainer of
ring foot
it
is
supports.
and the
it,
the dish
is
delicately
growth
in
The number
is
the Karatsu
312
toanothei
Meiji
Ian
amw
ware
lakatori
h. 15.5 (6>/s)
I
do period,
firsl
hali 17th
centurj
he modesi
omplex
fakatoi
oi
kilns, rs
Kuroda
family,
was one
begun
oi several
in
oi
ture, foi
supporting the
Rjkugawa leyasu
(1543
i<
torious
tori
stonewares.
As recorded
sue
li
in retrospective a<
<
ounts
ol
249
who came
to
(1602-1654), f r
asking permission to return to Korea, a request that was not granted; they were banished to
are said to
250
a great variety
of
number
313
Shirahatayama
Ilic
kiln
opened
typic al of tliis
1
and
employed
in this
Takatori
mizusashi (fresh water container). The cyIniiliK al mizusashi, potted from finely textured clay, is glazed with earthtones that
have fired into a sleek coat. Overlaps of
the smooth exterior glaze laid on in four
well-considered applications create four
delicate lines arcing from top to bottom.
is
covered with
a fine, irregu-
is
un-
glazed.
The
stylistic traits
bori
at kilns es-
tea
amw
period.
Flower container
251
Agano ware
h. 17.8 (7)
Edo
period,
Eisei
first
Bunko, Tokyo
in
local
daimyo patron-
was produced
in
the northern
It
Kyushu
official kilns
transfer of
port of
Tokugawa Ieyasu
at the Battle of
1600 (cat. 104).
As recorded in later documents, San-
Sekigahara
in
expeditions, living
first in
kiln,
uncovered
The
to
were
excavated
was
a large
and unglazed
ce-
kiln),
314
at tins
time.
41-meter noborigama
thus similar in scale to the
kiln
all
(climbing
San-
panded
Buzen
at
it is
ramics, though
myo
1621.
Around
1641) in
Agano
S. nay. 1111,
t
southwest to
in 1632.
Kumamoto
in
Higo Province
Higo, accompanied by
Hosokawa move
to
Kuma-
Ogasawara
clan, the
Hosokawa
replacements in Buzen.
This hanaire (flower container), with
its simplicity of shape and earth color, is
representative of the refined tea wares
produced under Sansai's patronage. The
box in which the flower container is stored
bears an inscription stating that it was
Agano
kilns in
Buzen
moved
to Yatsushiro.
the pre-1632
Traditionally,
it is
said to
by Chonhae; whether
correct
is
or
Teabowl
Satsuma ware
h. 10.8 (4 >/4 )
this attribution
252
Edo
is
Satsuma ware
is
another of the
many
Korean expeditions. According to historimaintained by the Naeshirogawa Satsuma ware kiln, Shimazu
Yoshihiro (1535-1619), a Sen no Rikyu
(1522-1591) disciple and ruler of the large
cal records
315
mi.
domain
in
southern Kyushu,
re-
accompanied
enty Koreans. Anions
is thought, were a number of potthem,
ters who were responsible for operating
tin earliest Satsuma kilns. Tradition is that
from Korea
in
1598
it
l6oo
(cat. 104).
The Uto
kiln in
the bowl
stolid,
tall,
is
firmly supported by a
that was to
suma
become
The
a characteristic Sat-
is
bowl."
Kim
Hae's return to
the Satsuma domain and with Yoshihiro's
move to Kajiki in 1607, the Osato kiln replaced Uto. The Osato kiln, also small, aptraining. Shortly after
many
goshima, south of the earlier locations. After Yoshihiro passed away in 1619, Kim
reflect the
refinement of
documents record
Chak-kwang's son was given the name Sakunojo and assigned by Hidenari to head
the Matsumoto kiln; he was given the
same stipend that his father had received,
while Koraizaemon got a stipend that was
slightly less. The expansion of the Matsumoto kiln operation is reflected by the
growing number of stipended potters in
clan records from the late 1620s to 1645.
In the second half of the seventeenth
learn
new
techniques, as Shimazu
253
Teabowl, named
Hagi ware
dai-
Tokyo
The Hagi
whose
managed
Korean wares,
The
The
involved
is
Matsumoto
316
same year Yi
Nezu
number
h. 8.5 (33/8)
Edo
century, the
that in the
Daimyo
times,
produced that
myo continued
at
Edo
who
relocated
from Matsumoto. This operation, however, had a somewhat different status than
Matsumoto in that it was allowed to produce other wares in addition to those it
produced for the clan. In 1663, during the
tenure of the Mori daimyo Tsunahiro
(1639-1689), clan kilns producing only official wares were established as offshoots of
the Matsumoto kiln, the Miwa and Sahaku
kilns. In 1700,
the first-generation
Miwa
to
some of which
flourished while
others failed. In 1815, the clan issued an order prohibiting non-official kilns from
making copies of
official
teabowls or using
as
it
was repeated
in
kilns.
amw
254 Teabowl,
named ]ub
Hon'ami Koetsu
(1558-1637)
h. 9.9 (37/8)
Edo
255
Edo
The populanU
ulated the diversification of native Japanese wares. Some tea men actively joined
in this
the technical
skills
or inhibitions of the
professionals, supplying a
energy to the
new source of
these
in
254
sword connoisseurship, his family's traditional profession, and had attained his artistic reputation primarily through
achievements in the field of calligraphy. In
1615, he moved to Takagamine, land
granted to him by Tokugawa Ieyasu (15431616), northwest of Kyoto, where he
formed an artistic community and is reported to have found "good earth." A letter dating to around 1620 from Koetsu to
Kato Akinari (1592-1661), the son of Kato
daimyo of Matsuyama
Province (present-day Ehime Prefecture), concerns the order of a teabowl
by the older Kato, reflecting the high regard accorded his ceramic work even dur-
Yoshiaki (1563-1631),
in Iyo
by
Raku
and
317
318
Sen no Rikyu
form
son,
espoused, and the responsibility of preserving this tradition no doubt had a con-
on Chojiro's successors.
Koetsu, on the other hand, adhered to the
strictive effect
Mino
The shape
and
its
Donyu
known
Nonko, 1599-1656).
Letters from Koetsu to the Raku family, in
one of which he orders clay from them,
and contemporary biographical accounts
(also
reticent of
Koetsu's works, seems softened and demure. The rim of the mouth is blunt and
The dominant
feature
is
movement.
the white-tinged
amw
Nonomura
(fl.
Ninsei
mid-iyth century)
Edo
Raku
is
tradition that
Donyu
is
was
mid-iyth century
Agency
and Shigaraki.
Tokyo
The angled shoulder and tall, narrowform of the chatsubo, or large storage jar
for tea leaves, in the collection of the
Agency
calls that
Nonomura
Ninsei
for
mid-i7th century)
h. 14.0 (5'A)
Edo
mid-i7th century
Tokyo National
Museum
is
His work reflected the refinement and luxKyoto and satisfied the aesthetic re-
ury of
cultural elite.
much
style.
its
at
in
delicacy.
the shoul-
period,
Nonomura
of
powdered
size,
credited with
period,
activities
western part of the city at Ninnaji and began to fire his ceramics, primarily tea-
h. 26.3 (ioVs)
(fl.
as
in-
319
trees in gold
tailed in gold
and
light green,
guw
Kaga
ture) also
some of which
pieces by Ninsei,
connected Kyoto tea master and sometime Maeda guest, Kanamori Sowa (1584
1656). Sowa's social influence and
aesthetic guidance were of great importance to Ninsei, especially during the early
part of the artist's career.
Like
owned many
cat. 256,
col-
(cat. 257)
sion.
320
of
made
of black lacquer.
cuted.
The
,1
Two
in tins
cun
stepped
tions.
A weave
of silver diamond-shaped
bottom
Floral
lection of the
type usually
,1
The lop
pattern
is (I
e< 01.
in silvei
al
on
.1
kened the
silvei
158
Nabeshima ware
ill.
nil.
Edo
20.0
Lite 17th
lok\
,n
t)
period,
.1
i-.uK lSth
National
iintim
Museum
Dish
Nabeshima ware
Ji. 1111. :i).(> (11
I
Jo
Lite 17th
Si
j)
pel mil,
mt 01
earlj 18th
Museum
From around
clan kiln ol
oi
century
Tokyo
\it,
>k.m achi
111
the
Nabeshima
\11t.1
area of
ol
unknown,
which they decorated with a palette limited to red, green, and yellow overglaze
enamels, underglaze blue, and occasion
ally iron-brown glaze and celadon green.
Examinations of the Okawachi site have
revealed an enormous noborigama (climbing kiln), measuring 137 meters in length
and consisting of at least twenty-seven
chambers; it is thought that only three
central chambers, affording optimal firing
conditions, were used for the official porcelains, and the remaining chambers for
utilitarian wares.
TS!
Sowa died, the potter had assumed the name Harima, as inscribed on
Ninsei's biography must be pieced together from inscriptions on his works, con-
the year
(1663-1743).
name is given as
Nonomura Seiemon. The family name
Nonomura refers to an area in the Prov-
techniques, Ninsei's
ince of
ture,
made
in
source
the early
calls
Edo
period.
1649
and
a record in the
at the
Omuro
kiln
diatory efforts of
year, the
and the second character sei from his common name. Documentary evidence suggests that Ninsei's son, though not blessed
with his father's artistic acumen, probably
Omuro kiln
Enpo
era
AMW
321
259
tice
is
cle of
The
sixth
month
mochi
to his
Meiwa
visit
are
ond
kilns,
it is
Many
Museum (cat.
258).
Most Nabeshima
ular set.
of
lifted
sizes.
full
bloom, employing all of the typical Nabeshima colors except celadon green and
brown. Fingerlike roots anchor a great
trunk that throws off several twisting
branches, the outline and details described
with a dark undergla/.e blue and filled in
with a lighter blue tone. The petals of the
blossoms are described with a fine red line
that is also used for the interior detail of
the flowers, while the petals themselves
are white, the porcelain left in reserve.
The
it
322
dishes were
lacquer wares.
Nabeshima
kiln products,
extremely
most
common Nabeshima
dish sizes.
The
same type
tl.n k
blue
spaced
rafted in
)thci
thin
Ii.ii.k
terized
weie
111.
ide
on oidei
.iskmis.
fbl
amw
260
large dish
Ko
Kill. mi
(ham. 40.5
..In
ware
(16)
enturj
Sake ewer
26]
Ko Kutani ware
1
16.8 (6 5/)
1.
Edo
The
concern-
1736,
is
retrospective in nature.
It
notes
Despite the unsettling persistence of unresolved historical issues, the artistic merit
Ko
known
as
questionable.
The
painted designs of
Ko
Maeda Toshiharu (1618-1660), the first daimyo of the Daishoji domain and a son of
the enormously wealthy Kaga daimyo and
boldly
amount
ally
first in
black, are
focuses on the
Maeda
clan,
family.
The
sites
begun
in 1970.
The
earlier kiln
was a
ing
kiln),
eighteenth century.
The
various sherds
kiln.
has spawned a substantial body of literature and opinion. Some ceramic historians
debate,
if
there
is
Bunko
(cat. 261) is
generally regarded
executed
in both shape
and decoration. The meticulously formed
vessel, supported by three small legs, has a
spherical bottom, a bulging register encircling the top, and a broad, knobbed lid.
From a single point at the back, an arching
round handle spans the top of the vessel to
the front where it divides and attaches to
the body just above the appended half-
most
as the
finely
cylinder spout.
shishi,
is
shipped to Kaga where they were decorated. Recently, fresh discussion has been
sparked by the recovery of Ko Kutani
sherds during examinations conducted
from 1984 through 1986 at the site of the
Daishoji daimyo residence in the capital
city of
Edo
discovery,
found
in
comae
lion,
324
Ko Kutani
lution to the
forms
frolic
ground
and green
body.
three
chrysanthemum
flowers decorates
decora-
an apparent
of the vessel
enamel.
is
painted with
bottom
a leaf in
blue
amw
261
325
Textiles
327
262
Dobuku
era,
The
fire
w. 141.0
dles; typically,
(55 V2)
worn by
high-ranking samurai from the late Muromachi to early Edo periods. This leather
a short jacket
example, with seven white leather paulownia crests appliqu^d to the front and back,
is said to have been given in 1568 by Oda
Nobunaga (1534-1582) to Matsudaira Nobukazu (1539-1624), founder of the Matsu-
town Ueda in
Shinano Province (present-day Nagano
Prefecture).
Muromachi
modem
1.89.0(35)
Muromachi
328
it
straw produces
color, as in this
brown
than the
lighter.
a stenciled resist.
leather
would be smoked
till
the lighter of
Then
gum
"ill
and the
material
pi<
ked
oft, reveal
dobuku
is
a fine
had been
and early exit
stiff,
more
263
ks
Dobuku
shibori dyeing
on
The
silk
1.
w. 115.8 (45
gummed
is
nerinuki, a plain-weave
and de-
(1546-1599), a warrior
who
sent
Odawara campaign
in 1590.
The
design
between
is
feu-
and
flat
surface are
which parts
of the fabric are protected against the dye
when the piece is dipped in the dye bath.
Either the background or the design may
ter
when
in
bamboo
sheathing;
now
called
tsujigahana,
technique
dobuku,
dal warriors:
fabric
this
/8)
Momoyama
Nobunao
The
silk
heraldic line
lat-
Momoyama period.
Among the upper classes
riods, clothing
The
popularity of tsujigahana
among
the
ks
329
ll.M.
mmm %m%
263
330
331
Dbbuku
264
stencil
266 Jinbaori
dyeing on
silk
1.77.0(30)
Edo
Momoyama
Agency
Tokyo
Tokyo National
agaki ruled as
cently, the
komon
designs
era, this
example
is
is
reversible.
mybga
plant.
is
said
On
were brought to Japan in the Moperiod by the Portugese, as reflected by the Japanese word for such
material, rasha, derived from the Portugese raxa, meaning woolen cloth. The
curved hem of this jinbaori, uncharacteristic of traditional Japanese clothing, shows
instead the impact of the sartorial style of
the Portugese and Spanish who came to
moyama
fabrics
modern
Made
Museum
out of the garment and sewing them securely into place; the handles are appliqued on top of the red wool. Woolen
Although
form to dbbuku deco-
generally similar in
ks
Momoyama
Japan in the
period.
ks
265 Jinbaori
267 Kosode
1.90.0(35)
Momoyama
Sendai City
1.
Museum,
Edo
Miyagi Prefecture
This striking jinbaori is said to have been
owned by Date Masamune (1567-1636),
the military
3/8)
Nomura
Collection,
National
Museum
of Japanese
Chiba Prefecture
The
ally
332
1/2)
History,
142.5 (55
w. 124.0 (48
ks
means "small
them-
This kosode
the
Kanbun
is
a representati\e
example
ol
bun
style of
Edo
period. In
265
333
266
the
Kanbun
other classes.
An order book of the Kariganeya kosode design house illustrates Kanbun styles
Mizunoo.
at
real juxtaposition
posed on the
left.
The maple
two
leaves, out-
types.
Some
are
much
Fdo
a kind of sur-
favored in kosode
period.
The com-
two
fa-
ks
depicted
in
kanoko
shibori, literally,
"fawn-
(hikizome).
334
A close look
and
fall.
tive
Up
267
335
268 Uchikake
cocks and large blooming peonies. Peacocks and peonies formed a favorite
1.171.8(67)
w. 120.0 (46
Edo
5/4)
Museum
Tokyo National
The
peared
Edo
in
the
period
Muromachi
women
period; in the
conventionalized cloud-scrolls.
On
pomander
ball
of the
red, gold,
period.
The
design
high-
is
and other
colors.
ks
270 Kosode
dyeing and
yiizen (resist-paste)
the
is
Edo
embroidery on
silk
Collection,
National
Museum
of Japanese
Chiba Prefecture
Save
blossom viewing party, with the participants protected from vulgar gazes by the
lightweight bamboo screens. Clouds drifting among the cherry blossoms refer to a
perennial Japanese literary conceit, expressed in scores of poems: an "elegant
confusion" as to whether it is cherry blosks
soms or clouds one is looking at.
ers
Nomura
History,
The
1.
known
rafts
all
silk
crepe
(chiri-
is
269 Furisode
embroidery on
dyeing and
rafts are
silk
166.3 ( 6 4 7/8 )
w. 124.2 (48 3/8)
Edo period, 19th century
narcissus,
irises,
1.
Tokyo National
cherry blossoms,
dyed
in indigo
and purple
in
Museum
and
gold.
The
ru-
The
that were
the
Edo
in
ing
sumptuary laws
sometimes harshly enforced.
were not especially long, they gradually increased in length so that by the latter half
cute,
timeters
The
(c.
thirty-five inches)
were made.
sions by children
is
type of
silk
Its
itself well to
The uppermost
portion
is
dyed
a solid
336
illegal: in-
,1
hemii
al
I
337
269
338
270
339
271
Kosode
Characteristically, touches of
silk
in
155.0(60 'A)
1.
Nomura
Collection,
National
Museum
of Japanese
History,
on
Edo
from
example is concentrated between the waist and the bottom hem and
ration
this
The
thread
pe-
By long poetic
tradition, plovers
The combina-
seashore
in this
not exclusively by
upper
levels of
women
of the
samurai society.
purling through
it,
fishing nets
drawn up
and everywhere
flow-
two-dimensional arrangement whose resemblance to a meandering stream is probably not accidental. In this magical
landscape, verdure of all the seasons appear together: plum blossoms of late winter; cherry blossoms of early spring; irises,
The
is
larly if
is
riod
classes.
as well as
women, but blue-and-white chaya-dyed katabira were worn only by women, particu-
Chiba Prefecture
embroidery
calling;
how many
awakened the
barrier
guard
ofSuma?
273 Katabira
ks
272 Katabira
on hemp
Nomura
Collection,
National
Museum
165.0 (64
j/s)
Nomura
Collection,
National
Museum
Chiba Prefecture
of Japanese
History,
most part of
hemp
worn made
The
made them
summer wear.
or ramie.
This
hemp
katabira, or
summer
robe,
refers to
is
Only
the
is
left
sleeve
of Japanese
History,
Chiba Prefecture
340
w. 123.0 (48)
Edo period, 19th century
1.
hemp
it
c< n
is
1
landscape
ret
to shouldei
and
du
lie. its
271
341
-W~
272
342
-<&*>
'
'^m-m^
-mrP^r^f
-*
*';.
/M
e*
v
273
343
blue
in
276 Koshimaki
embroidery on
embroidery.
A thatch-roofed house is seen under
pine and blossoming cherry trees on the
right sleeve;
below
is
Tokyo National
a salt-evaporating
in a
literally
cherry trees and fishnets hung to dry. Gentle waves connect these motifs. This shore
landscape, set against the slightly off-white
red
openings.
ks
274 Katabira
hemp
Tokyo National
Museum
urban heat. This too is a fantasy landscape, in which vegetative states of all the
seasons are seen together: cherry blossoms
of spring; iris and cockscomb of summer;
chysanthemums, bellflowers, and maple
leaves of fall; and the evergreen pines,
symbols of winter. Unlike cat. 272, this
landscape is mostly water, and water reeds,
water plantain (with arrow-shaped leaves),
and pickerel-weed grow abundantly. The
viewpoint is generally closer, and the motifs slightly larger and more threedimensional than in cat. 272.
Chaya dyeing is a lost art the com-
is no longer
not possible to replicate
the making of such a katabira. It has been
plausibly said, however, that the making of
a chayazome katabira of this quality took
over two years from the creation of the de-
silk
1.174.4(68)
Tokyo National
344
Museum
Edo
period, certain
silk
(nerinuki).
On cat.
Cat. 276 offers the instantly recognizable "myriad treasures" (takara zukushi),
rial
somewhat
in its
composition; here
seems
ibility,
the keys to
it
money pouch,
ks
Koshimaki
In the late
teemed
embroidery on
it
for the
koshimaki; typically, motifs with auspicious associations were finely embroidered
period.
it.
colors
Like cat. 272, this chayazome katabira is entirely covered by an idyllic landscape, in
which rustic villas await the arrival of a
275
pany
known so
katabira;
(swinging sleeves, cat. 272) type, a longsleeved koshimaki (cat. 276) would accom-
Edo
Museum
pan
silk
1.
S^***-**
,*$*
^-
274
345
-7X1
>-7p"
* *
7fi
**
** -
'Iv.
'
1*:
V ^
'
<
-,
s .>
^;
"
r ".v^r:
-w
*-
*
e
aw
^*r,.
"'
"K^
rf.
#""
-T^lv
TV
p3
'
N\
71
'V
275
346
*?'
"v
347
Tea ceremony
utensils
349
named
Rikyii
Southern Song
Bunko, Tokyo
Tokugawa leyasu
who sought
(1543-1616),
change
when
sides, utensils
Kamakura
period.
Many of the
val-
unknown,
who made
as
is
the
name
of the potter
Chaire
of-
in size, the
brown
The
dark
glazed.
it is
only partially
on the foot of
was cut from
spiralling pattern
it
large extent
The mouth
of this chaire
is
covered
with an ivory
lid. It is
thin gold
sils.
The
the
name,
its
which
stout shape,
way
its
into the
Tokugawa
(<
at.
Ieyasu's son,
is
said to
have
was
in
lidetada,
pi. used
foil
.1
ing the In
si
hall ol the
an ived
in
Sans. 11
weave
In
loth
dm
period
The fabrii
known as laislu
1
Muroma<
(fifteenth century
tury).
Sckigahaia
lid
,1
350
Sansai's
presented it to
him as a reward. This dramatic provenance adds immensely to the value of a
utensil that also is held in great artistic regard. In this way the chaire has been imbued with a lasting legacy.
h. 6.7 (25/s)
Eisei
remembering
ol
the
<
entei ba
kanto, whi( h
1
is .111
Indonesia.
1k.1l
he
277
which
The
continues to be produced, is
characterized by a background of dark red.
with thin, woven horizontal stripes of yelstill
between the
stripes,
"splashed" look.
kanto
is
its
ua\
From
its
name,
famous
additional
Taishi
as-
fabric that
it
city of Sakai,
who
material.
originally used
ceramic utensil from harm.
Gradually the bags themselves, and the
wa\ they were tied, became an aesthetic
tea gathering.
The
fab-
was often taken from extremely \ aluable and rare bolts imported from China.
Unwilling to waste even the scrap material, the Ashikaga shoguns used remnants of Chinese fabrics in the mounting
ric
way
to indicate
is
whether
The complicated
also supposedly
measure intended
an
to preclude
to protect the
component of the
tied in a precise
pattern of white,
contents.
Southern Song
Eisei
Bunko, Tokyo
row
foot,
and
Many
of
to
regulations.
is
actu-
ally a
285, 286).
It
(cats.
351
279
sion
bound
fection,
and refinement.
It
was almost
in
nese ware that later tea men began to create native Japanese wares with more
natural shapes.
The
oil
crests spaced at
even
The
glaze
is
appropriately named, as
it
re-
sembles a film of oil sparkling on the surface of the water. Silver and blue spots
glisten on the black background.
Tenmoku bowls are often compared to
the half-sphere formed by the base of a lotus flower. Usually the sides of the bowl
extend gradually upward in a straight line
from the foot. However, the mouth of this
352
gressed greatly.
The
actually used
to
at
281).
Due
hands
in his
to drink. Attci
its
it
to his
host.
it
particular howl, he
pro-
would probably
and cradle
and
tenmoku bowl
was highly valued by early connoisseurs
and probably was appreciated more for its
to
gathering
at
commemorate Myoan
Eisai (1141
121s).
new Song
ol tea in the
style ol pre
paring tea had been developed, W hu h di
twelfth century, a
353
282
279 Teabowl
and Chinese
Southern Song
Eisei
The
Bunko, Tokyo
tenmoku bowl is the leaf design in the bottom and along the side of the bowl, in-
moku bowls
just
whisk, the
bamboo
monk then
ion. Finally,
terest in the
daimyo
in-
tea practitioners.
moments before
firing.
is
The
outline of
stand, in
ally
some
tea schools,
replaced by a plain
wood
stand, wine h
354
jik
by the
Chinese utensils such as these tenmoku bowls and their stands were an integral part of any daimyo's collection. The
possession of Chinese utensils went hand
in hand with the increased production ol
domestic and Korean-made tea utensils.
Murata Shuko (1423-1502), known as one
of the early proponents of native Japanese
(1534-1610), father of
remembered
cially
dance and
tea,
bringing
plainly obvious."
is
However,
like
Known
UK
wood with
shell
Ming
Eisei
Bunko, lokso
tea,
tenmoku
was occasion-
would comple-
Sansai (1563-1646), was not only a renowned warrior like his son, but is espe-
to
utensils that
h. 4.5(13/4)
The
stand
itsell
wai
281
pat-
Teabowl stand
lacquer on wood
diam.
ing
sal.
the
15.5 (6'/8)
Ming
This tech-
Eisei
Bunko, Tokyo
deep
of this stand
known
is
due
as tsuikoku,
The beauty
jik
provide
first-rate cultural
entertainment.
accommodate
The combination
layers of dark
alter-
is
It
resi-
heavy responsibility to
dences.
where
was
regularly visited
to the technique
The
subordinates.
such
away cross-section of a
visit his
Socializing
The
strat-
was expected
illustrious guests.
more
creative arena of
who had
lost political
power
in
to
still
Y^
285
lacquer on
diam.
wood
incense container.
Bunko, Tokyo
mous
Most
tray. Visible
The bottom
lacquer on
diam.
lid
of this
tsuishu technique,
18.1 (j 1 /^)
Ming
Eisei
The
wood
6.2(2'/.})
Ming
belly
jik
diam.
wood
5.5 (2>/8)
Kogo
Bunko, Tokyo
literally
together"
tainer.
Ming
Eisei
carries to
collect alms.
lacquer on
needed
The
fit
The
The
it is
added directly to the fire beneath the kettle. This utensil should not be confused
with an incense burner or censer, which
were displayed in the tokonoma (alcove)
until late in the Momoyama period. The
incense container is used in conjunction
with the charcoal ceremony, which, along
with the serving of the meal and making ol
the tea, is an integral component oi a com-
01 at ion.
Eisei
Bunko, Tokyo
The plump
dai
356
(J:
monk
The modern
l>\
others.
ol
which broke away from the more presevere Chinese style that had held
the fascination of Japanese tea men. In
1585 Rikyu commissioned Chojiro, a tile
maker for the Jurakudai palace, to create a
new
tea,
cise,
host.
The
washes
Thus
his
hands
in
the
The
use of
cense can be traced to Buddhist ceremonies. Although the ritualistic, religious use
of incense has since been combined with
the purely pleasurable, incense still conjures up a feeling of otherworldliness and
named Otogoze
Raku Chojiro
(1516-1592)
h. 8.2 (3>/4)
Momoyama
period
Bunko, Tokyo
Important Art Object
Eisei
It is
said that
Raku teabowls
perfectly cap-
slight
of
its
use.
Raku bowls
somber
black or red glaze. Unlike tenmoku bowls,
Raku bowls were meant to be placed diably thicker, straighter walls.
more
stable foot.
first
gen-
285 Teabowl,
UK
tranquility
specifications.
in-
ish
strict
In contrast to the
A dab of black
lacquer has been applied to repair a blemtypical of Chojiro's bowls.
the bowl
It is
valued for
its
ap-
and humidity. In
some areas of Japan it has been the custom to plant a paulownia tree after the
birth of a daughter. When the daughter is
ready to marry, the tree has grown large
enough to provide the wood for the trousparent resistance to
fire
seau containers.
To hold a teabowl cradled safely between both hands, feeling the lulling
warmth through the thick clay body, is
truly a sensual experience. All the senses
are ignited as
homely
forehead,
flat
nose.
plump
When
woman
with a high
and bulging cheeks, and
features of a
from the side, the slight warp of the uneven rim is evident. The dull, matte glaze is
the
lips.
This
one
is
lifts
followed by a savoring of
357
brew
I.ji
ill
.1
.iikI
teabowl
is
286 leabowl
12.1 (4^/4)
Edo period
Eisei
The
Bunko, 'Ibkyo
He
a son
born to him.
The rim
fect
is
The
low.
roundness that
hand-built
is
or corridor
characteristic of
Raku bowls.
jik
mere kitchen
utensil
began
to achieve a
The Hosokawa
family collection
in-
seem to be
and come
to boil. Al-
During a tea gathering, after the charbeen added and the fire begins to
light below the kettle, a murmur can be
coal has
in the quiet,
Sen no Rikyu
Onga
located at the
is
River, then
known
mouth
as the
of
Ashiya
Ashiya kettles are characteristically fafor their designs, which are etched
mous
is
come
plum
auspiciously to sym-
Etched on one
tree that
is
side of the
easily recog-
its gnarled branches, which extend outward to the left and right. Plum
blossoms lay flat against the surface, and
bamboo
the
triad.
On
bamboo
tured
leaves,
bamboo
sprouts,
nique
is
similar to that
may have
(1522-1591)
bamboo
17.7 (7)
Eisei
the
jik
Tenmyo. Ashiya
enclosed space
nized by
if
Momoyama
kettle
gathering to indicate
as
1.
bolize strength.
all
bamboo, and
Muromachi period
It is
in Ashiya, situated in
would
the
heard building
phenomenon. Compare
immense weight of the kettle with the
delicate, almost airy quality of the bamboo
presents a curious
iron
Bunko, Tokyo
ing to handle
h. 17.5 (67/8)
Eisei
The
tea scoop.
later
guests.
kiln.
room
rate
fifth-generation
that he
period
Bunko, Tokyo
unassuming object
is
per-
it is
later generations,
son's tea
itself:
the
name
"I
been
One
The
the poetic-
of Rikyu's didactic
poems from
recast.
The
practice for
lid,
and lugs or
lion design
358
common
was
multitude of utensils."
Prior to the ritualization of tea drinking in the fifteenth century, early kettles
for boiling water were a common item in
ish to possess a
It
a lion's
head, whose
mane
trails
of
from
a classical
Yosl 11 1111
"The Soul
11
poem.
lei
111
1,
wilting about
tion ol
.in
external shape
its
<
inadequate
ic.itoi has been
is
is
no surprise
samples of
bamboo
to
be found. Several
cording to
remarkable piece of
He
he was unaware
ot the
ing
fl\
the
container often
is
document
verifying
as-
:ns
poem
originated may be
tube container
phy of the
ings,
on the
289
front of the
in
carver.
may be
al-
The
The
poetic
name
is
of the tea
carefully se-
its
evoke
audience.
poetic
name can
and may
Names of
ments of
its
bamboo
The
vival of tea as
class.
pri-
whereas Sen no Rikyu had worked at eliminating useless space in the tearoom,
Enshu sought to enlarge the tea space and
define separate sitting places for daimyo
also
bamboo
is
and
point.
an aesthetic pastime
the
Bunko, Tokyo
their
gardens.
jik
halfway
jik
359
bamboo
Eisei
period
Bunko, 'Ibkyo
bamboo
in-
Chinese wares, had been considered appropriate. Four bamboo vases alleged to
have been made by Sen no Rikyu have be-
come
part of the
Hosokawa family
collec-
is
commonly
shape vividly expresses the iron determination Rikyu needed to introduce so many
innovative ideas. When Rikyu first presented Toyotomi Hideyoshi (1537-1598)
with a bamboo flower container, the displeased ruler is said to have hurled it into
the garden.
resulted
when
a rock in
this
more
it
to
become
valued.
A bamboo
flower container
is
made
enough space
port.
The
enhance
is
be hung from
peg
in
the alcove.
The
and changes
in
the
numerous lacquer
if
yielding
tea realizes,
no easy
possible piece of
merely
it is
task.
The inexperienced hand tries to "arrange" and rearrange the blossoms. An important feature of tea flowers is that the
most quick-fading and evanescent blossoms or buds are greatly desired. Rikyu
supposedly disliked cockscomb because it
was too hearty a flower. Tea flowers must
be used sparingly to avoid the display of a
luxurious and overly abundant bouquet.
Flowers in tea are not outward decora-
On
tions.
keen
coupled with years of tea experience. In the tea ceremony, the container
becomes the chief mediator between host
and guest.
The legend of Rikyu's morning glory
tea for Toyotomi Hideyoshi is told and retold to beginning tea students. Hideyoshi,
hearing of Rikyu's gorgeous array of morning glories, asked to be invited to tea specifically to view the blossoms. When he
entered the garden he noticed that all the
blossoms had been cut away. The solitary
remaining blossom had been left in a vase
in the tearoom. This action reflected Rikyu's belief that simplicity, bordering on
living spirit of the flowers requires a
sensitivity
spirit.
The
secret in
this
is
commitment
is
an un-
may have
making
bamboo
to be sacrificed.
cide.
Whereas
gathering and
theme,
in
the scroll
the host
is
able to
communicate more
inti-
container,
the understated,
is
to highlight the
season, whether
mood
it is
of that particular
a spray of
pampas
291
is
ties for
personal tea
make
strips,
jik
ing to the ceremony. This feeling of evanescence did not develop solely out of the
medieval culture associated with tea. The
tale ofGenji, written during the Heian period, includes an especially moving chap
ter in which the accomplished courtier
protagonist, Genji, chances upon an unknown maiden living in obscure surroundings. He notices the moonflowers growing
dwelling and asks to receive a single blossom. A young serving girl from inside the
Flower container
bamboo
Hosokawa
house
Sansai (1565-1 646)
Eisei
Bamboo
people.
make many
flower.
,1
fan
,atei,
upon whu
.111
h to
allan bios
Bunko, 'Ibkyo
are the
likely
is
place the
h. 35.8 (14)
how
to
360
as
ural
h. 31.5 (12VK)
Momoyama
appear
they were growing in the field. This reflects the general philosophy that the nat-
meeting.
C'.cnji
is
lelt filled
with k><mI
re
lift
III
290
291
361
St^Jf *
\
No-related works
363
292 Karaori
brocade
silk
in
the
Momoyama
W. I46.O (56
Edo
7/s)
selves as nuihaku.
Bunko, Tokyo
Eisei
women's roles.
Nuihaku were not bound by the technical
restrictions imposed by weaving, as in the
thicker karaori, allowing great freedom in
waist as koshimaki for
293 Karaori
brocade
silk
1.
150.0(58 'A)
w. 150.0 (58
Edo
in
liantly
No
(literally
all
wave
Bunko, Tokyo
name
is
motif, a stylized
karaori,
the
the
Cat. 294
Eisei
The
/z)
silk
The ground
completely
such
gold-leafed fabrics are called dbhaku. Embroidered over the gold leaf are open fans,
each decorated with flowers including
plum or cherry blossoms, irises, peonies,
of cat. 295
is
created in
leaf;
decorative
suits a
No
stage.
ks
typically
or the robe
296 Choken
silk brocade
I.103.3
veal the
woven with
Edo
ks
Eisei
The
choken,
1.
w. 144.0 (56
Edo
Bunko, Tokyo
Nuihaku
embroidery and gold
leaf
on
silk
[.143.0(553/4)
w. 136.0(53)
Edo
Eisei
Bunko, Tokyo
364
"long
scenes.
made
It is
an undance
gauze into
silk," is
No worn
of a thin
silk
in
Designs
may be concentrated
>/s)
Eisei
295
silk
literally
unique to
on one
Bunko, Tokyo
lined jacket
light blue.
294 Nuihaku
(40^)
w. 206.0 (803/8)
292
365
MM
293
366
294
367
295
368
369
297 Maiginu
silk brocade
1.
164.0 (64)
vv.
maple leaves are the prime Japanese symbols of spring and fall.
ks
224.0(875/8)
Edo
298 Kariginu
silk brocade
Eisei
Bunko, Tokyo
1.
The
Eisei
Bunko, Tokyo
299 Kariginu
silk brocade
1.
174.0(677/8)
w. 203.0 (79
up knee-high.
Edo
>/s)
Museum
kariginu, literally
originally
)n cat. 298
>i
roundels
of w.itci
plantain Hi
'Ibkyo National
The
370
^'A)
silk
150.0
pointed
1
al
Z99
hemp
<
leaves.
The
de< oration ol
a
1
purple back
oinhin.ilioii ol
301
China, the former signifying the benevoand the well-ordered realm, the
latter serving as the bird's nesting place
and food. The motif was favored in Japan
from the Heian period and sometimes
used for No kariginu.
ks
lent ruler
paste-resist
dyeing on
hemp
Eisei
Bunko, Tokyo
Edo
Bunko, Tokyo
Kyogen, the
comic interlude performed between No
plays. In contrast to the subtle and austere
No, which deals with high and mostly
tragic subjects, Kyogen portrays manners
and concerns of the commoners with
broad humor. While Kyogen costumes are
not richly ornate like those of No, they are
embellished with bold and freely drawn
sleeveless jacket used in
1.82.0(32)
Edo
on hemp
1.97.8(38*/*)
The
300 Kataginu
Kataginu
This kataginu
record passed
is
entered
down through
in an 1840
the Hoso-
kawa family, the Onno isho narabini kodogucho (Book of No Costume and Stage
Properties), which establishes a date beks
fore which it must have been made.
On cat.
means of resist
371
300
372
301
373
02
Koshiobi
embroidery and gold
1.
264.5 (103
leaf
on
silk
>/s)
w. 7.3 (2V4)
Edo period, 19th century
Bunko, Ibkyo
Eisei
33 Koshiobi
embroidery on
silk
1.215.5(84)
w. 7.2(25/4)
Edo
Bunko, Ibkyo
Eisei
The
secure such
No costumes
was used
to
as the kariginu
is
woman.
ks
304 Katsuraobi
embroidery on
1.
silk
254.0 (99)
w.
3.5 (l?/8)
Edo
Bunko, Tokyo
Eisei
35 Katsuraobi
gold leaf on
silk
1.237.5(925/8)
W.
3.5 (l3/8)
Edo
Bunko, Tokyo
Eisei
306 Katsuraobi
embroidery and gold leaf on
I.239.1 (93
V4
302
303
silk
con-
Edo
Eisei
Bunko, Tokyo
307 Katsuraobi
erel
embroidery on
silk
type
weed design
w. 3.7(1 'A)
roles.
Edo
snow
Bunko, Tokyo
the katsuraobi
is
The
1.35.0(133/4)
Edo
period,
iStli
rcntun
Bunko, Ibkyo
The
katsuraobi with
jealousy.
.md gold
bamboo, lacquei
Edo
Eisei
ks
leal
on papei
1.33.0(13)
period,
<>
century
(cat.
mad by
305)
on paper;
iroiri
Used exclusively
are of the
leaf
Eisei
(cat. 304)
Eisei
374
is
w. 3.8(1 'A)
Bunko, Tokyo
front differs
In
3SW
nuiki e
kA-
la<
>
ks
quei on w ood
diam. 35.5
Edo
the
drum
'litiko
31:
L.
thecharactei
Koomote mask
(14)
period, 1745
Bunko, fbkyo
Eisei
A.A
drum
Taiko
313
JLA
nuiki e lacquei
on wood
diam. 34.5(13
^4
Edo
period,
ujtli
centui
Bunko, lokyo
Eisei
4^4
lStli
The
Ai
m-
drum
from
is
decorated
A. J
313,
Ai
diam.
315
The chukei,
Chukei fan
ink, color, and gold
bamboo, lacquer
leaf
on paper;
Edo
Bunko, Tokyo
leaf
on paper;
Edo
are
Chukei fan
ink, color, and gold
bamboo, lacquer
No
differentiated,
Eisei
was an
and
1.32.8(127/8)
ribs,
openwork
designs.
Eisei
Bunko, Tokyo
11.8 (4 s/s);
1.
29
(11 j/s)
Bunko, Tokyo
Kotsuzumi drum
maki-e lacquer on wood
diam. 10.0
Edo
(37/8);
1.
25.0 (97/8)
Storage box
maki-e lacquer, silver and
silk
on wood
Bunko, Tokyo
the overall
Fuji, ks
307
306
305
Mount
Eisei
304
as well as
in-
Kotsuzumi drum
maki-e lacquer on wood
Edo
311
black lacquer.
310
is
375
376
377
the
316
flute
bamboo,
(accompanied by case)
Edo
bark, lacquer
(15 'A)
Grapes, a symbol of fertility used as a motif from as early as the Nara period, were
also popular for decorative designs in the
early modern era. The case for the other
nokan, cat. 317, bears a maki-e design of
plovers flying over waves, a motif seen
Bunko, Tokyo
Eisei
Nokan
317
is
accompanied by
reads:
Nokan
flute,
named Yaegiku
(accompanied by case)
bamboo, bark, lacquer
length of nokan 39.5 (15
Edo
/*)
Eisei
one:
Bunko, Tokyo
At Shio Mountain
on Sashide shore
is
fitted
in disorder;
used
if I cross, the
will he cut
378
brocade
in
rather,
ks
ment.
No, but
it
it
The nokan
is
equipped with
a bla<
dwells a plover;
May
your reign
eight
thousand
last
ages,
it
sings.
ks
315
379
318
Koomote
polychromed wood
21.5 x 13.6 (8
Edo
5 3/8)
Bunko, Tokyo
Eisei
319
'A x
Koomote
polychromed wood
21.0 x 13.5 (8 l /4 x 5 3/8)
Edo
Eisei
Bunko, Tokyo
of the earliest No masks to be developed, Koomote represents the countenance of a calm young woman, her neatly
arranged hair parted in the middle, with
One
on either
first
a gen-
among masks
some
are apparent.
380
318
381
319
382
J20
Okina
polychromed wood
tally different
18.1 x 15.2 (7 l /s x 6)
Edo
No was
Tokyo National
321
Museum
Okina
polychromed wood
18.9 x 15.0 (7
Edo
'A x
5 7/8)
Eisei
Bunko, Tokyo
its
from other
structure
No
is
to-
perfected.
[kao].
mk
worn by the main character of the liturgiNo piece of the same name. Okina, a
cal
rich harvest,
383
322
Hannya
323
polychromed wood
polychromed wood
21.0 x 17.3 (8
V4 x 6
Muromachi
Eisei
Namanari
?/4 )
Edo
Bunko, Tokyo
Eisei
Bunko, Tokyo
and
trust
demon.
disorderly
and the
woman
eyes and teeth effectively add to her menace. This mask is attributed to the monk
Kanawa,
upper
lip,
Hannya, who
during the
is
said to
Muromachi
have
lived in
Nara
384
to
a play
become
about
demon
in
,1
husband who Av
On
the lu<
k ot tins
mask
is
385
386
known
in which generation
mask was carved.
Shikami
polychromed wood
21.3 x 16.2 (8 5/s
Edo
Though
x 6
are tense
Tokyo National
cat. 324,
less
threatening than
Shikami
polychromed wood
21.0 x 16.5 (8
Edo
V4
x 6
of the
Tokyo National
Museum
is
mask
is
much more
is
whose identity
on Mitsumasa's tradi-
unclear, carries
tion.
polychromed wood
19.3 x 14.0 (7 5/s x 5 /t)
x
period, 19th
centun
Museum
of
some
mask types
is
MK
ter type.
326 Usobuki
number
and
Tokvo National
trast to
Edo
maker of the
real
Museum
1704)
lighted in gold.
b\ Mitsunaga, fourth-generation
Tokyo National
eration
The
Shikami
Edo
5 5/s)
*/z)
Usobuki
polychromed wood
19.7 x 14.2 (7 ?/4 x
in
and more formalized carving of the furrows at the temples and eyes. On the back
3:^
327
and the
pression of rage
Museum
this particular
The name
lat-
spirits
mk
387
328
Shakumi
polychromed wood
21.2 x 13.9 (8 3/8 x 5 'A)
Edo
Tokyo National
Museum
Fukai, differs only in depicting a somewhat older woman. Both are used in plays
such as Sumidagawa, in which a mother
On
29
Shakumi
polychromed wood
21.0 x 13.9 (8 '/4 x 5 A)
Edo
Tokyo National
Museum
Koomote
388
women
leika.
tion,
Basho or
Omi, and
mouth turn down more sbarply, expressmore advanced age. The fuller
cheeks indicate, perhaps, a somewhat
plump woman.
mk
ing a
330
Uba
polychromed wood
21.2 x 14.1 (8 Vs x 5 /z)
l
Edo period
Tokyo National
331
Museum
Uba
ordinary old
polychromed wood
20.3 x 13.6 (8x5 Vs)
Edo
for the
Tokyo National
Museum
which an old
woman and
way
215/?),
is
used
a play in
two pine
trees.
On his
women
in
other
No plays.
priest
rests
389
332
Chujo
polychromed wood
20.3 x 13.6 (8x5 3/8)
Edo
Tokyo National
333
The back
Museum
Museum
represents a young
aris-
tocrat of early times, with light complexion, high painted eyehrows, and teeth
blackened (ohaguro). Traditionally, this
mask type is said to have been modeled after Ariwara no Narihira, the famous pod
of the Heian period whose court rank was
chiijo, middle captain, in the headquarters
390
under Heaven).
While Chujo
polychromed wood
20.4 x 14.1 (8x5 V2)
Tokyo National
Chiijo
Chujo
Edo
The
.1
family,
actors.
one of
mk
Selected Literature
References are given in catalogue order.
I.
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76.
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18.
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20.
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77.
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Kyoto
78.
22.
25.
Irita 1935;
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27.
Kyoto
Kyoto
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79.
Kyoto
1978.
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Iwama
35.
36.
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42.
43.
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45.
48.
49.
55.
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57.
84.
Nakajima
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82.
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Yoshiaki in Manshoji). In
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New
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in
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Shimada
1987, 476-514.
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in Shi-
391
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,,
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[iroshi
iin. hI.i
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2,
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Kaunn
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1937;
koro
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2,
Tokyo
175-180;
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Kokka
1978;
no.
Yamaoka
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1981;
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100. Tokyo 1962; Tokyo 1976a.
101.
Tokyo 1976a.
102. Tokyo 1962; Suzuki 1974; Cahill 1976;
Stanley-Baker 1982.
104.
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Sansom
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111.
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New
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\,
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