1. Chapter 8: Shrines, statues, and scrolls
The Art of Early Japan

2. Japan before Buddhism

3. Jomon period (ca. 10500-300 bce) Jomon means “cord markings”
Describes the technique used to decorate earthenware vessels
Society was hunter-gatherers but were settled
Able to develop ceramic technology

4. Cord-Marked Pottery Incised lines and applied coils of clay
Modeled, not painted
A lot of applied coils of clay, striped incisions, quasi-figural motifs
Used for storage, cooking, bone burial, ceremonial functions, a lot of things

5. Vessel From Miyanomae, Nagano Prefecture, Japan
Earthenware, 1’11 2/3” x 1’ 11 ¼”

6. Vessel Intricately modeled surface and partially sculpted rim
Similar to Chinese earthenware
Extremely thick and heavy

7. Yayoi (ca. 300 bce-300 ce) and Kofun (ca. 330-552 ce) Periods
Interaction from China and Korea brought dramatic social and technological changes
Villages grew in size and developed fortifications
Wet-rice agriculture provided foundations for social and economic development

8. Banded Bronze bells Pottery became less sculptural
Developed bronze casting and loom weaving
Dotaku-bells based on Han Chinese bell forms
Clay mold casting

9. Dotaku (bell) with incised figural motifs
From Kagawa Prefecture, Japan
Bronze, 1’4 7/8” high

10. Dotaku (bell)
Simple line drawings of people and animals
No meaning

11. Treasure-Filled Burial Mounds
“ko” means old and “fun” means tomb
Named after the tumuli, pit graves covered by enormous mounds
Were initially built by horse-riders from Korea
Tumuli recalls Jomon practices of placing dead on sacred mountains

12. Tomb of emperor nintoku
Sakai, Osaka Prefecture, Japan
Late fourth to early fifth century

13. Tomb of emperor nintoku
Largest tumulus in Japan
Central mound takes the “keyhole” standard form
1600 ft long, 90 ft tall
Surrounded by 3 moats
458 acres

14. Haniwa (cylindrical) warrior figure
From Gunma Prefecture, Japan
Fifth to mid sixth century
Low-fire clay, 4’1 ¼” high

15. Haniwa (cylindrical) warrior figure
Appear deceptively whimsical
“hani” means clay and “wa” means circle
Adapted basic clay cylinder into various forms
Altered shape, emblazoned them with ornaments, built up the forms, and painted it
A spiritual barrier protecting the living and the dead from contamination

16. Main hall, ise shrine
Ise, Mie Prefecture, Japan

17. Main hall, ise shrine Shrine of the sun goddess, Amaterasu
Associated with Shinto
Thatched roofs and metallic decoration
Mortise-and-tenon system: wallboards slipped into slots in the pillars
Two massive freestanding posts support must of the weight of he ridgepole (beam at the crest of the roof)

18. Main hall, ise shrine (cont.)
Golden-hued cypress columns and planks contrast in color and texture with white gravel on the ground
Roof originally constructed of thatch which was smoked, sewn into bundles, and laid in layers
Smooth shearing produced gentle changing contour
Decorative elements enhance roofline with chigi (ridge billets) which were originally extensions of gable rafters at each end of the roof and cylindrical wooden weights placed at right angles across the ridgepole

19. Buddhist japan

20. Asuka (552-6450, Early Nara (Hakuho; 645-710), and nara (710-784) Periods
The time when Japan’s ruling elite embraced major elements of continental culture that had been gradually filtering into Japan
Chinese writing, Confucianism, and Buddhism were established
Followed Korean and Chinese prototypes closely

21. Horyuji kondo (golden hall)
Nara, Japan
Early Nara (Hakuho) period, ca. 680

22. Horyuji kondo (golden hall)
Periodically repaired and altered
Graceful but sturdy forms
Main pillars decrease in diameter from bottom to top
Tapering provides an effective transition between delicate brackets and columns’ stout forms
Harmonious reduction in scale from the first to second story
Ceramic tiles as roofing material (Chinese-like)

23. Shaka triad Tori Busshi (maker of Buddhist images)
Horyuji kondo, Nara, Japan
Asuka period, 623
Bronze, 5’ 9 ½” high

24. Shaka triad Buddha with two bodhisattvas
One of the main images in Horyuji kondo
Central figure is Shaka (historical Buddha)
Not a portrait
Presented in transhistorical guise

25. Shaka triad cont.
Flaming mandorla bears small figures of other Buddhas
Reflects the style of early to mid-6th century in China and Korea
Elongated heads gave greater attention to the drapery’s elegantly stylized folds rather than naturalistic modeling

26. Yakushi triad Yakushi kondo, Nara, Japan
Early Nara (Hakuho) period, late 7th or early 8th century
Bronze, central figure 8’ 4” high

27. Yakushi triad Bhaisajyaguru- Buddha of Healing
Sculptor favored greater anatomical definition and shape
Revealed drapery over dramatic stylizations
Bodhisattvas reveal long stylistic trail through China to fleshiness of Indian sculpture
Original gilding destroyed by fire

28. Amida triad Wall painting (damaged) Horyuji kondo, Nara, Japan
Early Nara (Hakuho) period, ca. 710
Ink and colors, 10’ 3” x 8’ 6”

29. Amida triad Buddha of immeasurable light and infinite life
Enthroned in paradisiacal land and bodhisattvas
Representation is simple ad iconic
Done in a process similar to fresco

30. Amida triad cont. Smooth brush lines gave figures substance and life
Called iron-wire line due to thinness and with a suggestion of tensile strength
Lines are red not black
Chinese or Korean painters

31. Daibutsuden
Todaiji, Japan
Nara period, 8th century
Rebuilt ca. 1700

32. Daibutsuden Means “Great Buddha Hall” Commissioned by Emperor Shomu
Part of an imperial attempt to unify and strengthen the country by utilizing religious authority

33. Daibutsuden cont. Housed a 53 foot bronze image of cosmic Buddha
Served as a administrative center of a network of branch temples
Current building is smaller
It is the largest wooden building in the world

34. Heian period ( )
In early Heian, Japan maintained close ties with China
From mid-9th and on, the relations deteriorated
Court-sponsored contacts ceased
Japanese culture became more self-directed
Arts flourished

35. Taizokai (Womb World) of ryokai Mandara
Kyoogokokuji (Toji), Kyoto, Japan
Early Heian period, second half of 9th century
Hanging scroll, color on silk, 6’ x 5 5/8”

36. Taizokai (Womb World) of ryokai Mandara
Best preserved mandala in Japan
Diagram of the cosmic universe
12 zones representing various dimensions of Buddha nature

37. Phoenix Hall
Byodoin, Uji, Japan
Heian period, 1053

38. Phoenix Hall
Houses wooden statue of Amida carved from multiple joined blocks
Based on the design of Chinese palaces
Represented imperial might

39. Phoenix Hall cont.
Light pillars on exterior, elevated wings, situated on a reflective pond- suggests floating weightlessness of a celestial architecture
Name derives from its birdlike shape and two bronze phoenixes on ridgepole ends

40. A tale of love and intrigue
Tale of Genji by Murasaki Shikubu is the most admired literary classic in Japan
Provides a view of Heian court culture
Script is primarily in hiragana, a sound-based writing developed in Japan from Chinese characters

41. Scene from Minori chapter
Tale of Genji
Late Heian period, first half of 12th century
Handscroll, ink and color on paper, 8 5/8” high

42. Scene from Minori chapter
Genji meets with his greatest love near the time of her death
Bush-clover identifies the season as autumn (associated with the fading of life and love)
Radically upturned ground plane and strong diagonal lines suggest a 3D space than being depicted illusionistically
Elevated viewpoint
Flat, unshaded color emphasizes 2D character

43. Scene from Minori chapter cont.
Rich patterns in textiles and architectural ornament gives feeling of sumptuousness
Human figures constructed of stiff layers of contrasting fabrics
Simplifies and generalized aristocratic faces

44. Paintings of Buddhist tales
The stories belong to a genre of pious Buddhist tales devoted to miraculous events involving virtuous individuals
Several scenes in a long, unbroken stretch
Miracles associated with Buddhist monk, Myoren, on a mountaintop temple

45. Detail of the flying storehouse
From The Legends of Mount Shigi
Late Heian period, late 12th century
Handscroll, ink and colors on paper, 1’ ½”high

46. Detail of the flying storehouse
Myoren’s bowl lifted a rice- filled storehouse and carried it to the monk
Astonished landowner, attendants, and onlookers in various poses- grimacing, gesticulating wildly, scurrying about in frantic amazement
Exaggerated each feature of figures

47. Kamakura Period ( )
Civil wars in the late 12th century led to the end of the imperial court
Minamoto family established the shogunate (military government) at Kamakura
Imperial court at Kyoto has no power
More frequent and positive contact with China

48. Detail of the priest shunjobo chogen
Todaiji, Nara, Japan
Kamakura period, early 13th century
Painted cypress wood, 2’ 8 3/8” high

49. Detail of the priest shunjobo chogen
Most striking example of high level naturalism
Finely painted details, powerful render of signs of aging, prayer beads
Exhibits skill and style of the Kei School of Sculptors
Inlaid rock crystal for eyes

50. Detail of the burning of the sanjo palace
Kamakura period, 13th century
Handscroll, ink and colors on paper, 1’4 ¼” high; complete scroll, 22’ 10” long

51. Detail of the burning of the sanjo palace
Illustrating some battles in the civil wars
Read from right to left
Goes from a mass of figures rushing to a slowed pace of soldiers, horses, and bullock carts

52. Detail of the burning of the sanjo palace cont.
Swift and violent staccato brushwork and vivid flashes of color
Horse and rider serves as a deceptive cadence (false ending)
It brings the turbulent narrative to a quiet close

53. The saving power of amida
Buddhism and Buddhist paintings remained vital
Pure Land Buddhism arose from the lower ranks of society
They stressed the saving power of Amida

54. Amida descending over the mountains
Kamakura period, late 13th century
Hanging scroll, ink and colors on silk, 4’3 1/8” x 3’10 ½”

55. Amida descending over the mountains
Gigantic Amida appears to move towards the viewer
Bodhisattvas already made the passage
Grand frontal presentation of Amida gives the painting an iconic quality
Amida’s halo resembles a rising moon

56. conclusion
Early metalwork, Buddhist architecture, and basic painting formats reveal Japan’s close ties with other nations
But they maintained distinctive aesthetic ideals and preferences shown in Jomon pottery
Most distinctive feature of Early Japanese art is its great variety