Japan – Chapter 8
Traces of Human civilization from 30,000 years ago.
Some Japanese pottery has dated back to 10,000 BCE, which makes it world’s oldest.
SLIDE 2 - Jomon Vessel. 2000 BCE. Earthenware. 1’ 11” tall.
Primarily a settled hunting-gathering culture, very peaceful
Gave them the opportunity to develop artistry in pottery.
Jomon period is named for the patterns on the pottery.
Marks made by pressing cord into the damp clay (Jomon means “cord-marking”). Bended, twisted the clay - incised lines,
Added coils to the surface for decoration, geometric patterns.
Resemble look of reed vessels.
Early ones had pointed bottoms so they could be put directly into the fire for cooking, Flat bottomed ones used for storage – eventually became the normal shape.
Researchers think they were made primarily by women –
Typical of pottery made before the wheel invented.
Asymmetric, elaborate vessels show creative spirit.
Artists trying to achieve unique, unusual shapes
Shapes often interfered with the practicality of the vessel.
SLIDE 3 - Haniwa Figures. Gunma, Japan.
Late Kofun period. 5-6th century.Low-fired clay. 2’ - 4’ tall.
Kofun means “Old Tombs”, named for the large royal tombs of the time.
The major tombs have never been excavated (Japanese government won’t allow it)
The largest spanned 400 acres and were keyhole-shaped mounds surrounded by moats.
These Haniwa figures were placed on top of graves.
The earliest were simple cylinders, jars to hold ceremonial offerings.
The shapes shifted to animal and humanoid.
The people are all types, professions & classes – warrior, female shaman.
Were certainly a sign of prestige:
The more Haniwa on your grave, the higher status you had.
Found 20,000 on one Emperor’s tomb.
Japanese did NOT glaze their tomb ceramics like the Chinese did
No interest in technical skill – simple shapes & forms.
Never perfectly symmetrical, off center eye-slits,
Irregular bodies, unequal arms - distinct individuality.
SLIDE 4 - Shrine, Ise. Yayoi Period, Japan. Early 1st century CE, rebuilt 1993.
This is a Shinto shrine, the indigenous religion of Japan.
A belief in deities that inhabit aspects of nature –
Trees, rocks, waterfalls, even living creatures such as deer.
Also a belief in purification through the ritual use of water.)
Originally, the natural site where it was believed a deity resided was a place of worship. Later, Shinto became more focused with shrines and a hierarchy of deities. Sometimes, even today a wooden gateway were the only sign that a site is sacred
Gateways called Torii
Built to designate the sacred area.
Sometimes the sign is more monumental, like this Shinto shrine at Ise,
On the coast SW of Tokyo.
Dedicated to the sun goddess “Amaterasu”.
She is a legendary ancestor of Japan’s Imperial family.
Millions visit this site each year.
It is rebuilt at 20-year intervals for 2000 years, lastly in 1993.
Like the Japanese culture, it is both ancient and endlessly new.
Rebuilt by carpenters who are trained in this task since childhood.
Made from unpainted golden-colored cypress wood. Natural simplicity.
Wooden piles raise the shrine off the ground
Thatched roof – which is held by horizontal logs.
Only members of the Imperial family (and a few Shinto priests) are allowed inside
Only they can visit the sacred shrine
Houses 3 sacred symbols of Shinto:
SWORD – courage MIRROR – purity, sincerity, honesty JEWEL – love, affection
SLIDE 5 - Main Compound, Horyu-ji. Asuka Period. Nara, Japan. 680 CE.
Built during the Asuka period (552-646 CE)
Korea & Chinese culture influenced Japan, through:
Buddhism, centralized government, and system of writing.
Borrowed these elements, but modified them to suit the Japanese culture & people.
Buddhism was accepted by the Imperial family
Buddhism & Shinto were coexisting quite comfortably.
Buddhism seeks enlightenment, Shinto seeks purification
These goals didn’t clash, so neither did the religions.
Most often they are seen as complimentary to each other.
Even today the Japanese see nothing wrong or inconsistent about it
Might have a Shinto wedding, and a Buddhist funeral.
Shinto - found deities in nature & imposing places, Buddhist worship focused in temples.
Horyu-ji is the most significant surviving early Buddhist temple in Japan.
Rebuilt 60 years later after a fire, but looks mostly the same.
It’s the oldest wooden temple in the world.
So famous that when people go to visit they are surprised at how small it is.
Main compound – consists of 2 buildings:
The kondo (golden hall) & a pagoda
Kondo is filled with Buddhist images. Used for worship & ceremonies.
SLIDE 5.5 – Horyu-ji - Pagoda
5-story pagoda.
Is a reliquary. NOT entered.
Off the main compound are lecture halls, dormitories for monks, storage for sacred texts.
SLIDE 6 - Tori Busshi - Shaka Triad, from the Horyu-ji Shrine.
623 CE. Bronze. Central figure 8’ 4” tall.
An example of early Buddhist art in Japan, from Horyu-ji Shrine.
Shows “compassionate idealism”.
Shaka = Shakyamuni, the historical Buddha.
Tori Busshi’s ancestors were from China, strong Chinese influence in his art.
SLIDE 7 - Amida Buddha Triad, from Horyu-ji kondo. Early Nara period. 710 CE. Fresco & Ink. (Now severely damaged) 10’ 3” x 8’ 6”.
This mural represents Amida, Buddha of the Western Paradise.
It was well-preserved on the walls until afire partially destroyed it in 1949.
Fortunately, they had documented it with photos.
Rounded belly and face, serene. Very East Asian-like face, not Indian looking.
Hands form the “Dharma-chakra” mudra – “revealing Buddhist law”.
SLIDE 9 – Phoenix Hall (Byodo-in). Heian Period. Uji, Japan. 1053 CE.
From a sect called “Pure Land Buddhism”
Taught that the Pure Land of Amida Buddha could be reached by faith alone.
Chanted the mantra, “Nama Amida Butsu” (Hail to Amida Buddha)
This would lead to rebirth in Amida’s paradise.
Traveling monks spread the word and the chant.
This appealed to lots of people; all levels of education & sophistication.
This is one of most beautiful temples of Pure Land Buddhism.
Located in the Mountains near Kyoto.
It is called Phoenix Hall for a pair of Phoenixes on the roof.
The building suggests lightness, birdlike quality.
Thin columns help create a sense of airiness.
Located in front of an artificial pond
Pond is shaped like the Sanskrit letter A, for Amida.
Inside Phoenix Hall is a statue of Amida Buddha,
Made from several blocks of wood, with gold leaf & lacquer.
He is reflected in a pool of water to that the image seems to shimmer.
SLIDE 10 - Scene from Tale of Genji. Heian Period. 12th century CE.
Handscroll, ink & color on paper. 8 5/8 “ high.
The wealthy & noble class of the Heian had developed a “courtly” culture,
Life in the palaces occupying their time with art, poetry, music, etc.
This narrative was written by a woman named Lady Murasaki.
She wrote in Japanese
During this time, men still wrote prose primarily in Chinese.
It is a story of the love affairs of Prince Genji & his companions.
It shows the fleeting pleasures and the ultimate sadness of life
Echoes Buddhist views of vanity and earthly pleasures.
Gives a view of Heian court life, and their refined aesthetics.
The painting is done in “woman’s hand” painting style –
Delicate lines, strong but muted colors, asymmetrical compositions, and
Viewed from above as if the roof had blown off.
The landscape shows the moods: Nature & human motion correspond
A blossoming cherry tree represents a happy scene,
Unkempt weeds represent loneliness.
But NO visible emotion of the faces of the people....all in landscape and text.
In this scene a seemingly happy Prince Genji holds a baby boy borne by his wife,
But… the baby was fathered by another court noble.
Genji cannot complain because he has not been faithful either,
Plus, he himself is the illegitimate son of an emperor.
The true father of the child has died, unable to acknowledge his only son.
So what appears to be a joyful scene actually has a sense of irony and sorrow.
2nd Scene: Genji meets with her lover as she is dying.
SLIDE 11 - Priest Shunjobo Chogen. Kamakura period. Early 13th century. Painted cypress wood. 2 ’8” tall.
During the Kamakura period, Japan had frequent & positive contact with China. Architecture spurred a rebuilding effort in Japan.
Priest Shunjobo Chogen was a leading figure in the planning
Directed much of the building.
He made several trips to China to learn about it.
He was VERY loved:
Taught local villagers how to dig irrigation canals & other helpful skills.
This portrait statue of him is very naturalistic:
Very real representation of an old, aging man
Bags under his eyes, wrinkles, bald and lined head, sunken cheeks, and jowls.
Holds prayer beads in his hands.
Made of wood, with inlaid crystals in the eyes.
SLIDE 11.5 – Kosho, Kuya Preaching.
Kamakura period. Early 13th century. Painted cypress wood. 2 ’8” tall.
Time of rising political unrest, and excesses of the imperial court
Some Japanese to believe that they were in an age of spiritual decline.
People of all classes reacted by increasingly turning to Pure Land Buddhism
Liked its promise of salvation simply through faith.
The monk, Kuya, was well known for spreading the word.
Identified by his traveler’s clothing,
carried a small gong and a staff topped by deer horns.
His face has an intense expression, a radiant sense of faith.
The artist, Kosho, had the challenge of trying to portray the chant
The chant was so important to Kuya. Nama mida Butsu
He solved the problem by having a series of 6 Buddhas come from Kuya’s mouth
(one Buddha for each syllable in the chant)
Believers would have understood that the 6 small Buddhas represented the chant.
SLIDE 12 - Burning of Sanjo Palace. Kamakura Period. 13th century CE.
Handscroll, ink and colors on paper. 16” high.
The Kamakura period was also a time of civil war and unrest.
This narrative shows the move away from a court life to samurai warfare,
From refined poetry to energy and power.
The court culture of the Heian period had been so engrossed in their own refinement
that they neglected their responsibilities for governing the country.
Clans of warriors, samurai, from outside the capital grew increasingly strong.
They soon became the real powers in Japan.
This scroll shows a revolt that took place on the night of December 9, 1159.
The Sanjo Palace was attacked, & the emperor taken prisoner –
He was carried out in a wooden cart.
You unroll the scroll from right to left.
The noblemen and their servants arriving at the palace after hearing of the attack
But they are too late.
The palace is already on fire, and is surrounded by warriors.
Horrors of war are presented in graphic and frightening detail:
Palace guards are beheaded, bloody - violent
As the scroll is unrolled, the viewer is led through the event until the very end –
Nearly 23 feet long
a warrior astride a rearing horse is seen following a single archer.
The lone figure brings the narrative to a quiet end.
Woodblock Prints PAGE 791 in text.
SLIDE 7 – Suzuki Harunobu. Geisha images
Edo period. Mid 18th century. Color woodcut. 11” x 8”.
During the Edo period, even artisans & tradespeople could purchase works of art.
People felt they should enjoy life to the fullest, for as long as it lasts.
This is the Buddhist phrase “ukiyo” – “floating world”.
Life and all things were seen as temporary and transient.
Pleasure quarters set up in specified areas of every city
Bathhouses, brothels, restaurants.
The heroes of the day were no longer famous samurai or priests
instead swashbuckling actors and beautiful courtesans were admired.
They were immortalized in paintings, but paintings were too expensive for commoners. So artists would make woodblock prints of them
Known as ukiyo-e – “pictures of the floating world”.
The first prints were made in Black & White, then colored by hand.
Suzuki Harunobu was the first artist to design woodblocks printed in multiple colors
Used multiple blocks – 1 color per block.
His beautiful girls became incredibly popular,
Soon every artists was designing multicolored prints.
Other artists did ukiyo-e actors – Kabuki theater performers in makeup.
SLIDE 8 – Katsushika Hokusai, The Great Wave, from 36 Views of Fuji.
During the 19th century, landscape joined courtesans & actors as a major theme.
Actual sights of Japan.
Hokusai one of 2 great Japanese landscape printmakers. Other was Hiroshige.
36 Views of Mt. Fuji became the most successful set of graphic art in the world.
The woodblocks were printed & printed again until they were worn out.
They were then recarved, and still more copies were printed.
Continued for decades, 1000’s of prints from the series were made.
The Great Wave is the most famous print from the series.
Hokusai was already in his 70’s when he designed this print
Wave rises up ready to crash down on the figures huddled in the boat below.
Far in the distance, is Mt. Fuji - right where the wave will crash on the boat.
Snowy mountaintop echoes foam of the sea.
Hokusai makes the comparisons very clear.
When seen in Europe & America, Japanese prints were immediately loved.
They strongly influenced late 19th and early 20th century western art.
Japanese art became very stylish.
Hokusai & Hiroshige became as famous in the west as they were in Japan.
It’s estimated that more than 90% of Japanese prints were sold to Western collectors.