Documenti di Didattica
Documenti di Professioni
Documenti di Cultura
FROM
JAPAN
A
in
Commemoration
the
Peace Treaty
of the
in
Signing of
San Francisco
September 1951
M. H.
DE YOUNG MEMORIAL
MUSEUM
The Exhibition
is
M, H.
de
Japan and
the
San Francisco
FOHEWOHI)
Tlie opening of this great exhibition of Japanese art
museum
many
San Franciscans
years: to demonstrate to
American people
means
and
in a
Japan.
Americans know
since
tlie
tlien attention
for
at
Japanese
art. It is
art.
Thus, the
fact
was overlooked
thai
the Japanese people have produced a magnificent art quite of their own,
many centuries
times derived from or influenced by foreign patterns, but altogether as indigenous and
There
is
European countries
No
come
truly
It is
of
its
way
for their
its artistic
its
own
heritage
art,
it
to
fitting
number
in the en-
and
art
each other.
in relation to
to release
an excep-
Nearly half the works have the distinction of being "Registered Important Art Objects,"
normally not allowed to leave the country for any purpose whatever.
since
it
of ancient art
The
is
more encompassing
The
skill of
tlie
deepen
refined taste
idea of this important exhibition having been born but a few short weeks ago,
it
and
to bring
it
over on
Our
we here
in
owing
to the
to he deeply
Commission which
is
its
ready
in charge
in particular to
Dr. Seiichiro Takahashi, Chairman of the Commission and to Mr. Takashi Morita, Chief
of the Secretariat; to the National
and
its staff
members, upon
to the
whom
to express
my own
whose quick
fell
of
Tokyo,
collectors, include
;
to
many
the
officials
and untiring
temples, shrines,
for the generous
initiative
its
numerous lenders
Museum
Harada
me who,
of the National
to
Museum without
PREFACE
It
art in
an exhibition of Japanese
to hold
We had
for the goodwill towards us as well as of affording a better understanding of the ideals
and
was only a few weeks ago that we received the request. The opening day of the
Peace Treaty Conference had been fixed, and we had so short a time
During
throughout by the
full
it
will give a
make
satis-
factory arrangements.
this time,
left to
of representative
is
the
first
time
we have
examples of Japanese
art history.
learn which portions of the exhibits interest you most, and your frank
We
ever
art abroad,
should like to
comments
will
be
Our
the
make
tion
San Francisco,
to Dr.
to the
Board
is
extended
to
of Trustees of
Our
apprecia-
to
Seiichiro Takahashi,
Chairman
LENDERS
COLLECTORS
The
1.52.
21, 23. 25, 31. 33, 34, 37, 39, 50, 51, 52, 55( 1-51
65. 66. 6H. 80, 83, 84, 85, 86, 87, 92, 93. 96, 99,
100. 102. 122, 124, 126, 127, 131, 132, 133, 134,
148, 150, 158. 161, 162, 163, 164, 165, 166, 167,
168, 169, 170, 171, 173, 177.
9.
15, 120.
Ishii,
Tokyo,
Mr. Minoru
175, 178.
109. 111.
BUDDHIST TEMPLES
Bujoji, Tottori, 3.
Daigoji, Kyoto, 8.
Kanchi-in, Kyoto,
2.
7.
Kofukuji, Nara,
1.
SHINTO SHRINES
12.
17.
.58.
JNTHODLICTION
In those islands of the Far East called Japan, there are
It is
sorts of flowers.
to
followed.
Still,
works
Dotaku
(bell-
expressive of the
However,
it
was
In the 7th
in the
art as the
arts.
in particular
frequent. This fact, along with the national adoption of Buddhism, led
works of
and applied
Grand Buddha
world (about
fifty-five feet
Japan.
in
It is in this
of the Todaiji
period that
Temple
in
we
still
This famous treasure-house contains art objects associated with the Emperor Shomu, the
great Imperial patron of
Buddhism
in the
8th Century.
It
urally Japanese art was influenced by the Chinese art of the day, which
influenced in
An
excessive prosperity
Japanese Buddhist
art
is
One
to
One
in turn
been
India.
from Nara
likely to
had
of these
aspect of the reaction was a decrease in the intercourse with the Continent from
applied arts
same
products
Japanese
of close
of the nobles.
There developed
are distinctive
among
of
sculpture and
sensitivity
From
class.
the 13th to the 15th Century the nobles lost power to the samurai or warrior
for
art.
The
art
living.
its
search
culti-
vated such quiet and sober enjoyments as are found in the cha-no-yu or tea ceremony. In
this
which conveyed
Late in the 16th Century, the nation-wide social disturbances incurred by warring
nobles and traditional clans were settled by dictators of bold and progressive personality.
Art became gorgeous and grand in scale in this period under the
was
was also in
life
new phase
new
were made
to religion,
heroic leaders.
It
number.
It
in large
came
to serve the
it
mun-
closer to the
modern view.
From
upon
this period
art related to
common
arts
and
crafts of a
more entertaining
char-
our earth
is
round,
if
cos-
art
is
rise to a
is it
not pos-
(.
551 A.D.
MUROMACHI PERIOD:
Painting, 18,
9, 20,
(1334-1572).
ASUKA PERIOD:
(552-644).
Sword Furniture,
103.
NARA PERIOD:
(645-781).
MOMOYAMA
PERIOD:
(1573-1602).
Painting, 11.
Calligraphy, 56.
Calligraphy, 65.
Sculpture, 71, 81.
Textiles, 150.
HEIAN PERIOD:
Painting,
(782-1185).
1, 2, 3, 4, 5, 6.
Armor, 99.
Sword Furniture,
104, 109.
Sword Furniture,
100.
Lacquer, 123.
EDO PERIOD:
(1603-1867).
Painting, 29, 30, 31, 32, 33, 34, 35, 36, 37, 38,
KAMAKURA PERIOD:
(1186-1333).
39, 40, 41, 42, 43, 44, 45, 46, 47, 48, 49, 50,
51,52,53,54,55.
Painting, 7, 8, 9, 10, 12, 13, 14, 15, 16, 17.
Sculpture, 77, 78, 79.
Sword Furniture,
Sword Furniture,
101, 102.
146,147,148,149.
169
..
178.
PAINTING
III
was exclusively
From
religious.
the 6th to
the 15th Century the artist devoutly painted images of Buddhist divinities. In this exhihition there
Kamakura period
sects (e.g..
Image of
Priest Jion
and
Illus-
12th Century.
Color on silk. Kakemono. H.
Kofukuji (temple), Nara.
95%
in.,
W. 49y8
in.
Middle
Yama).
Sanskrit:
3
*
in.,
W. 25
in.
of 12th Century.
in.,
W. 20 Vi-
in.
37%
in.,
W. 20 V-'
in.
11
Konrin (Buddhist
Ichiji
Sanskrit: Vairocana).
divinity,
Fragment of the
in.,
W. 15%
in.
8th Century.
in.,
W. 79%
Color on
in.
silk.
Mr. Minora
Kakemono. H. 10%
Ishii,
in.,
W. 10%
in.
Tokyo.
divinity,
silk. Kakemono. H.
Museum, Tokyo.
Scroll painting
in ancient
i-lVs in.,
W. 33 y2
in.
is
a combination of literature
China. Introduced to Japan, this form greatly interested artists and writers.
in.
of 13th Century.
Color on
National
isting
W. 22%
each.
5 Nirvana.
Middle
in.,
Sanskrit: Ksitigarbha).
Buddhist sages).
Middle of 12th Century.
Color on silk. Kakemono. H.
National Museum, Tokyo.
Sanskrit: Vaisravana).
in.
W. 41%
in.,
of 12th Century.
56%
in
illustrated
Among
14th Centuries)
when
excellent artists
great number.
ex-
..
421%
ll-'i in., L.
in.
Artist.
W. 11%
in.,
L.
310%
in.
sect
in the 14th
were
known
and
in
18 Priest Kensu.
ByKao-Ryozen (1317-1345).
Ink on paper. Kakemono. H. 34%
National Museum, Tokyo.
in.,
L. 1.53 V4 in.
times
to the teach-
Royal Palace.
their paintings
artists
mentioned.
divinity,
Sanskrit: Avalokitesvara).
in.,
W. 13%
By No-ami (1397-1471).
in.
19 Landscape.
Ascribed to Shubun
(died 1470)
Slight color on paper. Kakemono. H.
National
became popular
in.
art form.
and
in the
an ancient oriental
is
flowers
29%
in.,
W. 13%
in.
W.
151/2 in.
Museum, Tokyo.
Kakemonos.
20 Landscape.
Ascribed to Shubun (died 1470
Ink on paper. Kakemono. H. 35%
Mr. Muneliiro Mizoguchi, Tokyo.
)
in.,
W. 12%
in.
Ascribed
to
Kano Motonobu
1476-1559)
in.,
W. 14%
Museum, Tokyo.
in
in.
in.
vides a fine field for painting and calligraphy. In the exhibition there are ten painted folding
screens dating from the middle of the 16th to the 18th Century. Subjects for such screens varied
to
their
26 Hawks.
*
By.Sesson (1504-1589).
Ink on paper. Pair of six-leaf folding screens.
H. 62% in., W. 135% in. each screen.
National Museum, Tokyo.
32 Autumn Grasses.
* By Ogata Korin (1655-1716).
artist of the
Kano
29 Westerners
*
in
Japan.
National
1.
Museum, Tokyo.
c. 1694)
Color on paper. Pair of six-leaf folding screens.
H. 1571/2 in., W. 400 in. each screen.
National Museum, Tokyo.
artists,
is
marked with
the rise of a
number
namely:
Sotatsu-Korin School
Works
ning of the 17th Century) and Korin (1658-1716), are highly decorative, presenting landscapes
and figures
2.
in
ornate style. Such artists as Sosetsu, Koho, Korin, and Hoitsu belong to this school.
The school
Tosa-Sumiyoshi School
is
is
among
who belong
to this
3.
Maruyama-Shijo School
Works
school are popular because of their realistic style and elaborate workmanship.
4.
Literati
School
Hyakusen, Taiga, Buson, Mokubei, Kyosho and Kazan are among masters
They are
artists
flowing lines
School
wood-block prints,
were genre painters who painted for the common people. Moronol)!!, Kaigetsiido, Choshun,
36 Poppies.
By Kitagawa Sosetsu. Middle of 17th Century.
Color on paper. Kakemono. H. 43 in., W. 16% in.
Mr. C.akuryo Nakamura, Kanagawa.
in.,
W.
21 '2
in.
this school.
W.
15
in.
in.,
L. 467''v( in.
48
Jakuchu (1716-1800).
Color on silk. Kakemono. H. 56 5/16
Ilo
in.,
W. 31%
By Watanahe Kazan
Color on
in.
Imperial (Collection.
silk.
(1793-1841).
Kakemono. H. 49
in.,
W. 23
'/li
in
41 Waves.
* By MaruyamaOkyo (1733-1795).
.Slight color on paper. 12 Kakemonos.
H. 68% in., W. 36 '/s in. each.
49 Album of
*
Insects
and Fishes.
50 Young Woman.
42 Landscape
*
in Moonlight.
By Nagasawa Rosetsu 1755-1799)
Ink on silk. Kakemono. H. 38% in., W. 14
Nagao Museum, Kanagawa.
in.
51
43 Peacock.
*
in.
in.
Woman
Flying on a Crane.
By Miyagawa Choshun (1682-17.52).
Color on paper. Kakemono. H. 37 in., W. 1414
National Museum, Tokyo.
in.
44 Lotus Flowers.
By Sakaki Hyakusen (1698-1753).
Color on paper. Kakemono. H. 39 in., W. 10%
Mr. Kyubei Ando, Fukushima.
45 Landscape
in
in.
in.,
W.
51
(1726-1792).
Color on silk. Kakemono. H. 37% in.,
Tokyo University of Arts.
in.
54
*
in.
53 Young Women.
By Katsukawa Shunsho
Snow.
46 Sunny Morning
19
at Uji.
By AokiMokubei (1767-1833).
Color on paper. Kakemono. H. 19% in., W. 23% in.
Cultural Properties Protection Commission, Tokyo.
Woman
W. 13%
in.
Changing Dress.
21 1/16
in.
47 Crapes.
By Tachihara Kyosho (1785-1840).
Color on paper. Kakemono.
H. 35'/, in., W. 15% in.
Mr. Kango Furuta, Tokyo.
UKIYO-E (Wood-Block
Remarks:
The large
The medium
The narrow
2.
1.
size is
The
15
in.
15
Ages of Ukiyo-e
sentative artists:
x lOMi
IOV2
size is
size is
largest
in.
in.
paper
size is
29%
in.
x 20Vi
Prints)
in.
in.
x8
3%
in.
in.
c.
1661-1688. Black
Second period:
c.
1689-1715. Black line print and vermilion applied with hrush, called
Kiyonohu.
Third period:
c.
in
hrushwork, called
Beni-e.
With
by the use of a
sort of glue,
Shigenaga,
II,
it is
called Urushi-e,
Kiyomasu
Torii
II,
meaning
Nishimura
Fourth period:
c.
green alone, later with the addition of yellow and purple. Representative
artists:
and
IshikawaToyonobu
c.
in color-printing
to
III,
done
in
more than
depiction of actors. Representative artists: Suzuki Harunobu, Torii Kiyonaga, Kitagawa Utamaro,
Toshusai Sharaku,
3.
The
551 Scenes
at
By Hishikawa Moronobu.
To be exhibited throughout
552 Young
Woman
By Kaigetsudo Dohan.
first
week.
By Suzuki Harunobu.
To be exhibited in the second week.
exhibition.
To be
first
a Lute.
killer).
By Torii Kiyomasu.
To be exhibited throughout
exhibition.
To be
collections.
By Suzuki Harunobu.
To be exhibited in the
week.
third week.
5513
555 Beautiful
Girl of Osaka.
556 Beautiful
Narrow
Large
Large
size Urushi-e.
Women
in Disguise as Travelling
in
the
first
Monks.
week.
558 Two
week.
size Nishiki-e.
By Torii Kiyonaga.
To be exhibited in the second week.
To be exhibited
first
Girl of Kyoto.
By Okumura Toshinobu.
To be exhibited in the third week.
557 Two
size Nishiki-e.
By Torii Kiyonaga.
To be exhibited in the
By Torii Kiyonaga.
To be exhibited in the
third week.
By Kitagawa Utamaro.
To be exhibited in the first week.
5517 Young
From
Woman
the series
Reading a Letter:
Women."
To
l)e exliil)ite(i in
55-18 Love
in
Large
From
size Nishiki-e.
By Ichirakutei Eisui.
To he exhihited in the
third week.
Middle Age:
From
To he exhihited
From
Large
in tile third
as Shiga Daishichi.
5529 Yamato-ya:
From
Large
first
as Ishii Cenzo.
5530 Otowa-ya:
From
in the
By Utagawa Toyokuni.
To be exhibited in the second week.
week.
By LJtagawa Toyokuni.
To he exhihited in ttie first week.
week.
To be exhibited
55-28 Koraiya:
second week.
Large
By Utagawa Toyokuni.
To be exhibited in the third week.
as the
money lender
Ishibe Kinkichi.
To be exhibited
From
in the third
week.
To be exhibited
in the first
week.
5522 Suma:
A
scene of
Suma
By Hosoda Eishi.
To be exhihited in
the
first
week.
5523 Itsuhana:
the series "Beauty Contest of
Geisha Girls at Yoshiwara."
size Nishiki-e.
By Hosoda Eishi.
To be exhibited in the second week.
By Hosoda Eishi.
To be exhibited in
5525 Young
Large
Woman
and Wind-bell.
By Eishosai Choki.
To be exhibited in the
From
first
week.
To be exhibited
in the third
week.
From
By Katsushika Hokusai.
To be exhibited in the first week.
size Nishiki-e.
5526 Kascn of
From
From
Large
5532 Enoshima:
the series
From
the series
To be exhibited
in the third
week.
at Aisakusa:
From
size Nishiki-e.
By Ando Hiroshige.
To be exhibited in the
week.
first
5538 Kambara:
From
To be exhibited
on
second week.
in the
at
River Fuji.
5547 Lumber-yard
Edo
in
Four Seasons.'
5549 Jumantsubo
at
From
5544 Hikifune
Fukagawa:
third week.
Saruwaka-cho:
Famous Places
To be exhibited
at Susaki,
From
Eilai Bridge:
From
week.
first
To be
Fukagawa
at
From
From
By Ando Hiroshige.
To be exhibited in the
at Oji:
From
55-50 Yabukoji
in
5551 Shower
at Yotsugi:
From
Famous Places
in
week.
in the first
at the
From
Edo."
at
Ohashi Bridge:
From
Edo.
By Ando Hiroshige.
To be exhibited in the second week.
CALLIGRAPHY
These works are mostly specimens of Kana (Japanese syllabic characters) written or copied upon
decorative papers.
Some
56 Konkomyo-saishoo-kvo
*
59 Fan-shaped Hoke-kyo
H.93/I6in., W.
Written
W.
9%
Total L. 27 ft. 2
Saikokuji (temple), Hiroshima.
Scroll.
in..
Sutra.
(top),8i4
in.
(boiium).
in.
known
as Kunoji-gyo).
W.
10 '/4
in..
Total L. 132
in.
(bottom).
in.
61 Fragment of
Scroll.
(Known
Wakan
11th Centurv.
in.
Roei-shu Anthology.
as Ota-gire).
ll's
in.
64 Fragment of Sanju-rokunin-shu
(Anthology of Selections from Thirty-six Poets,
8%
in.,
W. 15%
known as
H. 7'/in., W.eViin.
Mr. Tsusai Sugawara, Kanagawa.
63 Fragment of Sanju-rokunin-shu
(Anthology of Selections from Thirty-six Poets,
known
Ishiyama-gire).
in.
as Ishiyama-gire).
17th Century.
Calligraph by Koetsu, Painting by Sotatsu.
H. 13'/in., W.27yin.
National Museum, Tokyo.
SCULPTURE
The clay
ture
figures
made
dhism
(c.
3rd
native art
mound age
style
to 5th Centuries).
They are
into
type of
During the Asuka and Hakuho periods (6th and 7th Centuries) many excellent Chinese works
must have been brought
were made by Chinese
to
Japan
artists in
either directly
Japan. Japan
is
of these centuries.
all
to
of the existing works are of wood, often lacquered or colored. Prior to the 13th Century,
Japanese art in general reflected a court civilization centering around the two old capitals of Kyoto
built
and
divinities
sculptors' guilds
were constantly
at
work
court rank for the repose of their dead mothers, fathers, husbands.
duction, statues which in the early
now made
number
of a
was created
known
samurai
class.
This new
works of the
Kamakura
late
period.
civil
style, side
later restored
by
style, three
Asuka
The
Temples
in the
To
cities.
at the
two
the
in these
in
Muro-
Japanese sculpture.
Haniwa clay
the
figures,
H.29y8in.
National
Museum, Tokyo.
Saidaiji (temple)
Girl).
H.6liin.
Mr. Masanari Matsubara, Tokyo.
H. 5% in.
Mr. Masanari Matsubara, Tokyo.
12th Century.
divinity,
7th Century.
One of the two attendants of
of the Golden Hall.)
Bronze, gilded. H. 24 in.
Amida Nyorai
Sanskrit: Vaisravana).
Sanskrit: Avalokitesvara).
Horyuji (temple)
Wood,
Museum, Tokyo.
in.
75 Eleven-headed Kannon.
in.
National
divinity,
Sanskrit: Bhaisajyaguru).
9th Century.
in.
12th Century.
in.
Nara.
Sanskrit: Yajirapani).
in.
72 Torso of Buddha.
MASKS
Gigaku was originally a Chinese dance performed
This dance was often performed
8th Centuries).
tion
number
were formerly
in the
to
Japanese court during and after the Nara period (7th and
in Horyuji, oldest of
The
three other
the
Two
in
Museum where
monastery
in
they are
now
treasured.
Bronze Buddha.
as
Bugaku was
also introduced
it
dance of India and Chinese Turkestan with that of China. Japanese court nobles were familiar with
Bugaku
as early as the
earliest existing
masks for
this dance,
its
origin in the
The
is
actors
more
like the
modern drama.
The
earliest
6th-7lli Centuries.
16th-17th Centuries.
colored.
Wood, colored
Daikof u
L.
Wood,
2 Riivishi: L.
National Museum, Tokyo.
8th Century.
Wood, colored.
a Suiko-o: L. IT'/k
b
c
temple)
in.
in.
W. 9% in.
Konron: L. 151/4 in., W. 11 in.
Baramon: L. 11 in., W. 8Vi in.
Todaiji
this
in decline.
was from
16th-17th Centuries.
in.,
Buaku:
6% in., W. 5% in.
7%
5% in.
L.
2 Usobuki L.
in., W.
National Museum, Tokyo.
:
Nara.
12tli-13th Centuries.
Wood,
colored.
a Chikyu: L. 8%
b Sanju L. IQiA
W. 61/4 in.
W. 81/4 in.
Shin Toriso: L. 8% in., W. 6VNasori: L. 7% in., W. 6% in.
:
in.,
in.,
),
in.
Nara.
METAL WORK
Dotaku (bell-shaped bronzes) are the most ancient objects
have been made about or even prior
dhist ceremonial
to the 1st
in the exhibition.
86 Dolaku.
About
1st Century B. C.
Excavated at Muko-yama, Ibaraki, Higashi
Uchihara-mura, Hidaka-gun, Wakayama-ken.
H. 32% in., W. UVh in.
National Museum, Tokyo.
87 Mirrors. 12 Pieces.
llth-12th Centuries.
Bronze. D. 4'/:. in., SVa
90 Mirror.
*
13th Century.
Bronze. D. 9 in.
91 Ashiya:
* Type of kettle
in.
15th Century.
Iron. H. 914
of a shape
in.,
known
as Shin
D. of body: IOI/4
formal
in.
in
12th Century.
Bronze, gilded. H. 11 Vi in., W. 12i/s in.
From the ornament inside the Main Hall of the
Chusonji (temple), Iwate.
to
92 Ashiya:
Kettle of shin shape, used in tea ceremony.
16th Century.
Iron. H. 7V4 in., D. of body 914 in.
Design of pine and plum trees.
:
National
Museum, Tokyo.
95 Mirror.
93 Hanging l^antcrn.
National
Museum, Tokyo.
94 Sutra Box.
*
Century.
Bronze. D. 9 in.
I.ate 16th
7%
Yohoji (temple)
Iron.
in.
Kyoto.
in.,
D. of
mouth
1/16
in.
ARMOH
The
three suits of
and
Cuirass.
in.
in.
SWORD MOUNTINGS
The sword mountings and sword cases are varied
in
to the
which they were made. Examples of ceremonial swords from each period are present
bition, the earliest
10th Century.
Gilded, with designs in openwork, nacre inlay
and gokl lacquer niaki-e L. 40% in.
National
in this exhi-
periods in
44V2
and peonies
in.
Museum, Tokyo.
16th Century.
(;ii(led,
in
14th Century.
Cilded
silver,
in relief.
L. IS'/s in.
cloisonne. L.
.Scabbar<l of
37'''>(
in.
8lh Century.
made by Somin.
Mr. Moritatsu Hosokawa, Tokyo.
.Metal accessories
L. ISVi in.
38%
19th Century.
22%
in.
in.
SWORD FURNITURE
Sword furniture
is
Noh masks
later
It
was produced
in the late
represent the best of Japanese sculpture from the 16th Century onward, so does
sword furniture represent the masterpieces of metal work during this same time. Works
bition are representative of the most
in the exhi-
schools.
114 Guard.
109 Guard.
Bishamon-ten
different colors.
and
Inscription: Yasuchika.
Inscription:
115 Guard.
*
110 Guard.
Inscription: Yasuchika.
Longer D.
in., shorter D. 3^/^
3%
in.
2%
116 Guard.
*
Ill Guard.
Early 17th Century.
Inscription: To-u.
in
openwork and
inlay.
112 Guard.
Early 18th Century.
Iron. Square-shaped, with design of Omori Hikoshichi
(warrior) in relief and inlay of gold, silver and
shakudo. 3 in. square.
Inscription: Toshinaga.
Mr. Masahito Kiyota, Kyoto.
113 Guard.
18th Century.
Brass. Square-shaped with rounded corners, with
design of a man collecting scouring-rush in relief
and overlay of metals of different colors.
Longer side 3V2 in., shorter side 2% in.
Mr. Tomijiro Miyazaki, Kanagawa.
in scabbard).
3%
in.
118 Kozuka.
*
4.
Menuki.
1%
in.
(a) Yoshino. L.
(b) Tatsuta. L. \V-2 in.
(a)
(b)
2.
in.
Kozuka. 2 pieces.
(a)
Yoshino. L.
(b)
Tatsuta. L.
3.
Kogai (pins
121 Guard.
3% in.
3% in.
for
trimming
(a)
Yoshino. L.
W\
(b)
Tatsuta. L.
81/4 in.
hair). 2 pieces.
By Kano Natsuo.
Longer D. 2% in., shorter
Nezu Museum, Tokyo.
in.
1). 21/4
in.
LACQUER ART
Lacquer
Kamakura
period.
is
in the
Among
drums,
in the
etc.
we
in particular, as
in
Maki-e
16th Century.
12th Century.
Front pommel: H. 13 in., W. 15 in.
Rear pommel: H. 15 in., W. 19 in.
12.S
*
in
Maki-e.
Century.
L. 9 1/16 in., W. 11% in., H.5%
National Museum, Tokyo.
17th Century.
Saddle: H. 10%
-
16th
(>ainellia Trees.
Onlury.
10%
in.,
W. 13%
(>rasses
in.
in., W. 16 Vs in.
W. 5% in., H. 10% in.
National Museum, Tokyo.
Stirrups:
1.5th
in.
L. 281/4 in.,
National
in nacre inlay.
in.,
H.
Kama-
in.
in the
(gold lacquer).
13th Century.
L. lOy* in., W. 13% in., H. IV^
National Museum, Tokyo.
following
9%
in.
in
Maki-e.
X'.V.i
Drum
131
17lli (.ciilurv.
17lh Century.
in.,
National
i;i2
29
L.
W.
in.,
13
in.
Museum, Tokyo.
(d)
Century.
11. 22'- in., L. IVYs in., W.
National Museum, Tokyo.
.Sfiiali
round fans.
17lh (icntury.
12%
in.
II.
in
10
Nali<iiial
(.ERA MIC
ceramic wares
desif^ii of
>ijier.
17lli
Among
Pieces.
l)i)(ly
11.25%
.i
L. 18'V, in.,
W.4''Nin., ll.SViin.
Iloinina iMusciiin, Yamafiala.
Drum
(a)
3%
in.. 1).
in.
Museum, Tokyo.
ART
in the
8th and 9th Centuries Japan had glazed pottery (lead glaze) under the influence of the Chinese
T'ang
art.
But
it
was
after the 14th or 15th Century that fine pottery pieces of artistic value
came
to
he produced in Japan. Exhibited are good specimens beginning with the Seto ware.
in
and after the 16th and 17th Centuries, and wares of peculiarly
came to be made
in
ceramic manufacture centers. Famous pieces among these wares are on exhibit, such as Karatsu
ware,
works of such
1.34
artists as
Pot.
Century.
Old Seto ware. Yellow glazed,
with engraved design of peonies.
H. 10% in., D. of body: 11 in.
National Museum, Tokyo.
17th Century.
Black Baku ware. By Donyu. Named: Tamamushi.
H. 3V4 in., D. of mouth: .5 in.
Mr. Masatoshi Okochi. Tokyo.
14tli
Pot.
17lli
Century.
14th Century.
.Selo ware. Brown glazed,
with engraved design of tree leaves.
H. 1114 in., D. of body: 7Vi in.
Old
Cray
17th Century.
E-garatsu ware.
H. 61/4 in.. D. of mouth: 3-H
in..
D. of base: SVi
in.
in
Shape of Flower
Petals.
Century.
Kakiemon ware. Design of flowering grasses
I81I1
<ivergla/,e
H.
11%
enamel
in.,
in
colors.
D. of mouth:
10%
in.
Small Bowl.
17th Century.
Green Orihe ware. Engraved design of
H. 2Vs in., D. of mouth: 6'-l> in.
Mr. Kan-ichiro Morikawa, Aichi.
18lh (Century.
man
ridinj; horse.
144 Bowl.
Ontiiry.
01(1 Imari ware. Design of Dutch ships in
overglaze fiolil and enamel colors.
H. 4 in., D. of moulh: 13''i in., D. of base:
18tli
6%
in.
in.
Jar.
Ontury.
By Nononuira Ninsei. Design of moon and
plum tree in overglaze enamel colors.
17th
II.
liy,
D. of body: lO-'^
in.,
in.
Museum, Tokyo.
National
in
5 Pieces.
By Kenzan. D. 6% in.-6V-!
Nezu Museum, Tokyo.
in.
in.
TEXTILES
The
from the Shoso-in Repository date from the 7th or 8th Century.
show
Museum from
now belonging
to the
Shown
here, besides these ancient fragments, are representative pieces of costumes of different
periods and of all sorts of textile techniques: weaving, dyeing, embroidery and gold-leaf im[)rint.
155 Kosode.
in the
National
18th Century.
White silk crepe, with design of screens and
resist dyework
in yuzen dyeing
H. 66V-.. in., W. 50 in.
Daihiko Institute of Textile Art Research, Tokyo.
hawks
Museum, Tokyo.
14th Century.
2 Pieces. -Silk, with design of sanimaya-gyo
156 Kosode.
18th Century.
Light blue silk, with design of Fight .Scenic \'iews
in Onii in yuzen dyeing. H. 66'
in.. \\
55 in.
Daihiko Institute of Textile .Art Research, Tokyo.
llyozu Jinja
152
Priest's
<
shrine
),
W. 12%
in.
34V-! in.,
W. 11%
;>
in.
Shiga.
Robe.
11.
48
in.,
W. 47
While figured
in.
in
in tsujifidluinii-zoitie.
White figured
II.
71 'j
National
1.54
sleeves).
silk.
W. 491/+ in.
Museum, Tokyo.
in.,
1.59
Katabira
(summer
coslunu-).
18th Century.
in.
160 Katabira.
19tli
Onliiry.
18th Century.
Silk covered with gold leaf, with design of
autumn grasses in embroidery.
19th Century.
Black silk, with design of symbols of riches.
18th Century.
silk, with design of autumn gra>ses
gold-leaf imprint and embroidery.
H. 611/j in., W. 51 in.
While
in
Ked
18th Century.
Scarlet velvet, with design of flowering grasses
and puppies. L. 153 in., W. 10V-> in.
National
Museum, Tokyo.
National
Museum, Tokyo.
167 Obi.
19th Century.
silk, with design of diagonal squares and
in embroidery. L. 173 in., W. ll'Yt
Purple
chrysanthemums
National
in.
Museum, Tokyo.
DOLLS
There are many kinds of Japanese dolls: Gosho Ningyo, figures of lovely children; Saga Ningyo,
wooden
dolls carved
in
dolls with
fine ex-
19th Century.
of the Temmei era." H.
Ascribed to Daihachiro.
"Dandy
2%
in.
(royal-gift doll).
in.
Museum, Tokyo.
II. 3V-;
"Young
National
piper." H. 9
in.
Museum, Tokyo.
dolls
made
in
Nara City).
(dolls with
movable limbs).
in.
Girls' Festival in
March.
?1 #.
'V ;i. gp
H- iS -(^
ffc
jei -^r
-^
4^
iW
ft i*
PI
>'^
4i
i
Jt #a
#1
-^
i*
:f
11
e.
"^
^
^
8th Century
PAINTING
EMMA-TEN
(YamaJ
12th Century
Fl
GEN BOSATSU
(Samanlabhadra)
12th Century
ICHIJI
KONRIN
(Vairocana)
12th Century
ARUATS
12tli
Century
10
JIZO
BOSATSU
(Ksitigarbha)
\M\ Cenlury
^
i!^'
^/T.
8
^ ^
li^.
BISHAMONTEN
CFfliVato/iaj
13th Century
13th Century
13th Century
i!
1
i
.^
J^^-'^
1
12
COURT GUARDS
IN
EQUESTRIAN TRAINING
I
13th Ceniury
14
SCROLL OF
L()\(-\()>K1)
plm
f
(.()]!l.l\
l.llli
CcnliiiN
."^
^/
.:
"*
,.
15
13th Century
16
17
IN
14th Century
14th Century
"h /^
-i
V'
^- ^r ^^
t
71
;*
IM^
18
PRIEST KENSU
By Kao Ryozen
..
14th Century
20
LANDSCAPE
Altrilnilfd to Sliiihim
lolli
OiUiirv
4>
/X.^^V'v.
24
2S
SUMMER LAN
BySesshu
1-1
W\.
15th Century
Kano Motonobu
16th Century
22
k\\ \\,\()\
By No-Ami
I!()>\T>1
iAvuloLitv.suint)
15th Century
21
25
Sliilsusai
16tli (ientiiry
loth
Ontury
>
^
26
llAWkS
28
B) Se>M,n
16th Century
Attributed to
Kano Eitoku
17th Century
26
HAWKS
28
BySesson
16th(.,niiir>
Atirihut.a
to
kaim
i;ii,,ku
ITih
Ccutun
30
35
I8th Cciiuii>
By Sakai Hoitsu
19ih Century
29
32
WESTERNERS
IN
AUTUMN CRASS
JAPAN
17th Century
By Ogata Korin
17th Century
3;^
\M)--(
\l'i;
\T l,\Ki:
IISI
18th Century
W.--^
31
SCENES ON AND B A (K
ol-
I'HE
STAGE
ViimImh,-,!
lli^lnk.iua
^^'
M.u
.1mi
I7i1i (..ni
-!4^U^'''
34
SNOWY LANDSCAPE
.31
By Matsumura Goshun
18th Century
Aiirihiiua
i..
lli-lnkaua M.unnoLu
i:il,
<
.miui)
41
WAVES
By Maniyama Okyo
18th
Centun
41
WAVES
By Mariiyama Okyo
18th Century
65
38
YVIMA
Calligraph by Koetsii
17th Century
(Vimalakirti)
By Ogata Korin
18tli Ceiitur\
'
"^
Rk
iii
wmfc^*<
^\^^
'^>
ij-.
T'
't'-'
1^
37
WISTAKIA
IN
BLOOM
By Honnami Koho
.i6
l'Ul'l'IK.>
By Kitagawa Sosetsu
17th Century
17th Century
47
GRAPES
By Tachihara Kyosho
44
LOTUS FLOWERS
By Sakai Hyakusen
49
18th Century
19th Century
19th Century
MORNING
U>
Sl'NNY
45
LANDSCAPE
IN
IN UJI
SNOW
By
A-.ki M..lsMl)ci
By Yosa-no Buson
lyih Cfiiiiiry
I81I1 C.-ntiiry
40
GROUP OF COCKS
By
Ito
Jakuchu
18th Century
43
PEACOCK
By Yamaguchi Soken
18th Century
-t
i^ ff
-f
i^
it ^.
48
>^.
j-1
LANDSCAPE
By Nagasawa
IN
MOONLICHT
Rost-Isu
I81I1
Ccniiiry
#A
^
.-*>
A.
i^ j^
-^"
J^
;i
-^
42
^ ^^
19th Century
^^
^ i
!l
39
IN
52
By
Siiniiyo>lii dikt-i
17th Century
18th Century
54
DRESS
18th Century
55-1
SCENE OE YOSHIWARA
By Hishikawa Moronobii
18th Century
55-2
Kaigetsiido Dolian
18th Century
53-11
18th Century
55-16
A COQUETTISH TYPE
By Kitagawa Utamaro
55-21
Toshii.sai
Sharaku
19th Century
19lli
Century
35-35
ONO WATERFALL
By Katsushika Hokusai
19th Century
55-51
SlIOWKK AT OMASIll
Ando Hiroshige
19tli
BKII)(;K
Century
t^
-Vk
v1^
^ r
-^)k.
-^
m- y^^
*
,5.
rt
6'']
if
i.
1'-
t^f/
}"'
J-*
^
J
&1fc
-^
U
rR
<^
r
^t
-1
'
J 1
^
1
i5-~
a|s!^
3^
^^
-^^
1(^
^
.ft/-til^
'
5
in
1
"=1
^^*\
X.
^ ft
fit
-* 4^
In
,S^
^>
'^
^^C^
^p;]-
-^J^-
^-^
c
/
1 '
'A
-7'/
-4-
^f
*'^
>-
t
^v.
3x-
.:^1
7i
&7U
4VV
it
.^
.-^^
f'l
fit
:i
^-i^c ^T
i^
*/i
-^
^
56
KONKOMYO-SAISHOO-KYO SUTRA
8th Century
58
HOKEKYO SUTRA
12th Century
60
CALLIGRAPHY
Ontury
'r
63
62
Aiiributed
to
12th Century
Minamoto-no Toshiyori
12th Century
69
(Hen)
SCULPTURE
66
67
Hcid
oj a nirl)
(Man)
70
KWANNON BOSATSU
( Avalokitesvara)
7th Century
72
TORSO OF A BUDDHA
8th Century
71
HEAD OF A BU>Ai>l
(
74
YAKUSni NYORAI
(BaisajyaguruJ
9ili
Cciiiury
Bodhisattva)
8th Century
76
TAMON-TEN
(VaisravanaJ
12th Century
77
SEITAKA DOJl
(Cetaka)
13tli
Ontury
78
KOW.O
R\K\S\\l
(I
ajirapani)
13th O-nlury
80
GIGAKU MASK
7th Century
81
GIGAKU MASK
8th Century
GIGAKU MASKS
81
(;IGAKU
MASK
8th Century
80
GIGAKU MASK
7th Century
BUGAKU MASKS
83
NOH MASK
Ko-Omoie
16th-17lh Century
82
BUGAKU MASK
82
Shin Toriso
BUGAKU MASK
Chikyii
12th Century
12th Century
NOH
KYOGEN
MASKS
and
83
NOH MASK
Myoga Akujo
16th-17th Century
83
NOIl
MASK
Limn;
16th-17th Century
84
KYOGEN MASK
16th-17th Century
Buaku
84
KYOGEN MASK
16th-17th Century
Us<)l)uki
METAL WORK
85
DOTAKU
(Bell-shaped bronze)
First
Century B.C.
88
94
SUTRA BOX
KEMAN
12th Century
16ih Century
87
91
ASHIYA KETTLE
FOR TEA CEREMONY
15th Century
96
17th Century
97
ARMORS
(Purple lacing)
13th Century
98
99
CUIRASS
(Dark-blue lacing)
16th Century
SWORD FURNITURE
I
t
100
101
13th Century
W
105
SWORD MOUNTING
(Uchigatana type)
108
SWORD MOUNTINC;
Koshigatana
ly,>e)
JOth Century
17th Century
19ih Century
^v:>^^^ij^f,
106
107
^
SWORD MOUNTING
SWORD MOINTING
(Wakizashi type)
19th Century
s-Ji
(Katana type)
19th Century
115
SWORD (UIARD
I81I1
By Yasuchika
Ontiiry
113
SWORD GUARD
SWORD (;UARD
17th Century
By Umetada Myoju
SWORD GUARD
By Umetada Myoju
18th Century
17th Century
119
110
110
By Yasuchika
By Yokoya Somin
18th Centuiy
121
SWORD GUARD
By Kano Natsuo
19th Century
114
SWORD GUARD
By Yasuchika
18th Century
120
SWORD GUARD
Carved by Goto Ichijo
I'Jth
Century
120
SWORD (;UARD
Carved by
(Joto Icliijo
I9tli
(!enlury
LACQUER
ART
123
127
LACQUERED SADDLE
AND STIRRUPS
17th Century
122
124
13th Century
16th Century
125
16th Century
128
129
16th Century
LACQUERED CHAIR
WITH DESIGN
OF CHRYSANTHEMUMS
16lh Century
148
Ninsei
17th Century
CERAMIC ART
135
14th Century
134
M;1.I.()\\
14tli
(,I,\/,|;|)
Century
pot
old Seto
ivarej
138
(Oribe ware)
17th Century
i\\.M'\'\
B'^^^'^'J^s
137
SQUARE BOWL
Oribe ware)
17th Century
136
(Shino ware)
17th Century
^T*'
139
17th Century
140
141
ware)
17th Century
By Do-nyu
144
149
PORCELAIN BOWL
By Kenzan
18th Century
17th Century
146
149
17tli
By Kenzan
Century
17tli
Century
143
142
(Nabeshima ware)
PORCELAIN BOWL
18tli
Century
(Kakiyemon ware)
18th Century
150
7th-8th Century
TEXTILES
154
16th Century
-^p^-:^.
162
NOH KOBE OF
KARAOKl TYPE
17th Century
166
(Sash)
18th Century
171
PRINTED
IN U.
S. A.
BY
H. S.
CROCKER
CO., INC.
19tli
Century
J.
MANN
CO.,
SAN FRANCISCO
s\-^^
^ss^m-^