BackNo.41
MAY 1935
SCROLL-PAINTING OF "LADIES PREPARING NEWLY WOVEN SILK," COPIED BY THE EMPEROR HUI TSUNG (CHINESE 1082-1135) AFTER THE ORIGIAL BY CHANG HSUAN
By Prof. YUKIO YASHIRO
Scroll-painting of "Ladies Preparing Newly Woven Silk" owned by the Museum of Fine Art, Boston, is one of the greatest of Chinese figure paintings ranking side by side with "Admonition to Court-ladies" (the British Museum) which is attributed to Ku Kai-chih. Its supreme elegance, combined with gorgeousness, never fails to enchant its beholders. The writer, reimpressed by this work during his recent stay in Boston, has made a minute research of the work.
"Ladies Preparing Newly Woven Silk" is a scroll-painting of 37 cm. by 145.3 cm., picturing twelve beauties working at newly woven silk, some pounding and some sewing. Touches of utmost delicacy are used to delineate the dainty features of the ladies as the patterns on their dresses. The rich colouring, rich but quiet, as becomes an antique painting, and the extremely skillful brushwork at once convince us of the fact that this painting is incomparable in the whole range of Eastern painting.
How much this scroll-painting was valud by successive generations is shown by the title of the scroll weitten inside it, by the many inscriptions and seals added to the painting, aw well as well as by literary works referring to this great work. The title inside the scroll was weitten autographically by Chang Tsung, Emperor of Chin, and his seven seals denoting his ownership and appreciation are most remarkable.
This title written by the Emperor Chang Tsung furnishes a strong basis for the assertion that the painting was copied by the Emperor Hui Tsung after the original by Chang Hsuan, the famous painter of female beauty in the T'ang period. Chang Tsung, coming to the throne of Chin sixty-five years after the death of Hui Tsung who died a prisoner of the Chin Court, was deeply impressed by the latter's personality and art. Chang Tsung studied Hui Tsung's style in calligraphy so much that their handwriting can scarcely be distinguished from each other's. There existed such a close relationship between the two Emperors, who are moreover not very far apart in date, that it may be reasonable to believe Chang Tsung's opinion that the present picture scroll is Hui Tsung's copy of a T'ang original by Chan Hsuan.
Digressing from the piont, the writer states that similar as the handwriting of Chang Tsung is to that of Hui Tsung, each has its own characterisrics. Basing his idea on these characteristics, the writer tries to attribute the large sized inscriptions at the end of Ku Kai-chih's scroll "Admonition to Court-laidies" in the British Museum to Chang Tsung, though tradition tells us that it was by Hui Tsung.
Coming back to our subject, the strongest ground for concluding who the real painter of the picture may be, depends on the style itself. At present only a few pictures remain which can without doubt be attributed to Hui Tsung; yet, comparing this one with those few, the present scroll-painting may safely by considered to be by the same hand, with its touch of elegance and extreme delicacy. Thus the stylistic attribution coincides with the title written by Chang tsung himself.
Lastly, the writer discusses the relation of this copy by Hui Tsung with its original by Chang Hsuan. It is impossible to decide whether the original was really by Chang Hsuan or not, since there is no authentic painting by Chang Hsuan known to exist. All we can definitely say is that the original must have been a good T'ang painting. This picture, done after the T'ang painting and also done with Hui Tsung's own interpretation and technique, at once furnishies interesting material for the study of T'ang painting and also of the individual genius of Hui Tsung. The peculiar charm of this painting is due to the fact that such a beautiful work of the classical period of T'ang was copied by such a sensitive artist of the Sung Dynasty as the Emperor Hui Tsung.
STUDY ON THE PAINTINGS OF "BODHISATTVA SAMANTABAHDRA WITH THE RAKSASI"
By MASUTO TOYOOKA
The so-called paintings of "Bodhisattva Samantabahdra and Ten Raksasi" belong to the Buddhistic painting, which pictures Bodhisattva Samantabahdra, who, mounted on a white elehant with six tusks, appeard over the white cloud-according to Saddharma Pundarika Sutra, this being his usual way of coming down to the world in protection of the worshippers of the Sutra-surrounded by the company of the Raksasi. Sometimes Bodhisattva, guardians, and boy attendants are added to the company.
Though according to the Sutra those Raksasi are a kind of deity who pritect the worshippers of the Sutra, no basis is found in the Sutra for painting them together with Bodhisattva Samantabara. More than this, while it is unusual to paint adorable goddesses in the form of actual women of the time, the Raksasi are shown in those paintings in the attire of Japanese court-ladies of ancient time. Probably some peculiar circumstances must have existed in the formation and circulation of this kind of painting.
Among the remaining paintings of "Bodhisattva Samantabahdra and Ten Raksasi" is one owned by Mr. Takashi Masuda(illustrated on P. 10), in which there is a beautiful Yamato painting of Raksasi dressed in Japanese style, surrounding Bodhisattva Samantabahdra in ah attitude of praise. Besides this important work, the writer indicates four more pictures of Raksasi in Japanese dress, including the one owned by the tokyo Imperial Art School (P1. XI).
Another impirtant example is a painting owned by Joninji Temple. In this picture are painted Rakasasi in Chinese dress, together with guardians ahd attendants. The whole pictue is so designed as to make us feel as if it were marching toeards us. According to the weiter, threr exist as well several paintings, including the one in the possessiion of Daifukuji Temple, to serve as examples of Raksasi in Chinese dress.
The existing paintings of "Bodhisattva Samantabahdra and Ten Raksasi" were for the most part produced in and after the Kamakura period. Judging from various literary works, however, it is clear that the subject was already prevalent in the Fujiwara period; and that the painters of the time often laboured on the subject in compliance with women's requests.
Indeed, in the days of Fujiwara the creed of Saddharma Pundarika Sutra was so strong in the minds of people as to yield numerous masterpieces of "Bodhisattva Samantabahdra." Besides, the doctrine appealed more to the female sex because it emphasized the possibility fo their attaining Buddhahood. There was also a tendency for Buddhism itself to be treated as a kind of hobby. Those peculiar circumstances probably gave birth to the paintings of "Bodhisattva Samantabahdra with Ten Raksasi," especially Bodhisattva Samantabahdra surrounded by Raksasi in Japanese dress. In other words, ten Raksasi placed around the adorable Bodhisattva Samantabahdra seem to symbolize real Japanese ladies of the time and thus reflect the peculiar type of belief in the Fujiwara period.
Evidently, a canon was set up in the early part of the Fujiwara era stating the rules for the form of Raksasi. According to this canon, they were to be dressed in Chinese style. Yet we have an example of the painting of Raksasi in Japanese dress produced in the Fujiwara period found in the picture in the inside of the cover of the Sutra which was dedicated to Itsukushima Shrine by the Heike family (illustrated on P. 14). Taking into consideration the above-mentioned opinion of the writer that those peculiar beliefs of the religeous circle of the Fujiwara period supplied motive for painting Raksasi in Japanese dress, we are naturally brought to the conclusion that Raksasi in Japanese dress preceded, and it was in later years that they came to be drawn according to the canon. Moreover as we trace the change of their style, the existing paintings of "Bodhisattva Samantabahdra with Ten Raksasi", nearly endorse the above conclusion.
STUDY OF THE GUILDS OF THE BUDDHISTIC PAINTERS AT NARA OF THE KAMAKURA AND MUROMACHI PERIOD
By Gisho Morisue
The treatise continued from the issue before the last is concluded in this issue, in which will be discussed the relation between the guilds and those shrines or temples of which they were in the service. The relation must be studied separately according to the class of each shrine or temple.
First --- The writer inquired into the circumstances in which each guild served the monastery to which it was exclusively attached. Since each guild had its wages paid by its own monastery, it was its bounden duty to work casually at Buddhistic or any sort of paintings in compliance with the request of the monastery, without special fee except the expences for colour-materials and drawing silk.
Second --- In case of the head-temple Kofukuji, all the work of painting buildings, mending and colouring images, and drawing Buddhistic paintings were left to the partial charge of the guilds. The role each guild was to play in the work was decided according to the influence of the monastery to which it was attached. Thus the rights already acquired by one guild were often forced to be ceded to another guild; quarrels were often caused among the guilds, therefore, about the distribution of the jobs.
The account of the wages paid by Kofukuji Temple and other shrines or temples is given afterwards in the paragraph discussing the economic condition of the guilds.
Third --- In Kasuga Shrine, which had close relation with Kofukuji Temple, the work to be trusted to the guilds was chiefly that of painting the shrine buildings at the time of their reconstruction. At first, the work was solely under the charge of both the Shibaza and the Handaza Guilds, and later it came to be the object of competition open to all the guilds.
Fourth --- In regard to Todaiji Temple, though the earlier stage in unknown, we are informed that after the Muromachi period the above-mentioned three guilds were trusted entirely with the work of painting. Thus the so-called "Guild for Todaiji Temple" means those three guilds combined.
Fifth --- In Horyuji Temple painters from Kyoto had great influence in the early days; yet, in the Muromachi period they gave place to the guilds at Nara.
Lastly --- These guilds had also the privilege of working in numerous other shrines and temples in and around Yamato which were under the influence of Kofukuji Temple. Among the shrines and temples, those comparatively powerful possessed their exclusive guilds. But in most cases, any one of the above-mentioned three guilds exerted power over those of the shrines and temples.
In conclusion, the writer argues about the economic condition of the guilds.Besides the regular income paid by the monastery to which it was attached, each guild received a considerable sum of money in consideration of the labour for Kofukuji Temple or other shrines or temples; an especially large sum was paid in the case of reconstruction. This naturally explains the fact that the jobs in those shrines or temples were so much wished for by all the guilds. Nevertheless, later, in spite of all their income, it was found difficult to maintain the guilds, so they went to the work in other places; and thus the guilds came to lose their special significance.
BUTSU BOSATSU MOKUROKU (IWASHIMIZU HACHIMANGU KIROKU) OR THE CATALOGUE OF BUDDHIST IMAGES PRESERVED IN IWASHIMIZU-HACHIMANGU SHRINE, KYOTO. (PRINTED FROM THE MSS. IN THE POSSESSION OF MR. T. TANAKA, KYOTO)
This is a document about Iwashimizu-Hachimangu Shrine, Kyoto, owned by Mr. Toshihiko Tanaka. The principal part of it was recorded in the third year of Katei (1237). As an historical document it furnishes important material for the study of Buddhistic sculptors.
EXPLANATIONS OF THE PLATES
Pl.I (Colour) "The Ingwa-kyo."
Fragment from the scroll.
Colour on paper. Pasted on board.
Length: 26.2 cm.; width: 9.2 cm.
Collection of Mr. Z. Yasuda, Tokyo.
The present painting is a fragment from the scroll of the Ingwa-kyo, the text and painting of which are composed in the form of scroll-paintiong. This fragment shows a scene from the second volume of the Sutra, in which a sage from the Suddhavasa Heaven is displaying his divine power before Siddhartha. There is another fragment from the same Sutra in the possession of Mr. Yasuda (Pl. XIII). In this picture we see Siddhartha's father, the king, grieving at his son's determination to enter the priesthood. Both fragments are exactly the same in colouring and technique.
Pl. II-IV, IX, & X "Ladies Preparing Newly Woven Silk," copied by the Emperor Hui Tsung.
Sections from the Scroll-painting.
Colour on silk.
Length: 37 cm.; width: 145.3 cm.
Collection of the Museum of Fine Art, Boston.
(See the article by Prof. Y. Yashiro.)
Pl. V "Bodhisattva Samantabhadra with Ten Raksasi."
Colour on silk. Kakemono.
Length: 104.5 cm.; width: 53.8 cm.
Collection of Joninji Temple, Tottori.
(See the article by M. Toyooka.)
Pl. VI "Portrait of Butsuo Zenji."
Colour on silk. Kakemono.
Length: 102.7 cm.; width: 47.9 cm.
Collection of Unganji Temple, Tochigi.
Butsuo Zenji, or Taihei Myojun, was superior of Unganji Temple, who later moved to Jochiji Temple at Kamakura and died at the age of fifty-two in the second year of Kareki (1327). An inscription was added to the portrait in the second year of Teiji (1367), after the death of Butsuo Zenji, Daiki Hokin, superior of Engakuji Temple, in compliance with the request of Priest Settei. The portrait is considered to be painted at no very distant age from the second year of Teiji. Both deliniation and colouring are simple, and also elegant unlike other paintings of the time modelled after chinese paintings.
Pl. VII "Lin Tsi Planting a Pine-tree," by Yamada Doan (d. 1571).
Slight colour on paper. Kakemono.
Length: 81.6 cm.; width: 34.4 cm.
Collection of the Tokyo Imperial Art School.
Yamada Doan, a military man in the latter part of the Muromachi period, was famous as a painter, especially of figures and still life. The present painting treats of an old story thet the well-known Lin Tsi had a dispute with his master Huang Pe as he planted a pine-tree. The imposing figure of Lin Tsi is vividly represented in the picture. The style of the painting is quite original. We may attribute the work in Donan's last years. Nothing is known about Genyo, the writer of the inscription.
Pl. VIII "The Nachi Waterfall," by Taiga.
Slight colour on paper. Kakemono.
Length: 128.8 cm.; width: 57.2 cm.
Collection of Mr. Genjiro Takata, Osaka.
Taiga often visited beauty spots and later represented them in painting. The novelty of his paintings are impressive. Landscape is represented by him in an interesting interpretation. The present painting of the Nachi Waterfall shows these characteristics of his. Though the waterfall in the picture is exaggeratingly broad, the whole appearance of mountains and water are painted very vividly in "Mokkotsu" style (the style of painting without outlines).
Pl. XI "Bodhisattva Samantabhadra with Ten Raksasi."
Colour on silk. Kakemono.
Length: 160.6 cm.;width: 85.8 cm.
Collection of the Tokyo Imperial Art School.
Pl. XII "Bodhisattva Samantabhadra with Ten Raksasi."
Colour on silk. Kakemono.
Length: 84.8 cm.;width: 41.3 cm.
Collection of Daifukuji Temple, Shizuoka.
Pl. XIII "The Ingwa-kyo."
Fragment from the scroll.
Colour on paper. Pasted on board.
Length: 26.2 cm.; width:13 cm.
Collection of Mr. Z. Yasuda, Tokyo.