BackNo.43
JULY 1935
OLD DOCUMENTS CONCERNING MU-CH'I'S PAINTINGS.
BY SHIN'ICHI TANI
(On the Apprecaition of Chinese Paintings in the Kamakura and Ashikaga Periods. Part I.)
A large number of Chinese paintings was introduced into this country in the Middle Ages. We cannot point out precisely that such and such a painting was imported by such and such a person; all we can say is that the peirod during which Chinese pa'ntings were brought over may be divided into three stages, following the development of Zen Buddhism in Japan. The first stage covers the Kamakura period, the second the early Ashikaga, and the third the middle Ashikaga period. For a list of namnes of Chinese painters whose works were imported during the Middle Ages, the index of Chinese painters in the "kundaikan Sayuchoki" (Comments on Ashikaga Yoshimasa's Art Collection) would be of help. For the study of some individual paintings various documents of the above-mentioned periods are avaiable.
Relying on descriptions given in old doocuments, the writer is trying to elucidate in which way the Japanese appreciated Chinese paintings in the Middle Ages. His unique study beings with an exhaustive investigation of the documents concerning Mu-chi'i's paintings.
BUDDHIST IMAGES HANGING ON THE WALLS OF THE HOODO THEMPLE.
BY KISAKU TANAKA
In the preceding issue the writer described the present condition of the Buddhist images hanging on the walls of the Hoodo temple and dealt with the tecniques of their carving. In the present number hi discusses the style of these images and the question of their date.
If we ignore those images which were apparently made in the Kamakura, Ashikaga and Meiji periods to fill vacant spaces. and closely examine the remaining 38 images we find we can classify them under two groups: one the rich, full type of the heigh of the Fujiwara style, the other the slender type of a later generation.
Bearing above in mind, Mr. Tanaka suggests that not all of the images belonged originally to the temple. He thinks that some of them were transfered by chance to the Hoodo from other temples which were built later than the Hoodo.
P1. I,II & XI. Assemblage of Patrons of the Kusha Sect.
Painted on Silk in Colour. Mounted a Kakemono.
Size: H. 172 cm., W. 176.3 cm.
Property of the Todaiji Monastery, Nara.
The picture in questing a Sakya triad in the center,four Deva Kings at the corners, Ananda, Kasyapa and other patrons ot the Kusha sect atound the Sakya triad, is an example of the so-called Soshi-Mandala which represents the patrons of a Buddhist sect.
Stilistically speaking, this picture is full of the traditions of the Buddhist painting of the Tempyo period. Yet we cannot deny the influence of the Sung style, so this painting is most likely a product of the late Fujiwatra period.
It is woth noticing that the Sakya triad represented in the Hokkedo Kompon Mandala in the Boston Museum, and that the type of Deva Kings is similar to the images painted on the panels of the doors of a miniature shrine, which was formery in the possession of the Kaidanin temple of the Todaiji monastery.
P1. III. Image of Amitabha in the Hoodo Temple.
Sculpture in Wood.
Height of the Figure only, 2.948 m.
Height of the Pedestal, 1.485 m.
The imposing image of Amitabha enshrined in the Hoodo temple is ascribed by tradition to Jocho, and though we have no literary evidence confirming this tradition, it should not be denied without discrimination. The image, seated on the ten storied pedestal and adorned with the halo decorated with figures of playing and danching apsaras, is full of the majesty and grace worthy of the great jocho.
P1. IV. "Tenjin" in Sung. By YOGETSU
Painted on Pater in Ink. Mounted as Kakemono.
Size; H. 85.5 cm., W. 22.7 cm.
Property of the Taizoin Monastery, Kyoto.
The paintings of the Ashikaga period are, with a few exceptions, products of chance from the hands of zen priests of artistic bent.
Yogetu is reported as one of the priests of artistic inclinations. In his paintings there is a loftiness of mood, a subtlety and distinction in the handling of the brush, showing that he was a painter of uncommon talent. To our regret, however, the records about his life are far from authentic.
P1. V. A Sage enjoying the Moon-light Night. By OKAMOTO TOYOHIKO
Painted on Silk in Colour. Mounted as a Kakemono.
Size: H. 105 cm., W. 40.8 cm.
In the Collection of Mr. Minoru Otsuka, Tokyo.
Okamoto Toyohiko was born in Bizen in 1773 and died in 1845, the second year of Koka. He studied under Matsumura Goshun, the founder of the Shijo school, and proved to be the most talented among his desciples. He was above all skilled in landscape painting.
It is worth noting that practically all the painters of the Shijo school found their favorits subjects in a nocturnal atomosphere under the moon-light. The present picture, which is no exception to the above statement, gives a lovely impression of the tranquillity of a moon-lit sea-shore.
P1. VI. Priest Yunmen-Wenyen in Conversation.
P1. VII. Priest Chinliang-Weni in Conversation. Painted on Silk in Colour. Mounted as Kakemonos.
Size of each Painting: H. 78.8 cm., W: 33 cm.
Owned by the Tenryuji Monastery, Kyoto.
We introduced in No. 3 of our publication "Tungshan wading a brook." a Chinese painting attributed to Ma Yuan in the possession of Mr. Toyozo Tanaka, Tokyo. The paintings reproduced in the present issue are also attributed to Ma Yuan, and the handwriting of sans written on the upper part of each painting and the seals stamped on them are exactly the same as those on the painting in Mr. Tanaka's collection. So these three paintings are believed to be part of the set of paintings representing peculiar traits of the ancestors of the five sects of Zen Buddhism.
As we stated on the previous occasion, these pictures may with reason be attributed to Ma Yuan from the stylistical point of view; and, jidging by the seal stamped on each painting, we can assume that they came from the Imperial Court of the Shouth Sung Dynasty.
P1. VIII-X. Wooden Images Hanging on the Walls of the Hoodo Temple.
P1. VIII. Image "north, No. 9." H. 74.4 cm.
P1. IX. (Right) Image "South, No. 13" H. 54.3 cm.
(Left) Image "North, No. 3" H. 60.8 cm.
P1. X. (Right) Detail of the Image "North, No. 1" H. 71.6 cm.
(Left) Derail of the Image "South, No. 3" H. 63.7 cm.
To show an example of those which can be classified among the works of the late Fujiwara period and are supposed to have been transfered from some other temples to the Hoodo, we reproduce on P1. VIII the image "North, No.9." Two examples of fighres replaced in later periods are shown on P1. IX Image. "South, No. 13" presents the realistic style of the Kamakura period, the image "North No. 3" was probably made on the occasion of the extensive repairing of the temple in the Meiji era. P1. X shows the faces typical of the style of the main Fujiwara period.