BackNo.64
APRIL 1937
This summary is compiled by Mr. TAKASHI KATSUKI.
APPOINTMENT OF JOCHO TO THE ECCLESIASTICAL RANK OF HOKKYO
By SHIN-ICHI TANI
The significance of the appointment of Jocho to the ecclesiastical rank of Hokkyo lies in the fact that he was the first sculptor upon whom the high priesthood was conferred at a time when the social situation of the sculptor in general was one of neglect. As a sculptor, Jocho, son of Kojo who was also a sculptor of fame (Consult "A Biographical Study of Kojo", by Shin-ichi Tani. Bijutsu Kenkyu. December 1935), can be regarded as a representative figure in Japanese sculpture of the Fujiwara period.
The sculptures which he spent most of his life in producing and which were housed in Hojo-ji Temple, Kyoto, were completely destroyed by fire in the sixth year of Tenki (1058 A. D.) but fortunately there remains the image of Amitabha of Hoo-do, Byodo-in Temple, near Kyoto, which is recognized as the only extant example of his art today. In this masterpiece we see reflected the graceful style of the contemporary sculpture, but no realistic representation of the Kamakura period has been found as yet.
The origin of Hojo-ji goes back to the founding of Muryoju-in Temple which with another temple became later a part of Hojo-ji. Muryoju-in was originally built by Michinaga Fujiwara (d. 1057 A. D.), the most influential figure in the Fujiwara period, who became a priest the year previous to that of the completion of Muryoju-in in which Buddhist sculptures by Kojo were placed in the fourth year of Kannin (1020 A. D.). Two years later Hojo-ji, including those two previous buildings, was finally completed on a larger scale than had ever been attempted by any temple before. The chronological order of the buildings of Hojolji is carefully set forth in a list which readers will find with the text. These buildings are supposed to have been completely furnished with Buddhist sculptures done by Jocho and to our surprise their aggregated number amounted to about one hundred and ninety-seven; yet, on the other hand, we must remember that Buddhism was in a highly flourishing stage at the time.
Jocho, according to the general belief, was appointed to the ecclesiastical rank of Hokkyo on the fourteenth of July of the second year of Jian (1022 A. D.) when the ceremony for the completion of Hojo-ji was held. However, the writer's latest theory, based on the newly discovered documents in regard to the appointment, is that the ecclesiastical rank of Hokkyo was conferred upon him on the sixteenth instead of the fourteenth of July when the inauguration ceremony of Hojo-ji was held. According to current custom his appointment was to have been announced on the same day. To justify this sixteenth day theory, the writer says that a couple of days' delay in the appointment was quite reasonable because of the following unprecedented reasons: the sculptor's appointment to Hokkyo itself and his achievement in carving an enormous number of sculptures for the Main Hall as well as for the Five Big Halls of Hojo-ji Temple.
Furthermore, the writer's study on the life of Jocho discloses that he as a sculptor had previously been granted the priesthood according to the tradition, as Kojo, his father, had been a priest likewise. Jocho, therefore, being an ordinary priest was already qualified, technically speaking, to te promoted to Hokkyo, higher rank in the priesthood. But this promotion was very difficult for sculptors in general, at the time, even for those who belonged to the priesthood.
The promotion was the result of Michinaga's recognition of Jocho's distinguished services as well as the latter's earnest desire which the writer sympathetically takes into consideration. In view of the recognition, as well as Michinaga's personal acknowledgement of his own power and the materialization of his fervent religious life, symbolized by Hojo-ji and the sculptures, says the writer, it seems to be the immediate conclusion to say that the social standing of the sculptor in general was changed favorably only by this first individual case.
SCROLL-PAINTING "HUNDRED WILD-GEESE", BY MA FEN
By Prof. YUKIO YASHIRO
This scroll-painting of the Honolulu Academy of Arts, Hawaii, was one of the most important and, artistically, perhaps one of the most interesting pieces among Chinese paintings in the International Exhibition of Chinese Art held in London in 1935-1936.
The scroll-painting "Hundred Wild-Geese" is painted in ink on paper, and one of the most interesting features of the scroll is its chiaroscuro, the delicate beauty of which was made possible by the masterly brushwork shown in the gradations of ink on extremely good Sung paper. Ninety-eight wild-geese altogether are successfully represented in a variety of different forms against a most suitable background of reed in the water.
The artist of this work is Ma Fen as the signature of Ho-chung Ma Fen at the end of the scroll shows. The life of Ma Fen is little known excepting the gleanings from the biographies of artists: the Hua Chi by Ten Ch'un and the T'u Hui Pao Chien by Hsia Wen-yen. According to the former Ma Fen flourished in the years 1086-1097 A. D. and later he was made a Tai-cho of the Imperial Painting Academy. The latter tells us that he was the first to be known as a painter with the name of Ma which family later produced many famous painters. A rather severe criticism of Ma Fen is found in the Hua-shih by Mi Fei who wrote that Ma Fen was an artist whose work was good enough to decorate the wall of a restaurant, but unworthy to be appreciated by cultured souls. With all due respect to Mi Fei, the great artist and critic, the present work, in spite of his severe criticism, is not prevented from being recognized as one of the most precious extant works of great Sung paintings.
Can the scroll be recognized as an authentic work of Ma Fen? It is extremely difficult, as a matter of fact, to solve the question with our present knowledge of Chinese painting which is still very insufficient and the final decision should be left until trustworthy works by the same artist are discovered in the future. For the moment, when no standard work by Ma Fen is known, there is no way left for us except to accept as genuine the signature of Ma Fen on the picture, which seems technically inseparable from the rest of the scroll.
Putting aside the question of the signature, is the style of the painting that of the late North Sung when Ma Fen was active? Although it is difficult to speak with any certainty, the writer, in view of the somewhat archaic kind of brushwork, sets the date of the present scroll in the reign of Emperor Hui Tsung (1101-1125 A. D.). At the same time, however, broad and light brushwork which is especially noticeable in the rocks and ground in the picture was most popular about a century later, that is to say, toward the end of the South Sung.
There are two different conclusions to be drawn: either the painting was of the South Sung, in which case the signature was a later addition, or the painting was of the North Sung as the signature shows and the peculiar brushwork, which could not have been fashionable in the South Sung, had already originated at the time of the North Sung. The writer, for the moment, prefers the second conclusion in that the scroll--taking the signature to be genuine--is by Ma Fen.
Regarding the art of Ma Fen both the T'u Hui Pao Chien and the Hua Chi state that he was successful in depicting small landscape. We are also told by the latter that he painted "Hundred Wild-Geese" as well as a series of animal paintings--one hundred of each species--but that their composition was by no means confused. This is entirety true of the present scroll. If we try to judge Ma Fen from the present work, he will not be considered a great artist, but at the same time he was an artist worthy enough to become the progenitor of that famous Ma family, whose descendants were to contribute to the painting of the North and South Sung.
The eight seals of Wu Yung-kuang, a high official of the Ch'ing Dynasty, as well as the writings at the head and the end of the present scroll-painting tell us that it was once in his possession, but for some obscure reason it is not mentioned in the catalogue of his collection. The oldest and most important seal in the picture is the large square one at the beginning of the scroll, which is the seal of the collection of the Chin-wang-fu of the Ming Dynasty.
LACQUER-WARE TREASURED BY THE AINU
By TOMIO YOSHINO
This report is made by Mr. T. Yoshino of the Imperial Household Museum, Tokyo, who visited Ainu families in various places in Hokkaido. Among his discoveries were masterpieces of lacquer-ware of the Ashikaga and Momoyama periods of the fourteenth to the seventeenth centuries. However, as these survivors of a nearly extinct race are scattered throughout not only Hokkaido but also Karafuto (Saghalien), the present discoveries can be regarded as simply a suggestion of the existence of remarkable masterpieces among their collections.
There are about 17,000 Ainus in all Hokkaido, some of whom display their inherited family treasures to visitors. Their houses still stand just as they were in the old days and the arrangement of their art objects which were originally made by the hands of Japanese craftsmen picture to us vividly their daily life of the past (figs. 1 & 2). Their collections amounting at one time to a large number have gradually been diminished by the ravages of fire and flood and recently the additional misfortune of failure of crops has obliged them to sell.
The Ainus acquired these Japanese lacquer-ware objects in the following ways: first, they were brought to Hokkaido by Japanese settlers; second, they were given to the Ainu as a result of the conciliation policy of the then government; third, native products were exchanged for Japanese art objects. The Ainu race was primarily a lieutic one; although they had not advanced very far in civilization the accumulation of art objects was a pursuit in which they found great pleasure and Japanese lacquer-ware was most highly prized. As may be seen in the illustrations these lacquer-ware objects are quite varied and of types mainly used on religious occasions.
Pl. VI Basin with Horn-like Handles.
This basin is lacquered in black and provided with four handles. The principal design is a combination of shells and sea weed and seems to be a distinguished work of the early part of the Momoyama period. Diameter at the top: 31.8 cm.; height: 15.2 cm.
Pl. IX (i) a. On the left. Bowl and Stand.
Both the bowl and stand are decorated with a floral design in red. blue and yellow as well as a geometrical design and stylized cloud pattern. This is the typical Johoji way of design.
b. On the right. Pot.
This lacquered pot is decorated with turtles, cranes and conventionalized waves drawn in fluent lines. It seems to be an early Tokugawa product.
(ii) Basin.
This basin is a little over two feet in diameter and once belonged to a certain feudal lord. It has decorations of thunder-bolt pattern and crests, both painted in gold.
Pl. X (i) Receptacle.
This is an octagonal receptacle with inlaid designs of Chinese figures on the top of the lid, and phoenixes, tree-peony blossoms, and arabesque pattern on each section from the top to the bottom respectively. This technique in inlay which was handed down from the Chinese was employed in the Ashikaga period and the maturity in technique suggests that this object is a product of the end of the Tokugawa period. Its greatest diameter: 25.5 cm.; height: 17.6 cm.
(ii) Basin with Horn-like Handles.
A thunder-bolt pattern boldly cleaves the outer surface of the body of the basin from top to bottom separating it into two distinct parts. On one side of the bolt are cherry-blossoms on a black ground; on the other are various crests on a ground of gold. This gorgeous style of design is characteristic of the Momoyama period. Diameter at the top: 39.7 cm.; height: 21.2 cm.
(iii) Bowl.
This bowl is decorated with paulownia-flowers and chrysanthemums in gold, a characteristic of the Momoyama period of which it is believed to be a product.
(iv) Basin with Handles Resembling Ears.
This kind of basin was made as early as the Ashikaga period but the remaining examples are rare. It reveals dexterous treatment of autumn flowers which are painted in gold on a black ground and is probably a work produced in the Momoyama period. Diameter at the top: 26.4 cm.; height: 13.3 cm.
Pl. XI (i) Bowl.
In the traditional style of the Momoyama period the present bowl is lacquered inside in red and outside in black. The striking design of plantain painted in red on the same black ground is considered unusual.
(ii) Receptacle with Legs.
Unlike the ordinary receptacle this is distinguished for the uneven outer surface of its body on which pine-needles and wistaria-flowers are painted. The metal fittings serve the dual purpose of decoration and reinforcement. It was probably produced in the beginning of the Tokugawa period.
(iii) Basin with Ear-like Handles.
This basin is lacquered in black and decorated inside and out with a conventionalized crane pattern in medallion in gold. We may set the date of this object as the beginning of the Tokugawa period. Diameter: 17.9 cm.; width: 10.9 cm.
(iv) Pot.
This pot was originally one of a set with a basin. Plum trees with blossoms and pine trees are painted on a black ground which characteristics are noticeably those of the Tokugawa period.
The objects introduced above rank first among those made by Japanese craftsmen. Unfortunately, however, due to their ignorance of methods of preservation and repair, the collections of the Ainu are generally in very bad condition.
EXPLANATION OF THE PLATES
Pl. I (Color plate) & II Cherry-Blossoms.
Color on paper. Mounted as wall-painting.
Height: 172.5 cm.; width: 139.5 cm., each.
Chishaku-in Temple, Kyoto.
Explanation by Tokuzo Masaki.
Pl. XII Maple-Leaves.
color on paper. Mounted as wall-painting and sliding-screen.
Height: 172.5 cm.; width: 138.5 cm., each.
The same temple, Kyoto.
Explanation by Tokuzo Masaki.
Both "Cherry-Blossoms" and "Maple-Leaves" are well known as the distinguished works of the Momoyama period, which were prepared for the walls and sliding-screens.
The difficulties arising in the decision of the artist are stated by the present commentator thus: first, there is no other standard work on the same subject upon which we can depend for comparison; second, paintings on a large scale like these could not have-been done by one artist only. Accordingly, pointing out the representative features of these paintings, in the strict sense, as in a work on a smaller scale, is extremely difficult.
The school to which they should be attributed is also questioned. However, the commentator suggests with diffidence that it is the Hasegawa school and sets the date of these paintings a bit earlier than the Keicho era (1596-1614 A. D.). To go further than that is beyond the realm of conjecture.
Pl. III & XIII Vaisravana.
Color on silk. Mounted as kakemono.
Height: 111.0 cm.; width: 55.2 cm.
Chion-in Temple, Kyoto.
Explanation by Jiro Umezu.
Representations of Varisravana in painting which remain today are quite few in number in comparison to those in sculpture. Among them the present example is considered unusual because the ground is not the usual plain silk but twilled. Furthermore, the depiction of one devil instead of the customary number of two or three, as well as of the four attendants, whom he holds in subjugation under his feet is also unusual although the present picture has in general been executed according to the cannon. Especially in view of the nature of the four attendants this work can be regarded as a kind of Vaisravana Mandala. The striking characteristic of this picture is in its old style which is distinctly of the Fujiwara period although it has been repaired in the course of time. In the present exponent's estimation the date of this work, with particular reference to the angular treatment of the draperies of the main figure, falls in the last part of the Kamakura period and it was painted after the original of the Fujiwara period.
Pl. IV Hundred Wild-Geese, by Ma Fen (Chinese, fi., ca. 1086-1125 A. D.).
Ink on paper. Mounted as scroll.
Height: 34.5 cm.; width: 454.5 cm.
Honolulu Academy of Arts, Hawaii.
(See the article by Prof. Yukio Yashiro).
Pl. V Yu Constructing a Gate, by Kazan Watanabe (Japanese, 1793-1841 A. D.).
Color on silk. Mounted as kakemono.
Collection of Mr. Chutaro Nakano, Niigata.
Explanation by Teizo Sugamura.
Kazan Watanabe, famous artist in the School of Literary Men's Painting, painted this painting while he was imprisoned and presented it to an official as a token of gratitude for the latter's impartial judgement.
An anecdote of Chinese origin in connection with the title of the present work is briefly as follows: there was a high official by the name of Yu who was known among people as a man of virtue. Yu, at the reconstruction of a gate for his mansion, built it so large that even a carriage pulled by four horses was able to go through. This far-sighted scheme brought later the premiership to his descendants.
The other picture reproduced with the text is a preliminary sketch of the present work. It is interesting to compare them. Kazan's letters in connection with his imprisonment also remain. He had been denounced for an article in which he disclosed a progressive opinion concerning the national foreign policies and for that he took his life two months after this painting was done.
The composition is his favourite one--a kind of bird's eye view or a cross--section of scenery. Slight coloring as well as the successful combination of the realistic treatment in expression of certain details and the subjective elements of the School of Literary Men's Painting lend grace to the general atmosphere of the picture.