BackNo.70
OCTOBER 1937
This summary is compiled by Mr. TAKASHI KATSUKI.
ON THE COMPILATION OF "CORPUS OF EASTERN ARTS"
By Prof. YUKIO YASHIRO
Although the studies on Eastern arts have made remarkable progress in recent years we are still much in need of fundamental research work as the basis for all further studies, both artistic and historical. Especially is the compilation of the list of all known works with their photographs, namely, the "Corpus of Eastern Arts," still incomplete and much deplored. It is impossible, however, for an individual to complete this work which is necessarily by nature on a grand scale and which is almost endless. The Institute of Art Research set forth a plan under the direction of its Director Prof. Yukio Yashiro and his retired predecessor Mr. Naohiko Masaki, for the approach to this enormous work which with the constant endeavours of the staff of the Institute and with the financial help of the Keimei-kai during the past six years now is beginning to reap its first fruits.
The item "Mokuan Reien," the important Japanese priest-painter of the fourteenth century, who died in China and has been curiously confused with the famous priest-painter Mu-ch'i whom he imitated so well, is the first of the series to be published hereafter in the Bijutsu Kenkyu.
The essential part of the "Corpus of Eastern Arts," really consists of classified index cards with photographic reproductions containing all possible information: documentary, historical, iconographic, artistic, etc., concerning the work. They naturally contain original size reproductions of the artists' seals and signatures which are indispensable in Eastern art studies. In addition to them, the lives and works of the artists, their chronological charts and bibliographies are given.
As classified cards thus make up the principal part of the "Corpus of Eastern Arts" it is, essentially speaking, impossible to print them as they are in the Bijutsu Kenkyu, which, of course, readers will readily understand.
MOKUAN REIEN--An ltem in the "Corpus of Eastern Arts"--
By HAJIME WATANABE
A substantial part of the "Corpus of Eastern Arts" consists of index cards with the photographic reproductions of paintings attached to each card. But, the present paper as one of the series to be published as a part of the "Corpus of Eastern Arts" deals with a priest-painter Mokuan Reien. It consists of historical data, old documents concerning his art, the catalogue of his works, reproductions of the artist's seals in actual size as seen on the original works, books of reference, the index of the reproduced pictures, the chronological table and the introduction to his life.
As there are obvious difficulties, however, the compiler of the English Summary takes the liberty of offering only a brief resume of the introduction to the life of Mokuan. So far as we know Mokuan is the earliest painter who belonged to the Idealistic School of Painting and whose remaining works and nationality (Japanese) which had long been undecided are now recognized to be authentic according to the old records concerning him.
Although the name Mokuan as a painter is mentioned in various books on art since the mid-Ashikaga Period, with the exception of the "Gasetsu" in which Tohaku the author and famous painter asserts that he was Japanese, he had bcm mistaken for a Chinese. In the latter half of the Tokugawa Period there appeared new theories concerning his nationality, this time as a Japanese. They were, however, not conclusive.
Mokuan was primarily a Zen priest as well as a painter. As a Japanese Zen priest his name is found occasionally in documents after the Ashikaga Period. But it was recently that important material was discovered in an old document convincing us that the Zen priest Mokuan was the same well-known painter Mokuan himself. According to the newly found evidence Mokuan went to Yuan China around the Kemmu Era (1334-1335) and he studied Zen Buddhism and painting there.
He who held Mu-ch'i, the great priest-painter of the Southern Sung, in high esteem is said when he visited a temple to have been told by the head priest of the temple that he dreamed of Mu-ch'i, the founder, coming to visit him, and the priest, therefore, called Mokuan the reincarnation of Mu-ch'i and gave him a seal left by the latter after his death.
Only four of the remaining examples are considered important works--"The Night Heron" (Cut on p.7), formerly owned by the family of Prince Konoe and now in the possession of Mr. Magosabure Ohara; two "Pu-tai" (Pls. II & III, seals in actual size on p.6) owned by Baron Sumitomo and Mr. Shoji Kato respectively and "Feng-kan, Han-shan, Shi-te and a Tiger" (The Bijutsu Kenkyu, No. XIX, Pls. III & IV) owned by Marquis Maeda. Bearing poems written by Chinese priests all four of these works have proved to be paintings done by Mokuan while he was in China. Furthermore, these works save for "The Night Heron" bear also the artist's seals.
It is understood that he also painted on a multiple scale works such as "The Portraits of Twenty-two Founders of the Zen Sect," according to the old records. Judging from this fact as well as from the remaining examples his art was by no means inferior to the works by the Chinese Zen priests of the day. He was not only a gifted artist but also deserves to be called the forerunner of monochrome painting in ink in Japan. It is natural, therefore, that he should have been mistaken for a Chinese priest-painter.
It was unfortunate that he died in China in about the fifth year of Chih-cheng (1345),. his influence was not felt directly in the art world of Japan, but undoubtably the later development in monochrome painting in Japan was due to this same talented artist, Mokuan.
STUDY ON THE VOTIVE PLAQUE
By Prof. HOZUMA KATORI
The following is a lecture given by Prof. Katori of the Imperial Art School of Tokyo at the Institute of Art Research in the monthly meeting which was held in April, 1937. Prof. Katori's special field is metal work and he is not only an artist of distinction but as a scholar he is also a leading figure in the same field.
The votive plaque occupys a peculiar position among religious art objects because it was produced only in Japan and developed in a unique way. This is due to the fact that the votive plaque came into existence after the practice of enshrining Buddhist and Shintoist deities under the same roof began. The principal subject of the votive plaque was the Buddhistic figure; the plaque was generally hung inside the shrine and was properly called the Mishotai or the true form of the deity according to the inscription thereon because it signified that the deities were enshrined there although now commonly known under the name of Kakebotoke. The name of Kakebotoke, however, does not seen to have been used before the Meiji era although it was caued, on the other hand, the Kake-kagami or hanging mirror as stated in an old document completed in the twelfth year of Bunka (1815).
The word "Mishotai" applied to remaining examples is often written in different characters. After careful examinations in reference to the various sources Prof. Katori believes that the votive plaque must correctly be written Mishotai and pronounced Mishotai. Not many votive plaques with Shinto figures are found and Cut 4 and Pl. IV are rare examples of which the former is said to have been excavated on Mt. Yoshino, Nara Prefecture, and the latter is now owned by the Imperial Art School of Tokyo.
Unfortunately, however, when the reactional movement against Buddhism came in the first part of the Meiji era, they were either demolished or scattered-those which were not lost found their way into private collections or remained in the original shrines or temples. The votive plaque of Hasedera of Kamakura (Pl. VII) was the first of the kind to be registered as a National Treasure as late as in 1909 partly due to the fact that the Kakebotoke was not of as fine workmanship such as characterized ordinary Buddhist sculpture of the day.
The votive plaque may be classified into three types: 1-a round metal plate provided with one or two hooks by means of which it was suspended and on the surface of which a Buddhistic figure was engraved (Cut I & 2)-excavated on Mt. Nachi, Wakayama Prefecture; 2-a round metal plate with a figure embossed as seen in Pl. IV which bears the date of the second year of Ninnan (1167) on the back; 3-a round copper plate gilt in silver to which an embossed Buddhistic figure was attached. This type, however, was modified in various ways in the course of time (Pl. VIII).
The votive plaque was originally hung on the frieze inside the shrine but later also in the temple, probably in imitation of the former. Among those which were used in the temples some are seen in Cut 3 dated the third year of Kocho (1263), Pl. VII dated the first year of Kareki (1326), and P1. VIII dated the second year of Koreki (1380). Thus, a number of votive plaques (Cut 13) which were hung in shrines or temples may be surmised to have come from Nabi Shrine in Gifu Prefecture which was visited by Prof. Katori last year. Two hundred and forty-seven votive plaques altogether were found there, still in their original places just as they were as before they were saved from the desolation which came with the anti-Buddhist purge.
The origin of the votive plaque seems to have been closely related to the custom in which the actual Buddhist image was thrown on the mirror. This was, according to the tradition related in the old records, initiated by Emperor Mommu(reigned, 697-707) upon a suggestion in his dream by a priest although he had planned to build a Buddhist statue. As a matter of fact there are still to be found mirrors with a Buddhistic figure engraved. on the surface. Although they cannot be considered as votive plaques in the same sense as the Kakebotoke, one dated the second year of Eien (988) is the oldest extant example. This technique was later applied to the mirror hung in the front of the deity enshrined in the shrine and this is believed to be a prototype of the so-called Kakebotoke. The round shape of the votive plaque was presumably also made after that of the mirror. Among those excavated on Mt. Nachi, Wakayama Prefecture, are oblong metal plates on which Buddhistic figures are incised but they are not Kakebotoke for the Kakebotoke of square shape are rarely seen among those produced after the Ashikaga period (Cut 5), and the one which is shown in Pl. V cannot be called a votive plaque either.
Generally speaking the development of the votive plaque is first to be found among those with figures simply engraved on the surfaces and next with figures a little raised (Cut 6). Cut 7 is an unusual example which is characterized by floral designs of cherry blossoms and chrysanthemums on the right and left sides respectively which are apparently done in the Kamakura style. Cut 4 has a figure which is more raised and this feature continued as late as the Tokugawa period. Examples as such-Cut 8 dated the fourth year of Teiwa (1348); Cut 9, the seventh year of Oan (1374); and Cut 10, the first year of Keicho (1596) belong to the same type.
Pl. VII and Pl. VIII are examples of a different type in which a board is covered on one side including the edges with metal. Especially in the latter there is seen a well-developed feature representing the Buddhist altar in the temple. There remain examples which are sculptured on the board and they are sometimes even painted in color. There are wooden fan-shaped plaques which are covered with a copper plate with the embossed Buddhistic figures in the center and two handles above on the edges. One of these which is owned by Zensuiji in Shiga Prefecture bears a prayer and the date of the fourth year of Bunki (1504), both are written in ink on the back. There are votive plaques with only Sanscrit characters instead of the Buddhistic figures in the center.
Of the inscribed plaques take the votive plaque formerly owned by Nyakoji Shrine, Kyoto, (Pl. IV & Cut 2) as the oldest example (1167) among those remaining today. A prayer is engraved on both sides of the Shinto figure in the center; this and a brief historical note on the back including the name of the maker are written in relief. No word "Mishotai" is used as yet but it is found on much later examples. The word "Mishotai," therefore, is considered to have generally been used after the Kamakura period. The text of the prayer later became degenerated and limited almost to the expression of entirely personal matters.
The maker of the Kakebotoke went under the name of artisan, according to the inscriptions of one which was made in 1167. He also seems to have made the stupa for sarira. The votive plaque was often cast (Cuts 6-10). The maker, therefore, was the caster as well. But, Prof. Katori presumes that the professional metalworker who specialized in producing likenesses of the Kakebotoke finally came into existence at the end of the Kamakura period. The Kakebotoke is best represented by those produced in the mid-Kamakura as seen in Pl. IX and Cut 13. For the groundwork or foundation into which are fastened the appendants used for the purpose of suspension the conventionalized flower pattern was used until the end of the Kamakura period but afterward the stylized lion head came to be used, the Kakebotoke of Hasedera in Kamakura (Pl. VII) being one of the best representative works.
ANTHOLOGY OF POEMS BY TESSAI TOMIOKA. REPRINTED FROM THE ORIGINAL MSS. (PART 1)
WITH COMMENTS by TARO ODAKANE
The original anthology of poems written by Tessai Tomioka (1873-1919) when he was between the age of fifty-seven (1873) and sixty-three (1899), and which is now owned by the Tomioka family, is here reprinted. As an artist he belonged to the School of Literary Men's Painting and his art, including his poetry, is quite popular among connoisseurs here and there because of the personal expression peculiarly his own. But, no other independent collection of poems (Cut p.35) is known except the present one. The writer shares the opportunity of enjoying the poems with readers in the present and November numbers of the Bijutsu Kenkyu.
EXPLANATION OF THE PLATES
Pl. I (Color plate) Beauty under the Cherry-Blossoms, by Toyonobu (Japanese, 1711-1785).
Woodcut.
Height: 50.6 cm.; Width: 23 cm.
Collection of Mr. Shigekichi Mihara, Tokyo.
This picture of a woman dressed according to the fashion of the day represents a scene of a cherry-blossom viewing party. Toyonobu, the artist of the present work, was born in the first year of Shotoku (1711) in Edo, the present Tokyo, and was adopted later by a certain inn-keeper but he painted as a pupil of Nishimura Shigenaga.
The earliest among remaining examples by Toyonobu is one which was done in the first year of Kan-en (1748). Prior to that date, according to one theory, Shigenobu was his brush name, which is worthy of notice. He is represented not only by his- single wood-block prints but also by many illustrated booklets. His artistic activities, however, seem to have ceased with the execution of his single wood-block prints in the fourth year of Meiwa (1767) and he passed away on the twenty-fifth of May in the fifth year of Temmei (1785).
On the lower right-hand corner of the present print the artist's brush name Toyonobu is accompanied by two seals. Although this work can hardly be called one of his masterpieces judging from such a remarkable representation of a young woman and from the perfect state of its preservation it may certainly be regarded as an unusual example among woodcuts in general.
Pl. II Pu-tai, by Mokuan (Japanese, d., ca. 1345).
Ink on paper.
Height: 114.5 cm.; width: 48.5 cm.
Collection of Baron Kichizaemon Sumitomo, Osaka.
(See the article by Hajime Watanabe)
PI. III Pu-tai, by the same artist.
Ink on paper.
Height: 80cm.; width: 32cm.
Collection of Mr. Shoji Kato, Tokyo.
(See the article by Hajime Watanabe)
PI. IV Votive plaque.
Bronze.
Diameter: 45.2 cm.; height of figure: 22.2 cm.
The Imperial School of Art, Tokyo.
(See the article by Prof. Katori)
PI. V Votive plaque.
Three bronze figures against copper mounted wood.
Height: 6lcm.; width: 60.7cm. Height of central figure: 20.6cm.
Collection of Mr. Takejiro Tanji, Tokyo.
(See the article by Prof. Katori)
Pl. VI Landscape, by Tessai Tomioka (Japanese, 1873-1919).
Slight color on paper. Mounted as kakemono.
Height: 125cm.; width: 6l cm.
Collection of Mr. Kenkichi Naito, Kyoto.
This was originally given to the late Prof. Konan Naito, the well-known Sinologist, by the artist as his most representative work around the end of the Meiji Era (1911) or the beginning of the Taisho.
The refined brushwork and rich coloristic quality in ink which lend life to the picture representing a mountain retreat on a stormy day are particularly noticeable. Although the present work is one of those done in his later days no heaviness is apparent such as is characteristic of the latter. Under these circumstances we consider that the present one is a masterpiece of this prolific artist. And his talent as a poet is also revealed by an autographed poem found on the upper left-hand corner of the same picture.
Pl. VII Votive plaque.
Copper mounted wood.
Diameter: 73 cm.; height of figure: 38 cm.
Hasedera Temple, Kanagawa.
(See the article by Prof. Katori)
Pl. VIII Votive plaque.
Gilded copper mounted wood.
Diameter: 54.6 cm.
Collection of Mr. Hozuma Katori, Tokyo.
(See the article by Prof. Katori)
Pl. IX Votive plaque.
Copper mounted wood.
Diameter: 103.5 cm.
Collection of Mr. Kyujiro Tamai, Tokyo.
(See the article by Prof. Katori)