BackNo.76
APRIL 1938
This summary is compiled by Mr. TAKASHI KATSUKI.
SCROLL PAINTING JIZO ENGI OF THE FREER GALLERY OF ART
BY PROF. YUKIO YASHIRO
The present scroll Jizo Engi of the Freer Gallery of Art, Washington, is not so well known as the Heiji Scroll and the Kibi Scroll, both of the Museum of Fine Arts, Boston, which are among the very few masterpieces of Japanese scroll paintings to he found abroad. This Jizo Engi scroll, however, is by no means inferior to them in point of date and ot artistic merit.
The reason that the present scroll has long hen neglected by specialists of this country is due to the fact that it was formerly in an unknown collection, bought by Mr. Charles Freer and found its way to America when in Japan the study of scroll paintintp had not come into fashion.
The present Jizo Engi scroll has been subject to the ruthless repair and remounting of modern times, which, besides causing loss of some important parts, have resulted in the arrangement of the pictures and texts in the scroll in the wrong order.
Thus the scroll in its present condition contains some parts which are difficult to understand. Fortunately the scroll was copied by the famous painter Kano Tannyu in the fourth year of Kanbun (1664) when it was in better condition and by the help of Tannyu's copy which now accompanies the scroll in the collection of the Freer Gallery Prof. Yashiro was enabled to decipher the story at the end of the scroll. Also Prof. Yashiro has made an attempt to reconstruct the scroll in its original state.
The story of the scroll deals with the miraculous virtues of Jizo or Ksitigarbha, belief in whom was extensive among people in the Kamakura and later periods. Judging from the text and illustrations the art-historical significance of the scroll lies in the following points:
First, the scroll was probably painted by an e-busshi in Nara or a professional painter belonging to Kasuga Shrine and Kofukuji Temple (which were united at the time) in Nara, because in it are represented stories which actually occurred at the time in Nara in connection with Kasuga Shrine of which Jizo formed one of the enshrined deities.
Second, the date of the scroll more possibly may he set around the mid-Kamakura Period, because the account of the musicians and dancers of Kasuga Shrine for instance, that of Chikazane (d. 1242) who danced a famous dance as depicted in the scrohll-coincides well with the history of the time and this shows that the scroll was painted at a period not very far from the time of the event. Also an episode in the scroll mentions the fifth year of Kempo (1217). Therefore the scroll cannot have been made before that date.
The illustrations are attributed to the artist Keion and the text to Jichin, according to tradition. The tradition, of course, is unfounded.
In estimation of the artistic merit of the present work the comment "considerably good" by Tannyu, which he wrote on his copy of the scroll is most appropriate. The present jizo Engi Scroll among many other scrolls on the same subject which were mostly produced in the Ashikaga Period and are inferior in workmanship is very precious and its significance for the art history of Japan is great.
PORTRAIT OF FUJIWARA NOBUMITSU BY KORIN
BY TEIZO SUGANUMA
The existence of figure painting from life by Korin was unknown until the present Portrait of Fujiwara Nobumitsu was brought to light. The present work, therefore, is an example of extremely rarity. As seen in the color reproduction (Pl. I) the work is gracefully done and is characterized by soft drawing. The drawing of the design on the garment is meticulous. These characteristics distinguish the present portrait as the work of an artist of competence.
In the left-hand comer of the painting are found the artist's signature and seal which are reproduced in actual size on page eighteen of the present number of the Bijutsu Kenkyu. The seal is the same as those appearing in two other well-known pictures by Korin (see the Kokka, Nos. 199 & 430). The present work, however, is distinguished from the others by its heavy coloring and minute technique. Although the facial expression is mainly based on realistic representation its simplicity of line is suggestive of the manner of the Sotatsu School. The heavy linear treatment of the draperies, the design of the fan placed in front of the sitter and that of the family crests--a combination of gingko-leaves and Chinese peony--appearing on the apparel are peculiar to the artist's own style of decoration. Korin's figure paintings are surpassed by his pictures of flowers and birds but the noble atmosphere revealed in the present portrait is a characteristic feature of his art.
On the upper part of the present portrait there are found two explanatory notes and a poem written by three different persons. According to them the figure is known to be Fujiwara Nobumitsu who was at the age of thirty-five when he was portrayed here in the seventeenth year of Genroku (1704).
Beside the present work the existence of any works of his bearing the date of execution is not known, which fact doubles the importance of the present example concerning the study on the art of Korin. The graceful style of his calligraphy resembling that of Koetsu suggests that he was also trained in that field.
The present writer examined the old necrology preserved in the Zendoji temple in Kyoto because in the explanatory notes which seemed to be the only clue to the life of Nobumitsu it is said that he died in the fifteenth year of Kyoho (1730) at the age of sixtyone and was buried in the same temple. He also investigated the latter's family crest and the surname, Fujiwara. But those efforts were unfortunately fruitless. The section of the old necrology bearing the name of Nobumitsu is missing-possibly due, the writer supposes, to a conflagration which occurred in Kyoto in the eighth year of Temmei. (1788).
The three persons who increased the importance of the present picture with their literary additions are Taira Sho Genshin (1662-1733), Fujiwara Nobumitsu and his son Nobutoshi. Genshin, well-known mathematician who served the eighth Shogun Yoshimune of the Tokugawa Government and wrote many books on the subject, is revealed to be the same person as Nakane Genkei in the Family Document of Korin (Cuts on page twenty in the present number of the Bijutsu Kenkyu, and also in No. LX). However, the present writer's personal examination of several books by Genshin failed to find that appellation used as the author's name but Genkei and other names are used. The present writer, therefore, surmises that the name Genshin must have likewise been used for two or three years before and after the first year of Hoei (1704) (Cuts on page twenty).
The relationship of Genshin (Genikei) and Korin is related in an old document, and Genshin may have been the man who introduced Nobumitsu to Korin or vice versa. However, aspects which cannot be overlooked in the present painting are the attire of Nobumitsu add the fan which are both suggestive of the No drama. Korin, on the other hand, was well versed in the No drama having heen trained from his boyhood. Accordingly, the No drama might have been another medium by which Korin and Nobumitsu became acquainted. The fan which is painted in rich color in the present picture seems to be significant for the fact that the No player regarded the fan given by nobles as a great honor at the time.
EXPLANATION OF THE PLATES
Pls. I (Color) & II Portrait of Fujiwara Nobumitsu, by Korin (Japanese, 1658-1716).
Color on silk. Mounted as kakemono.
Height: 110 cm; width: 47.6 cm.
Collection of Mr. Mizuho Aoyagi, Tokyo.
(See the article by Teize Suganuma)
Pls. III-VII Scroll Painting Jizo Engi.
Color on paper.
Length: 1431.9 cm; width: 30.5 cm.
The Freer Gallery of Art, Washington.
(See the article by Prof. Yukio Yashiro)