BackNo.87
MARCH 1939
This summary is compiled by Mr. TAKASHI KATSUKI.
LIFE OF FUJIWARA YUKIMITSU AND HIS WORK
BY SHIN-ICHI TANI
Fujiwara Yukimitsu is an artist known as Tosa Yukimitsu. The Tosa School is an important exponent of the Yamato-e in Japan which is generally believed to have been founded by Motomitsu of the late Fujiwara Period and many outstanding artists of later periods are thought to have belonged to the same School.
These beliefs, however, are dubious and the family name, Tosa, first appeared much later, according to a new theory advanced recently by scholars. Studying the biographies of Yukimitsu, the leading figure in the Yamato-e painting in the Yoshino Dynasty, and his works, the present writer elucidates the relationship between Yoshimitsu and the family name Tosa.
As a matter of fact, nearly all genealogical tables of the Tosa family which remain today were formed after the mid-Tokugawa in which the relation of Yhkimitsu and his father is told in various ways suggesting that there was no reliable ground to be based on. In the late Tokugawa Period there were scholars who brought forward the questions introduced here which is aIl that the present author learned directly from the data relating to Yukimitsu's activities.
The record dealing with his life first appears during the Shohei Era (1346-1369), particularly around the BunWa (1352-1355) and the Embun (1356-1365) Eras, in which he is mentioned as the Head of Official Painters succeeding Fujiwara Takatsugu as well as the Governor of Echizen.
The connection of Yukimitsu with Takatsugu is not discussed in the present paper but in the Embun Era Yukimitsu is thought to have already passed middle age and the most reliable record on his life continues until the second year ot Kentoku (1371). During these years his rank was promoted considerably and he served the court as well as the Shogunate.
Four years later in the first year of Tenju (Eiwa) (1375) Yukimitsu was superseded by Kose Yukitada. In the first year of Ko-o (1389) Yukimitsu, a priest, adopted the religious name Kanraku but he was still in the service of the Shogunate with his son Mitsushige, relates the record. The active life of Yukimitsu, therefore, lasted nearly forty years in which he held the prominent post, the Head of Official Painters, for about twenty years. His works cover the scrolls and religious as well as decorative paintings.
Thus, Yukimitsu was the most outstanding figure among the artists of the Yoshino Dynasty and he called himself, according to the records, Fujiwara or Nakamikado as his family name but there is no documental evidence regarding his use of the name Tosa as well. Furthermore, there is no Tosa artist who was appointed as the Head of Official Painters before and after Yukimitsu, according to the genealogical table of the Tosa family.
When did the Tosa family or the Tosa School begin and how do they concern Yukimitsu, then? The present writer reserves the answer because they should not be discussed merely from individual study of Yukimitsu, and he desires to leave the matter to future study. The present exponent, however, admits that the family name Tosa, so tar as only Yukimitsu is concerned, has nothing to do with him.
Lastly, of his work there is unfortunately not a single reliable example, according to the present writer who reached this conclusion after studying carefully the old records as well as the paintings ascribed to him. For example, the Jizo-Reigen-Ki scrolls are of great importance among others, according to the records, but it does not correspond to any extant scrolls of its kind.
Furthermore, the Tenjin-Engi scrolls, now treasured by the Imperial Household Museums and the Kitano Shrine, are well known as his masterpieces but the study ot the life of Yukimitsu points to the conclusion that the scrolls were apparently executed prior to his day. The present writer hones to find real works by Yukimitsu among remaining scrolls in general and his search is hopeful but still unripe.
THE INSCRIPTIONS OF THE BUDDHISTIC STATUES OF KAMPUKUJI
BY MINAHlKO OGINO
Kampukuji Temple in Sawara, Chiba prefecture, owns a group of four bronze Buddhistic statues. The statues, however, originally belonged to the Katori Shrine which is located not very far from Sawara; they were donated as Honji-butsu and hung as Kakebotoke in the same shrine.
After being moved later to Kampukuji a lotus seat was appended to each figure which as a result lost its appearance as a Kakebotoke. The story of the presentation of these votive plaques to the shrine and others are engraved on the back of each statue (Pl. VI). Furthermore, the date of production is known and they are particularly well known for their enormous size as votive plaques.
Three of the four were presented during the Chinese invasion (known as the Genko) of the western coast of Japan in the fifth year of Koan (1282) and the invocation made on the occasion of the enemy's surrender is inscribed on them. The Eleven-headed Avalokitesvara, one of the three, was once reproduced in the Bijutsu Kenkyu (No. XXXX, Pls. VI & XII) and the reproductions show separately the statue and the lotus seat, which is a later addition, in order to show the original state.
In the inscriptions the name Ason Sanemasa is seen as the donator and he has long been considered the same person as Hojo Sanemasa, the third son of Hojo Sanetoki, who was appointed the Governor of Kyushu later, and this erroneous belief has augmented the importance of the plaques. Next, the present writer gives the reason for misunderstanding on that point.
Apropos of the four statues, both Sakya (Pl. VII, i) and the Eleven-headed Avalokitesvara (No. XXX, Pls, VI & XII), dedicated to the shrine in August of the fifth year of Koan (1282), and Bhaisajyaguru (Pl. VII, ii) of which the original halo is lost, are, in view of the make, surmised to be productions of the same time. The last one which Ksitigarbha (Pl. VI, i & ii), however, was given to the Katori Shrine in March of the second year of Enkei (1309) by Onakatomi Sanetane, the Shinto priest, of the same shrine in memory of his late father Sanemasa, according to the record inscribed on the back.
Comparing these different records we come to the conclusion that Sanemasa, the donator of Sakya and two other statues in 1282 must be the father of Onakatomi Sanetane instead of Hojo Sanemasa. This conclusion is entirely due to the fact that different people adapted the same name. Furthermore, the fact that Sanemasa, the father of Onakatomi Sanetane, was also the priest of Katori Shrine in 1282 cannot be doubted as it is attested to by the old record quoted by the present author.
(We are glad, therefore, to rectify the points which were erroneously stated in the introductory note for the Plates VI & XII in the Bijutsu Kenkyu, No. XXXX. -Ed.-)
REISAI--Corpus of Eastern Arts, Series VII--
BY HAJIME WATANABE
Reisai is one of the painters who were active during the first half of the Muromachi Period and whose lives are quite unknown. The reason is partly due to the fact that Reisai was overshadowed by the fame of Mincho, the outstanding figure in the art world at the time, and sometime in the Tokugawa Period the name Reisai was almost mistaken for the name of Mincho. But his remaining examples bearing his signature and seal read as kyakuto-jitchi are clearly distinguished from those by Mincho.
According to the eulogistic and certified records written on these examples Reisai seems to have been active somewhere between the Eikyo (1429-1443) and the Bummei (1469-1486) Eras when Mincho was already dead. The confusing of Reisai and Mincho in the old days, therefore, is no longer possible but there is found no record indicating the existence of Reisai as yet, probably due to his colorless social standing in his time.
The fact that the style of Reisai's work resembles that of Mincho and that their varied subject matter is almost identical, suggest to us that Reisai may have been a painter belonging to the Mincho School although the actual intercourse between them is beyond the realm of our knowledge.
Our knowledge concerning the relation of Reisai to the Mincho School, therefore, is limited to such degree as mentioned above, so that any further speculating, as to his having been an artist-priest of the Zen sect like Mincho or that he was connected with Tofukuji Temple, Kyoto, etcetera, is not at present to be considered.
Considering these musings in reference to the records written on Reisai's works we are inclined to deny them. Thus, unfortunately, the life of Reisai remains entirely unknown to us.
Of his paintings the following five are known to us:
1--"Manjusri." Owned by Viscount Fukuoka, Tokyo (Pls. III & XI)
2--"Han-sham." Ovned by Mrs. Sueko Hara, Yokohama (Pls. II & X)
3--"Avalokitesvara." Owned by Sensuke Nakajima, Gumma (Cut on p. 26)
4--"Sakya, Confucious and Lao-tze." Owned by Koze Moriya, Kyoto (Pl. IX)
5--"Nirvana." Owned by Daizokyoji Temple, Yamanashi (Pls. IV & XII)
The works numbered 1, 2, 3 and 4 bear both Reisai's signature and seal or only his signature while on Number 5 is written the importatnt words certifying that this was done by Reisai in the seventh year of Eikyo (1435) (Cut on p. 25). Numbers 1 and 4 bear a eulogy written by Zen priests which fact together with an inscription found on Number 5 lead us to surmise the extent of Reisai's active period as an artist.
As for the subject matter preferred by Reisai, according to the records appearing during the Tokugawa Period, it is almost entirely limited to that concerning the Buddhistic on the whole and the portraits of priests who were connected with the Zen sect. Numbers 2,3 and 4 are done in ink and while Number 1 is also in ink, the lines are drawn in ink and in gold, and Number 5 is a pure religious painting done in elaborate color. These paintings with the above-mentioned features, therefore, come close to those by Mincho.
As related before, the style of Reisai's work closely resembles Mincho's. but Mincho's work is superior in scale and technical skill although the linear drawing by Reisai which is particularly beautiful excells Mincho's. Reisai, as a matter of fact, was by no means inferior, so far as the linear drawing is concerned, compared to the religious paintings by the contemporary Chinese artists of his time. Comparing Reisai's work to that of Mincho, therefore, the former is meritoriously featured with a kind of incisive quality and a well-arranged composition.
In other words, Reisai created his own style out of Mincho's efforts to assimilate Chinese Buddhistic paintings through Japanese expression. Artists who were related to the Zen sect and painted religious paintings both in ink and high color as did Reisai, regardless of whether or not they were priests or laymen, increased in number following the Kamakura Period; and the importatnt positions in the School of Kanga Painting before the beginning of the Muromachi Period seem to have been held by those like Reisai.
Since the time of Reisai there are found artists of fame such as Josetsu, Shubun and others among them. Reisai's significance as an artist lies in the fact that he was not only a contemporary of Shubun but also was a rival of the latter in this transition period in Japanese art history.
THE HONCHO-GA-SAN (ILLUSTRATED BIOGRAPHIES OF JAPANESE PAINTERS). NEWLY COMPILED AND REPRINTED FROM THE VARIOUS EDITIONS. (PART II)
The second part of the reproduction of the Honcho-Ga-San was originally compiled by Tani Buncho; the two volumes shown here are half the original size. (c.f., the article by Kisaku Tanaka, The Bijutsu Kenkyu, No. LXXXVI)
EXPLANATION OF THE PLATES
Pl. I (Color) "A Bird on Peach-Tree."
Color on silk. Mounted as kakemono.
Height: 26.1 cm.; width: 24.6 cm.
Collection of Mrs. Sueko Hara, Yokohama.
The present picture is an example of those said to have been brought over to this country from China during the Ashikaga Period and of those representing the School of the South Sung style in painting. Although this, as seen in the reproduction, is a small work representing a bird perching on a twig of a peach-tree with flowers at their best, the zenith of spring is well suggested.
In view of the descriptive, yet realistic way of representation of the object, rigid brush work in the rich color scheme the present example is safely considered the typical example of the South Sung style in minor work. There is no exaggeration in composition as well as in drawing but the noble atmosphere which permeates the picture is worthy ot mention. Unfortunately, the silk has darkened and the peach flowers and leaves are exfoilated to a considerable degree.
Pls. II & X "Han-shan:" by Reisai (Japanese of the fifteenth century).
Ink on paper. Mounted as kakemono.
Height: 83.9 cm.; width: 35.5 cm.
Collection of Mrs. Sueko Hara, Yokohama.
(See the article by Hajime Watanabe)
Pls. III & XI "Manjusri," by Reisai.
Ink and gold on paper. Mounted as kakemono.
Height: 106.8 cm.; width: 33.8 cm.
Collection of Viscount Fukuoka, Tokyo.
(See the article by Hajime Watanabe)
Pls. IV & XII "Nirvana," by Reisai.
Color on silk. Mounted as kakemono.
Height: 207.8 cm.; width: 145.7 cm.
Daizokyoji, Yamanashi.
(See the article by Hajime Watanabe)
Pl. V "A Tiger in a Bamboo Grove," by Sesson (Japanese of the sixteenth century).
Ink on paper. Mounted as kakemono.
Height: 97 cm.; width: 157.4 cm.
The Imperial School of Fine Arts, Tokyo.
This is a well-known masterpiece by Sesson who was born in the eastern part of Japan in the Ashikaga Period. Although he himself admitted that he was a follower of Sesshu, the former's art, unlike the latter's shows somewhat bizarre and rustic qualities. However, when these elements are required by the subject matter the result is quite successful as is seen in the present example.
The representation of a growling tiger in a bamboo grove amidst the storm is far from being realistic but its awesome expression is particularly effective. This work attracted Hogai, one of the leading artists in the Meiji Era, so much that he finally copied (Pl. VIII) the present picture.
Pl. VI (i) Ksitigarbha.
Bronze.
(ii) Halo (reverse) of the same statue.
Bronze.
Height: 33.3 cm.
Kampukuji, Chiba.
(See the article by Minahiko Ogino)
Pl. VII (i) Sakya.
Bronze.
Height: 33.9 cm.
Kampukuji. Chiba.
(See the article by Minahiko Ogino)
(ii) Bhaisajyaguru.
Bronze.
Height: 34.2 cm.
Kampukuji, Chiba.
(See the article by Minahiko Ogino)
Pl. VIII "A Tiger in a Balmboo Grove," by Hogai (Japanese, 1828-1883) after "A Tiger in a Bamboo Grove," by Sesson.
Ink on paper. Mounted as kakemono.
Height: 18.9 cm.; width: 32.1 cm.
Collection of Mr. Kannosuke Hara, Hiroshima.
Hogai, as is well known, is a leading figure in the art world during the first part of the Meiji Era when Japanese arts were in decadence. He is responsible for the revival of Japanese painting as is seen in the present day.
The fact that his work often reveals a mannerism peculiarly his own is thought to be the reflection of his hard living. As a matter of fact there are similarities between Hogai and Sesson in points of the style of pinting and their living conditions.
The present drawing is a copy of the painting by Sesson (Pl. V), which was found by chance by Hogai. According to a letter accompanying this copy, written by Mr. Mitani, friend of Hogai, Hogai copied it because he was so happy to have chanced to discover a masterpiece of Sesson and Hogai wished to share his good luck.
The other copy of the same picture was given by Hogai to Hashimoto Gaho, artist friend of his, and which still remains today (Cut on p. 18).
Pl. IX "Sakya, Confucius and Lao-tze," by Reisai.
Ink on paper. Mounted as kakemono.
Height: 99.1 cm.; width: 35.5 cm.
Collection of Mr. Kozo Moriya, Kyoto.
(See the article by Hajime Watanabe)