A Rakan-zu Formerly Owned by KATANO Shirō: The 8th Seminar Held by the Department of Art Research, Archives and Information Systems
On February 25th, 2021, the 8th Seminar of the Department of Art Research, Archives and Information Systems was held, where MAIZAWA Rei and YASUNAGA Takuyo of the Department of Art Research, Archives, and Information Systems each gave their study reports on a Rakan-zu (a painting of Arhat, an enlightened Buddhist high priest) owned by Kōmyōji Temple (Minato-ku, Tokyo).
The Rakan-zu was discovered in a survey conducted last year. An article about the painting in “Kokka” No. 74, published in 1895, revealed that it was formerly owned by an art appraiser, KATANO Shirō (1867–-1909).
MAIZAWA introduced the painting with high-definition images and infrared photographs taken by SHIRONO Seiji of the same department, under the title “Rakan-zu, a former collection of KATANO Shirō-Consideration of its design and expressions.” Regarding the design, MAIZAWA reported that it depicts a Rakan and his followers worshipping the image of Tenbu (Deva) in the center, as well as Karyōbinga (Kalavinka, an imaginary creature in Buddhism with a human head and a bird’s torso) and Gumyōchō (Jivajiva, two-headed bird) that both symbolize the Pure Land of Amida Buddha (Paradise) at the top of the painting. MAIZAWA pointed out that the expressions are thought to have been created in mainland China and that the stylistic examination of the painting suggests the possibility that it was created during the Yuan Dynasty.
YASUNAGA gave a detailed report on the achievements of the former owner, KATANO Shirō and his father, KATANO Yūhei, and the people who interacted with them, under the title “Modern understanding of the Rakan-zu formerly owned by KATANO Shirō.” KATANO Shirō was born in the Kishū clan’s residence in Aoyama, Edo. He was deeply involved in the earliest days of the administration of cultural properties in Japan, through working in the art department of the Imperial Museum. He was also enthusiastic about collecting antique works. The sales list and comparison with other materials revealed that the Rakan-zu was sold after the death of his father, and then was purchased by Marquis INOUE Kaoru. Furthermore, YASUNAGA pointed out that the Rakan-zu was handed down as a work of KOSE no Oumi, a painter in the Heian period, based on its composition. YASUNAGA also added some consideration on the aspect of the modern understanding of the Rakan-zu, inherited from the early modern period.
The seminar was also held online, and Ms. UMEZAWA Megumi (Kanagawa Prefectural Kanazawa-Bunko Museum), Dr. TSUKAMOTO Maromitsu (University of Tokyo), and Dr. NISHITANI Isao (Sennyūji Temple) were invited as commentators. They gave valuable comments from their respective professional perspectives, and actively exchanged opinions during the question and answer session. Although there are still some problems related to the preservation state, the place of creation, and the age of the work, the seminar was very fruitful because, in addition to the examination of the design and expressions, various reports about how it came to Japan as well as the modern understanding of Rakan-zu were also given.