History of Art in Japan

How is Yayoi different from Jomon

Bronze and Iron objects introduced to Japan in early Yayoi period Bronze used for ornaments, iron used for practical purposes Increase in warfare in Yayoi period, metal weaponry Larger territorial units Cultivation of rice, settled agricultural society granary for grain storage irrigation systems to guide water to rice paddies Introduction of Chinese and Japanese influences

Horyuji

Buddhist temple rebuilt in 711 after the capital was moved to Nara. Sculptures preserved in the Kondo of this temple span the years from the close of the Asuka period to 711.

Haniwa (Hani: clay, wa: circle)

Clay cylinders placed on top of kofun burial mounds. Most important and amazing objects from the period. Terra-cotta figures, usually several feet in height Represent a great variety of objects including: chickens, ducks, shields, and houses

Xiangtangshan bodhisattva

Style echoed in the Hakuho Period (645-710) especially in Tamonten, one of the four Guardian Kings in the Shaka Triad at Horyuji. Northern Qi dynasty (550-577) in China. Full, columnar, muscular body type, giving the sense of strength and volume as compared with the Kudara Kannon, Yumedono Kano, Tamamushi Shrine (shrine in Horyuji temple) images

Geikyo

The outer capital during the Nara period Created to accommodate growth and the construction of several major temples.

Middle Jomon Period Dogus

2,500-1,500 B.C. These figurines show more details in facial features Made of earthenware Created to stand on its waist Distinctive cat-like face on an inverted U- shaped disk face: scratches on face may represent tattoos

Kofun Period

300 A.D. - 710 A.D. Central government and a unified state gradually coalesced Also name for tombs made from piled up earth between the 4th and early 8th century Latter part of this period overlaps with Asuka and Hakuho periods. Permanent capital established in Heijokyo, later called Nara Period ends with the establishment of Buddhism Close contacts with Chinese and Korean culture China introduced its written language and the practice of documenting history

Yayoi Period

300 B.C. to 300 A.D.

Early Kofun mirror

300-710 A.D. Exemplary of bronze culture in the Kofun Period Influences from the Asian mainland allowed craftsmen to develop sophisticated bronze casting techniques Japanese craftsmen had advanced enough to reproduce decorations made one or two centuries earlier in China on round, hand-held mirrors The decorated backs of hand-held mirror The design is typical decorative motif on Western Han dynasty Chinese bronze mirrors A small string tied through the loop

Early Jomon Period

5,000-2,500 B.C. Pottery vessels usually have flat bases Exterior surface decoration made by a variety of materials, including twisted plant fibers and bamboo stalks Wide, open, quatrefoil, wavy mouth, a narrow base Surface décor is divided into several horizontal registers

Shosoin

An 8th century storage house at Todaiji Built in 756 for the purpose of storing hundreds of objects associated with the imperial family, and the articles used in the Eye-Opening Ceremony of the colossal Buddha. Raised above the ground, and hence the objects inside were aerated. This air circulation actually preserved artifacts. Invaluable art historical significance: reveal links to concurrent artistic trends in Chinese painting.

Shaka triad

Asuka Period Attributed to Tori Busshi, in the Golden Hall (Kondo) of Horyuji, 623, Nara, gilt bronze 48 in. in height. The shape of this Buddha is very close to an isosceles triangle: gives the impression of steadiness and monumentality. Triad: Buddha Shakyamuni and two attending boddhisattvas. The Buddha sits cross-legged, robe hangs in "U"-shapes on chest and over left arm lower part of the hem fans out like a skirt "waterfall drapery." Linear quality of drapery and surface patterning, face rectangular, with rounded corners, wide arches for the eyebrows and a triangular nose. Two bodhisattvas wear tall crowns that flare out slightly at the top The Buddha's lakshana: ushnisha, urna, snail-shell hair elongated earlobes. Derived from the Chinese style of the sixth century: The linear quality of drapery. Heads are slightly bigger in proportion to their bodies. Faces are rectangular, with rounded corners. Wide arches for the eyebrows and triangular noses. The "archaic smile."

Final Jomon Period

1,000-300 B.C. Known for drinking cup Designed with curving lines and raised bosses A spout more than halfway down the side limits the amount of liquid the vessel could hold Not influenced by the Asian mainland

Late Jomon Period

1,500-1,000 B.C. Known for stone circles in northwestern Honshu, and farther north in Hokkaido. Northern part of Honshu became the center of indigenous pottery-making in Japan. Southern and western parts of Japan subject to outside influences Some measure as much as 30 feet across Each centered on a square burial pit of bones covered with pebbles These tombs resemble those found in Siberia during the Bronze Age and into the early Iron Age Distinct Japanese feature: the placing of a large upright stone in the center from which other long stones radiate like spokes of a wheel

Neolithic pottery

10,000 B.C. Gathered clay, wedged clay until smooth and homogenous, rolled coils, shaped the pot from the base up, smoothed out the coils over the surface of the pot Used wood or bamboo sticks, and ropes to create patterns on surface or added additional surface decorations. Let dry in a shady place Fired in bonfires or pit

Jomon Period

10,500 B.C. to 300 B.C. (divided into 6 phases) Term means "rope pattern" Method of decorating the surface of ceramic vessels of the period: also used bamboo sticks, seashells, and fingernails

Incipient Jomon period

10,500-8,000 B.C. No complete vessels have been found, only pottery shards Early vessels small in size, rounded bases, surfaces have coarse, raised lines and ridges like corrugated cardboard

Final Jomon period Ewer

1000-300 B.C. "Teapot" from southeastern coastal region of Honshu Shape drastically different from vessels of previous periods Decorative principle: fine, smoothly polished surface, intricate, shallow incised lines No impressed rope patterns, but actual hand-cut a twisted rope design on the rim "Figure-8" and "S-shaped" motifs on girth The sudden change in vessel shape and decoration principle: contact with the Asian continent, particularly Korean ceramics

Final Jomon period figurine

1000-300 B.C. Mass of these artifacts show their importance to the society. Population decreased. Possible ritualistic purpose centered on the theme of death or sickness, majority of them found damaged suggesting purposely broken during rituals or religious ceremonies Elaborate design on her torso and arms: suggests a decorated garment Recognizable facial features: two huge, strange eyes,

Late Heian

1086-1185 The Insei period Lasted for 99 years. Insei: the tactic whereby the imperial clan retook control of the government from the powerful Fujiwara clan. Contrast between the taste of imperial (aristocratic) and regional (powerful military leaders). Buddhist art continued to be produced. Secular art showed the full development of native Japanese style (still with traces of Chinese influence). Temples built in northern Japan were sponsored by military leaders, rivals of the nobility in the south. They amassed tremendous wealth and power. One leader declared himself "Emperor of the North."

Middle Jomon Period Vessel

12.5 inches in height A wide, open mouth and narrow base, exuberantly and fancifully constructed rim, wild, sculptural design, and familiar "rope patterns," not impressed on surface Elaboration suggests: not for daily use, probably for ritualistic, ceremonial purposes

Middle Jomon Period

2,500-1,500 B.C. People moved from the humid coastal areas to highland regions, probably due to warming trend People less nomadic, established larger villages and built bigger pit houses, about 15 to 18 feet in diameter, with a hearth and cooking area Grew hardy types of foods, such as nuts and berries, but essentially hunter-gatherers Dramatic change in artifacts: exuberantly decorated vessels and pots made for specific purposes, such as cooking wares, lamps and bowls.

Hakuho Period

645-710 Began with the Taika Reforms of 645, when the government became centralized and land and labor were nationalized (the Chinese governmental system). ended with the establishment of the emperor, the bureaus of government, and the major center of Buddhist worship in Heijokyo. Characterized by the rapid expansion of Buddhist institutions: in 624, there were 46 temples, but by 694 there were 545 temples. Witnessed a strong effort on the part of the imperial clan to unify the country and to reshape the government according to the Chinese model.

Mt. Tianlong bodhisattva

700 Tang dynasty Chinese Buddhist image Contemporary with the Hakuho period Displays a fullness of face: three rings on his neck Influence from Indian Guptan style

Nara or Tempyo Period

710-794 Began when capital set up at Heijokyo (modern-day Nara) Ended when the capital was moved to Kyoto Received the strongest and most sustained influence from China. Japan came as close as it ever would to: 1). Adopting a Chinese system of government 2). Establishing a nationwide system of Buddhist religious centers rivaling those in China 3). Using Buddhism in the Chinese manner as an instrument for affecting national policy But the Japanese never adopted the Chinese Confucian theory of the emperor ruling by heavenly mandate. Japan had a traditional myth asserting that the Sun Goddess had granted a mandate to the imperial family to rule eternally, so the imperial line of the sixth century thus continued, unbroken until the present day First full blossoming of Japanese culture Art of the period divided into 3 periods based on major temples: Kofukuji, Todaiji, and Toshodaiji

Heian Period

794-1185 Takes its name from the new capital established in 794 at Heiankyo (Capital of Peace and Tranquility ), modern day Kyoto Reason for moving the seat of government from Nara is not known: Possible reasons: Emperor Kanmu (r. 781-806) and the nobility wanted to break the political power of Nara Buddhist communities by physically relocating the seat of government, or the old capital at Nara was simply too crowded This period saw the shift in power from the Buddhist temples to powerful clan families Coming with this shift was a highly refined court culture Buddhism continued to flourish, but unlike in the Nara period, it played less of a political role in Japanese society With the formal introduction of both Esoteric and Pure Land Buddhism from China, Buddhism was revitalized to become a more popular religion that emphasized devotionalism. The Buddhist period art influenced by Esoteric and Pure Land Buddhism The secular art was influenced and dictated by the highly refined culture that reflected the sensibilities and taste of the nobility: the emergence of highly decorative and colorful native Japanese art that was devoid of Chinese influence.

Early Heian

794-951 Began with close adherence to Chinese secular and religious precedents. Ended with a sentiment on the part of the Japanese that they had nothing more to learn from contact with China and that their nation had surpassed its model. 894, imperially sponsored embassies were abolished. But Chinese influence was never completely cut off unitl 19th century. Two major events: the introduction of Esoteric Buddhism, the building of the new capital in Kyoto.

Initial Jomon Period

8,000-5,000 B.C. By the end of this period, a fairly consistent type of ware developed Sizes of these vessels range from 6 to 30 inches high Conical form, pointed bottom, flaring, often quatrefoil rim: like the pointed half of an egg, with a wide mouth Meant to stand on sandy ground, in the center of a circle of rocks containing a cooking fire Surface decoration: simple impressed rope patterns, divided into many registers

Middle Heian

951-1086 The Fujiwara period: the prominent and powerful clan, whose ideas dictated the direction and taste of the arts over a period of more than 100 years Characterized by a belief in rebirth in the Western Paradise, or Pure Land of Amida Buddha. The Fujiwara clan controlled the government through intermarriage with the imperial family.

The Kongokai

Early Heian Period Kukai's Toji, 2nd half of 9th century The Diamond World mandala Nine rectangles of Buddha worlds, embody indestructible wisdom All deities here are fully enlightened beings The center: the Attainment of Buddhahood Assembly with Dainichi Nyorai in the very center, surrounded by four bodhisattvas Upper center: a single image of Dainichi making a mudra that symbolizes Buddhist wisdom Considered one of the oldest mandara paintings still extant in Japan According to the Japanese scholar Yanagisawa Taka: they are Japanese copies of a set made in China on a commission from Emperor Montoku (r. 850-858) and brought back to Japan by the Tendai priest Enchin in 859

Taizokai mandara

Early Heian Period Kukai's Toji, 2nd half of the 9th century Composed of twelve precincts, arranged in concentric zones, expresses the many facets of Buddha nature and by extension human nature Very center: an 8-petaled lotus: the principle deity of Shingon Buddhism: Dainichi Nyorai (Virocana Buddha) The 4 directions: 4 buddhas In between: 4 bodhisattvas Considered one of the oldest mandara paintings still extant in Japan According to the Japanese scholar Yanagisawa Taka: they are Japanese copies of a set made in China on a commission from Emperor Montoku (r. 850-858) and brought back to Japan by the Tendai priest Enchin in 859

Saicho (767-822)

Early Heian Period To curtail the political power of the Buddhist communities, Emperor Kanmu singled out and gave support to this person who rejected the worldly atmosphere of Nara Buddhism. The imperial family regarded Buddhism with deep suspicion. In 804, he went to China to study Tendai, Ritsu, Shigon, and Zen Buddhism on Mountain Tiantai in Southern China. Ultimately, preferred Tendai: which centered on the Lotus Sutra. Foundational thought: Achieve enlightenment by realizing one's internal Buddha nature, the true nature of beings. Returned to Japan in 805 and immediately began to teach the Tendai doctrine. Performed the first Esoteric ordination ceremony in 807 on Mount Hiei near the new capital, Kyoto. Stayed on Mountain Hiei near the new capital

Amoghavajra

Early Heian Period by Li Chen (Chinese painter), 774 Another type of Esoteric image: patriarch portraits of Esoteric masters, common among other schools of Buddhism in both China and Japan A set of such portraits was given to Kukai before 806: 7 paintings that depict the Shigon patriarchs, both legendary and historical figures In 821, Kukai commissioned two additional portraits: possibly to replace two paintings that were damaged This is the only portrait in the collection to survive the passage of time. Amoghavajra was born in 705 in India: taken by his mother to Chang'an, studied with Vajrabodhi, the fifth Shingon patriarch, devoted the last years of his life to the translation of Esoteric sutras, regarded as one of the four greatest translators of Buddhist texts in China

Shingon school of Esoteric Buddhism

Early Heian period Means "True Word" Teaching based on two sutras: the Mahavairocana Sutra (the Sutra of the Universal Buddha), and the Vajrasekhara Sutra

Kukai (744-835)

Early Heian period Person who went with Saicho to China Also known by his posthumous name Kobo Daishi. Went to the Chinese capital Chang'an to study under the Esoteric master Huiguo (746-805) Subsequently became the founder of the Shingon school of Esoteric Buddhism in Japan. When he returned from China in 806, not permitted to go to the capital, even though he had been acknowledged as a Shingon Esoteric master in China. The court rejected him for fear that the Buddhist church would assume too much influence. In truth, Saicho had secured the favor of the court; hard for him to share this territory. Eventually, allowed to reside in the Jingoji (northwest of the capital) where he spent 15 years. In 816 he established himself on Mount Koya, far away from the capital. In 823, one year after Saicho's death, he was finally allowed to reside and teach at Toji in the capital. Renamed Toji the Kyogokokuji, or "Temple for Defense of the Nation by Means of the King of Doctrines" From this point on through the mid-10th century, the Shingon School of Esoteric Buddhism remained the dominant school of Buddhist thought in Japan Believed that any person could achieve enlightenment in this very existence through contemplation and rituals using the paired mandalas. Idea that all beings possess Buddha-nature. Method of realizing this innate nature: visualize the symbols of the spiritual world in the mandala, unify one's body, speech, and thought (mind), and become one with the Universal Buddha and achieve enlightenment Encouraged followers to contemplate: first the Womb World, then the Diamond World

Dogu

Early Jomon Period, 5,000-2,500 B.C. Jomon figurines, purpose is unclear Distorted representations of half- human, half-beastlike beings: possibly related to superstition and primitive magic. Some depict female creatures with prominent breasts and pregnant abdomens: possibly used in fertility rites. Limbs deliberately broken off Carved out of stone Facial features are not defined: no eyes, nose, or mouth; lower part is distinctly abbreviated

Horyuji tableau, Parinirvana scene

Figures finished in 711: belong to Nara period but their installation so soon after the move of the capital reflected the well established craftsmanship of the Hakuho period. Last group of sculptures to be installed at Horyuji Small figures in three-dimensional scenes on the first floor of a pagoda These figures were made of fine clay laid on a wooden frame covered with rice-straw rope The scene in the north: Buddha Sakyamuni's parinirvana In Buddhism death is not perceived as a sad event but rather the moment of departure or release from this lifetime Parinirvana is Buddha's final departure The golden Buddha represents Buddha's transcending the samsara Disciples and bodhisattvas look on

Koryuji Miroku, Koruyji

Hakuho Period (645-710) Koryuji: oldest temple in Kyoto Japan. Japanese name for the future Buddha. Carved from camphor wood, 52 inches high Youthful figure, a gently swelling torso, softly modeled face and naturalistic posture, graceful and gentle Seated on a throne in the pensive gesture: eyes half-closed in deep contemplation Peaceful and benevolent expression Prototype from Northern China Strongly influenced by Korean sculptures of Miroku. Nearly identical with another Korean piece: scholars speculate that the figure was originally made in Korea and imported to Japan. Others argue: the wood is indigenous to Japan so it is indeed Japanese, imitating very closely the contemporaneous Korean style

Emperor Tenmu (r. 673 to 686) and his successor Empress Jito (r. 686 to 697)

Hakuho Period (645-710) Strongly supported Buddhism as an instrument of the state The expansion of Buddhism facilitated the consolidation of power under the imperial clan

Four Guardian Kings

Hakuho Period (645-710) The earliest in date and style among the sculptures preserved in the Kondo of Horyuji. Dated to around the year 650, based on an inscription on the back of one of the haloes The protectors of the Four Directions of the Universe, installed at the corners of the square altar of the Shaka Triad About 53 inches high carved from a single block of wood, except for the demons they step on, the haloes, and other attachments Originally colored with pigments and gold leaf.

Nikko: the Bodhisattva of the Sun Gakko: the Bodhisattva of the Moon

Hakuho Period (645-710) Two attendants part of the Yakushi Triad in Yakushiji. Stand in contrapposto, weight on one foot Nearly mirror images of one another. Tang (China) and Guptan (India) influence: fullness of the body. Clothed in skirts and scarves that cling like water-soaked cloth, revealing the bodies underneath.

Yakushiji

Hakuho Period (645-710) only this Buddhist temple has survived in a condition close to its original form. Built by emperor Tenmu for his wife Empress Jito.

Tachibana Shrine

Hakuho Period (645-710), 700 Made from wood and bronze Named for a wealthy aristocratic lady, who donated the shrine to Horyuji Similar to the Tamamushi Shrine, but the top shape doesn't imitate an actual building Main images: Amitabha triad Buddha in the center: Kannon and Seishi on either side. Figures sit and stand on lotuses rising from a lotus pond Entire assemblage: 2.5 feet high Chinese Tang influence The lotus pond: iconographically important, central to the Buddhist notion of rebirth in Pure Land Buddhism Amida and his attending bodhisattvas will transport the soul of a believer at the moment of death back to his glorious Pure Land, the Western Paradise. The soul, seated on a lotus throne would emerge from the lotus flower Pure Land Buddhism grows in popularity in East Asia following the Hakuho period.

Buddha Amida

Hakuho period Located at Horyuji wall painting of Amida Triad Buddha of the Western Paradise The most popular Buddha in China, Korea, and Japan Promises to save all sentient beings by coming down from his Western Paradise at the last moment of a person's life to bring it back to his Western Paradise. Their souls would be spared the endless cycle of samsara to cultivate the bodhisattva path until 7th level and then return to help others. A foundational figure of Pure Land Buddhism in East Asian Buddhism. Amida's face is a full, oval shape, so plump that he has three rings of fat on his neck

Yakushi Triad

Hakuho period, late 7th or early 8th century 8 feet 4 inches high Tang Chinese influence Housed in the imperially sponsored Yakushiji in suburb of Nara. Name means "Medicine Buddha" Usually identified by the medicine jar he carries in his left hand (missing here) Cast in bronze: figures acquired a rich black patina No jewelry Lakshana: waterfall drapery, rich pattern of thin, irregular folds (naturalistic, compared with Shaka Triad and its "waterfall drapery")

Why did Emperor Shomu build Todaji

He intended to rival the Chinese Longmen colossal Buddha carved out of natural rock some 20 miles south of the Tang capital He intended to use the main temple and it subsidiaries as the protector of the nation, i.e., the consolidation of political fortunes for the imperial rule An effort to bring peace and unity to his people, but project was so taxing to natural resources that it actually caused the decline in national administration over the next century and a half

mappo

Heian Period The decay of the Buddhist Law that would supposedly occur in the year 1050 Dread of this, as well as Esoteric Buddhism's inaccessibility and natural disasters, gave rise to pure land Buddhism.

Esoteric Buddhism

Heian period Developed in the 1st and 2nd century C.E. in India A kind of secret teaching that stresses the close relationship between a Buddhist master and his disciples The dharma (or Buddhist Law) is transmitted privately through consultations in which the master would guide the disciple to meditate on the different "courts" of the mandala. Each "court" symbolizes a different level of spiritual attainment. The practitioner starts from the outer court and gradually works his or her way into the center. It is like mental circumambulation. Finally, the practitioner is united with the main deity, the Dainichi (or Virocana in Sanskrit). Because of its rigorous secrecy, it was not widely propagated and was only available to the upper echelon of the society. Developed in response to a loss of direction in Buddhism. In the Nara period, buddhism was divided into six major schools that assumed tremendous political power. Their main concerns were more secular than spiritual. More interested in securing material benefits for the state and for their wealthy patrons; spiritual attainment and enlightenment were not their main objectives. Buddhism was even more powerful than the imperial family, and interfered with imperial policies. Buddhism allied with the aristocracy. The Buddha possessed two aspects: the phenomenal body, the absolute or ineffable body This duality was laid out as Two Realms (Ryokai): the Diamond World (Kongokai), the Womb World (Taizokai). To unite these two bodies is to achieve the non-duality, i.e. enlightenment.

Horyuji wall painting of Amida Triad

Horyuji preserved the best of the few examples of painting from the Hakuho period, until a fire in the kondo in 1949 Contains 4 triads: a series of twelve murals depicting four Buddhas enthroned in their respective paradises The wall material: very fine, dry clay, not fresco 1). Draft paper laid on wall, holes bored along the contour to hold perforated paper on to the wall 2). Use a small piece of cloth filled with powder to dab along the outlines, image shows up as dots on the wall 3). Used a brush to connect these dots. Usually done by lower-ranking workmen in a guild. Then colored Then the master would finish the work by applying the final touches and new outlines in red ink over the colors. Chinese influence: Even, smooth flowing lines, fullness in depictions of human figures, The Tang Chinese preferred plump male and female figures (similar to Indian Gupta influence).

Fifth century kofun

Increased in size and complexity Built by piling up huge amounts of earth, often surrounded by moats Took 1,000 people working daily, 4 years to complete Corridors within tombs, Chinese and Korean influence

Japan

Island country located in northeastern Asia Four main islands: Hokkaido (North), Honshu (the largest) and Shikoku in the middle, Kyushu in the south Chains of smaller islands (south and west are very controversial) Language: structurally similar to Korean and Turkic languages of Northern Asia

Paleolithic Period

Japan originally connected to the main continent of Asia Around 10,000 B.C., the climate became warmer, glaciers melt, cause the sea level to rise Japan separated from the Asian continent Not much is known about the earliest people of Japan Evidence of earliest human activities: 500,000 years ago Ethnic affinities with other East Asian peoples Japanese are most likely of diverse racial and cultural origins They fashioned stone tools and spearheads: not advanced culturally to make pottery. Pottery later becomes important in Japanese culture.

Rear saddle bow, from Fujinoki tomb

Kofun Period Front end of a wooden saddle with a rounded contour at the top Two small buckles presumably to adjust the saddle Horses introduced to Japan Strong Korean influence Elephant and Indian motifs

Haniwa house

Kofun Period Typically placed directly over the deceased Other haniwa distributed in concentric patterns at mid-slope, and at the base and entrance Not an ordinary dwelling: a flamboyant display of architecture in miniature Representative of a communal gathering place for ceremonies or rituals

Dark Warrior of the North

Kofun Period, end of 7th century Wall painting in Takamatsu Tomb Combination of a tortoise and a snake Tortoise facing to the right, walking on four clawed feet, and a long snake encircling it from above

Haniwa figure of a warrior

Kofun period Function of haniwa still debated: Ancient texts say: phase out human sacrifices but images of human beings do not appear until relatively late in the evolution of haniwa. Probably meant to separate the world of the dead from that of living Protect the deceased and provided their spirit with a familiar resting place Prevent erosion of the burial mound Frequency of armor-clad soliders suggests frequent warfare Beginning about 400 A.D., warrior and horse haniwa appeared together This suggests that Japan was invaded by horse-riding warriors

Blue Dragon of the East

Kofun period, end of 7th century Located on Eastern wall of Takamatsu Tomb Looks mostly green and red

Red Phoenix of the South

Kofun period, end of 7th century Located on Southern wall of Takamatsu Tomb All of these animals are depicted with fine black outlines neatly colored, and they all have extremely elongated bodies and limbs. Indicative of Chinese painting styles of the Six Dynasties.

White Tiger of the West

Kofun period, end of 7th century Located on Western wall of Takamatsu Tomb Head, red, open mouth with long white fangs, and stripes on its back and hind leg

Takamatsu Tomb

Kofun period, end of 7th century Preserves a set of wall paintings Indisputable links between Japan and China and Korea Contain the four directional animals, the constellations and the sun and the moon (all major themes in Chinese and Korean tomb chambers) Contains a directional animal at the center of each wall

Female attendants

Kofun period, end of 7th century Takamatsu Tomb The best preserved human figures between the directional animals wearing long jackets over pleated skirts, a distinctly Korean costume First outlined in black with a brush, then filled in with color No ground, foreground or background Indication of space: figures in back stand slightly higher than the two in front No physical contact but figures create a believable space through subtle psychological interaction

Heiankyo

Laid out in a rectangle grid Follow the Chinese design of the capital city Chang'an. Palace enclosure (including government buildings) occupied the four central blocks at the extreme north of the city The two temples allowed within the boundaries of the city: Toji (the Eastern Temple), Saiji (the Western Temple). Located at southern boundary of the city, far away from the bureaus of the government

Tomb of Emperor Nintoku/ Kofun tombs in general

Made during the Kofun period from piled up Earth. 300 A.D. - 710 A.D. Tumulus (pl. tumuli) built for emperors, princes, and members of the royal families Early kofun: round, Later kofun: keyhole shaped Weapons, bronze mirrors, jade and jasper ornaments placed inside the tomb Outside and on top of these burial mounds were clay cylinders: haniwa

mandala

Metaphysical diagram of the Buddhist cosmos. According to Shingon doctrine, the full perfection of Buddhahood, enlightenment is divided into two aspects: 1). The Womb World: Compassion of the Lotus 2). The Diamond World: Indestructible nature of Buddha wisdom

Semi-zoomorphic design

Middle Jomon period Lamp or incense burner, built from coiled clay, added clay to create zoomorphic images, the bird-like image More stable society: could afford time to design more elaborate vessels

Middle Yayoi pitcher

Most common clay objects: unglazed earthenware tall, narrow-necked vessels Made from coils of clay and potter's wheel Fired in open bonfires or less commonly in pit kilns Have no décor, or bands of tiny incised geometric designs, no florid patterning of Middle Jomon pottery Unearthed in Honshu Tall base and rim, almond-shaped perforations Wide handle at back of the neck Parallel, diagonal, zigzag, and pricked lines Burn mark left on the surface during firing

The Priest Ganjin, 688-763

Nara Period Arrived in Nara 754 with the expressed purpose of bringing to the Japanese clergy the teaching of the Ritsu School of Buddhism and the correct and complete ritual of ordination for the clergy. Ritsu: a Buddhist school that closely followed Buddhist precepts. The trip to Japan across the China Sea was hazardous: first attempt in 743, on sixth attempt, in 753, he finally arrived in Japan. By then an accident had rendered him blind In 755 he helped the Japanese to set up an ordination platform at Todaiji, and some 400 hundred people were properly ordained. This was a tremendously important event in Japan. Up until that time the Japanese had felt that they had not performed the ceremony correctly He preferred not to reside in Todaiji. In 759, the first step toward building the Toshodaiji for him was taken

Longmen colossal Buddha

Nara Period Chinese, 7th century A possible prototype for Emperor Shomu's project, made by Empress Wu in China

Todaiji Daibutsu

Nara Period Emperor Shomu's great Buddha Used to be housed in Daibutsuden (the Great Buddha Hall) until a fire destroyed it in 1180 1692 reconstruction of the original Buddha, not at all faithful to the original

6 out of the 10 original principle disciples of the Buddha Sculptures of the 8 Classes of Supernatural Beings

Nara Period Kofukuji surviving sculptures Completed in 734 by a group of craftsmen: a sculptor, a wood worker, a painter, a metal specialist, and a paper craftsman Small in size but accurate in body proportions Made using a newly adopted technique called "hollow core dry lacquer" introduced from China during the early 7th century 3-D, life-like quality to sculptures: each individualized each one of them, making them portrait-like, different personalities and life experiences are clearly revealed Very different from the Yakushiji bronze sculptures

Ashura

Nara Period One of the Eight Classes of Beings, Kofukuji temple Though a deity, as naturalistic as the Buddha's disciples 6 armed and 3 headed deity Youthful body and faces

Deatial of Shigisan engi emaki Shaka on a lotus petal

Nara Period Only surviving original parts of the Todaji Daibutsu Buddha The lotus petals used as the Buddha's seat. each petal has an incised representation of a Buddha A portion of a 12th century scroll painting done shortly before the fire also gives insight to the original Buddha, Round, full face, with a serene expression and half-closed eyes Neck with three rings, broad chest and narrow waist Robe falls easily over each shoulder Strong influence from the Tang dynasty in China

Hollow-core dry lacquer

Nara Period Technique introduced from China during the early 7th century. Begins with a wooden frame fashioned into the intended posture of the sculpture On this frame, the artisan would sculpt a rough model of the image from clay. Then layers of hemp cloth soaked in liquid lacquer were applied one by one and were bonded together by the sticky substance Each layer had to be completely dry before the next one was applied. Before the final details were added, the sculpture was cut open at the back and the clay was removed The original armature could be left in or it could be replaced by a new one The cut on the back is then sealed with more layers of lacquer-soaked cloth Additional details on the surface of the image were modeled Finally, the image was coated with black lacquer, over which gold leaf or colors could be applied Very labor-intensive and time-consuming process but dry lacquer is very durable and a much lighter material than wood or bronze

Birushana Buddha

Nara Period, 759, Todaiji temple Made with the hollow core dry lacquer technique 10 feet in height, largest dry-lacquer seated image from the period known today The body is heavy and fleshy Not modeled with attention to naturalistic detail: No curving of the waist or swelling of the chest; instead a stiff representation of a torso The neck is short, and almost as thick as the head. Chinese Tang influence: fullness of the body, the ringed neck lines, the "wet drapery" style. Seated on a lotus flower base Illuminated by the halo made up of an assembly of hundreds of Buddhas in clusters (universal Buddha) Depicts a transitional style between the Nara and the Heian period.

Four Guardian Kings (Shitenno)

Nara Period, Located in Kaidanin (Ordination Hall) at Todaiji temple Modeled in clay over wooden frames Guardians of the four corners of the universe, protect Buddhism Meant to be individual figures, no two images are quite the same with different expressions and body gestures Each of them holds his respective attribute. All trample on the backs and heads of demons Share naturalistic, life-like, expressive qualities, with individualized and exaggerated expressions. Include: Tamonten, Jikokuten, Zochoten, Komokuten.

Shukongojin

Nara Period, Todaiji temple One of the oldest and best-preserved Japanese Buddhist sculptures from the 8th century Made of clay and coated with gold leaf and pigments A "secret image" of the temple from early on, kept from view for most of the time, good condition Maintains much of its original sculpted detail and color. Fierce guardian figure: clutches a diamond thunderbolt in his raised right arm His mouth is wide open: shouting or threatening intruders The sinews of his neck are visible, and his left fist is clenched so tightly that the veins of his arm pop up on the surface. Although he stands on the ground, he seems to move in space, because his scarves swinging out behind him

Fukukenjaku Kannon, Guanyin

Nara Period, Todaji Temple, 746 The central deity on the main altar of the Hokkedo Bodhisattva of Compassion 8-armed figure made of dry lacquer, representing one of the 33 manifestations of this deity. Fukukenjaku: "Never-Empty Lasso" Exemplifies the concept that this form of Kannon has the strength to lasso beings suffering in delusion and pull them to the rightful path of enlightenment. Multi-armed, multi-eyed figure also reflects influence of Esoteric Buddhism from India via China: extra limbs signify extra powers This Kannon is depicted with an additional eye in the middle of his forehead (una) 2 of 8 arms are in front of his chest in the gesture of prayer, the other six are arranged behind him, radiating out like glowing light, each holds an attribute associated with this form of Kannon. The lasso in his lower left hand reveals his identity. Strong Chinese Tang influence: the solid body, rounded face, with full lips, double chins, 3 rings on the neck, and the "wet drapery" style forms many repeated "U" shaped patterns on his legs.

Yakushi, the Medicine Buddha

Nara Period, dated reliably to sometime after 796, one coin found in the cavity is inscribed with that date Utilized new technique: dry lacquer over a wood core. Perhaps was introduced by the Chinese monk-sculptors who came to Japan with Ganjin. Its appearance in Japan during the late 8th century signifies a new direction for sculpture and a return to wood as the preferred material The drapery is articulated with deep folds repeated in groups over the chest and abdomen. Below the waist the robe is pulled tightly over the thighs and falls in vertical folds on either side of the legs. The thighs are clearly seen under the drapery, with no bend to the knees A much more static image: somewhat squarish face set directly in the middle of the shoulders with hardly any neck in between Indicative of a transition toward Heian style

Entertainers Riding an Elephant, 8th century

Nara Period, painting preserved in Shosoin at Todaji temple Landscape on a biwa plectrum guard Includes a musical instrument similar to a lute Example of the high achievement of Chinese landscape painting Foreground: a group of entertainers on the back of a white elephant, the one with a bony, Occidental face in the front seems to be the leader of the group, features suggest Central Asian or Persian origin, Tang China was very international, as thousands of foreigners came to China on the Silk Road. Behind this group of musicians: tall mountains with deep crevices rise sharply from the gorge, layer up on hills receding into the distance, a zigzagging flock of birds flying toward the setting sun guides viewers into the deep space. This landscape configuration frequently seen in Chinese painting of the same period, such as at Dunhuang

Lady under a tree, 752-756

Nara Period, painting preserved in Shosoin at Todaji temple Part of a six-paneled screen Questionable that it was made by Japanese a painter, strong connections to Chinese style Only applied pigments on the face and other exposed part of the body, such as her neck and hands Hair and the garment are sketched in fluid black ink lines Originally, colored feathers were pasted to the screens to cover the un-detailed areas of the robe A very rich and sumptuous lady The painter must have been familiar with the current artistic trends in China, the theme of court ladies seated or standing by a small tree The ground is only suggested by a few garden rocks arranged around them. Very similar to paintings on the Chinese Li Xian Tomb mural. Chinese Tang influence: standard of beauty, extremely plump face, full, pink cheeks, small mouth with full lips, and tiny, elongated eyes, and small, delicate hands Chinese and Japanese figures share the same kind of hairdo, the same kind of garment, scarves, and shoes that curve upward at the toes.

Jikokuten (Guardian of the East)

Nara Period. One of the Four Guardian Kings (Shitenno) located in the Orientation Hall of the Todaiji temple. Holds a long sword.

Kasenen, disciple of Shaka

Nara period Sculpture in Kofukuji temple 58.5 inches tall Stands on a rock-shaped base, wearing a simple robe Face is contorted: mouth open as if he were crying, under deep stress, shown in his expressive brow Emaciated body indicates hardship endured Simple robe is draped over his left shoulder, and he holds up the extra cloth with his arm The robe is tied with a cord pushed through a ring at the shoulder: the Indian style of a Buddhist monk's robe, modified in China and then transmitted to Japan

Kofukuji

Nara period temple that still holds valuable artifacts Privately sponsored by the wealthy Fujiwara clan, who became very influential in post-Nara period Japan The largest and most impressive temple before Todaiji was constructed. Offers the best glimpse of art produced during the first half of the Nara period Had a profound socio-political and religious impact on the newly established capital: The center of Buddhist learning: the monks lived together in groups, studying under the guidance of a religious teacher The temple provided social services, such as the Mercy Hall, which took care of orphans and the elderly, and the Medicine Hall, which functioned as a clinic for the sick. The temple gardens provided flowers for daily worship, and were open to the public for enjoyment and recreation No original building survives, and only two sets of sculptures are still extant: 1). 6 out of the 10 original principle disciples of the Buddha 2). Sculptures of the 8 Classes of Supernatural Beings

Todaiji

Nara period temple that still holds valuable artifacts The "Great Eastern Temple" In 743, Emperor Shomu ordered the casting of a colossal Vairocana (Birushina) Buddha, the Universal Buddha, and the construction of this temple to house it Duplicates of the image on a smaller scale were made to be distributed to branches of the temple Most important projects undertaken by the imperial court, the clergy, and the Japanese people in the 8th century Although the pledge was made in 743, the casting of the main part of the Buddha was not completed until 749; and the manufacture of the snail-shell curls for the hair and the gilding of the image took another 2 years. In the spring of 752, the "Eye- Opening Ceremony" was finally held Work on the halo not completed until 771.

Sculpture of Ganjin

Nara period, made in 763, the year of his death Housed in the Founder's Hall The first Japanese attempt to make a true life-like portrait sculpture based on the appearance of an important historical figure. Made with the hollow core dry lacquer technique Sits cross-legged, hands resting in his lap, eyes almost closed, meditation posture, deep concentration, peaceful. Rhythmic folds of the drapery carefully and naturalistically modeled Surface painted. Brocade patterns of the outer robe clearly delineated.

Mahayana and Hinayana

Nara/ Hakuho period Horyuji tableau, Parinirvana scene Bodhisattvas (Mahayana) know the joy of the final freedom from the endless cycle of samsara, they sit calmly and quietly behind the Buddha Buddha's disciples (Hinayana), on the other hand, have not yet comprehended the reality of impermanence They are shown crying, screaming, wailing, and beating their chests to express their grief

Tamonten (Guardian of the North)

One of the Four Guardian Kings (Shitenno) located in the Orientation Hall of the Todaiji temple. Holds a Buddhist reliquary in his raised right hand.

Komokuten (Guardian of the West)

One of the Four Guardian Kings (Shitenno) located in the Orientation Hall of the Todaiji temple. Holds a brush and a scroll, both of which are later replacements.

Zochoten (Guardian of the South)

One of the Four Guardian Kings (Shitenno) located in the Orientation Hall of the Todaiji temple. Holds a lance in his right hand.

Tamonten

One of the Four Guardian Kings. The King of the North, the direction from which the most dangerous forces were thought to come Holds a long spear and a reliquary (looks like a small shrine or platform) Reliquary: houses a sacred relic of the Buddha (or Buddhist saint), such as a bone or a tooth, or part of his begging bowl Sense of volume in the figure indicative of Chinese influence, like the Xiangtangshan bodhisattva.

Hokkedo

One of the oldest buildings constructed as part of the Todaji temple in the Nara period The Lotus Sutra Hall (The Third Month Hall) Established in 733 by Emperor Shomu for Roben, the would-be first abbot of Todaiji

dotaku

Period: Late Yayoi Cast bronze bells, the most characteristic bronze object of the Yayoi period Nearly 400 unearthed, most in isolated areas, far from settlements, and were carefully buried Shape derived from the southern Chinese bronze bo Some come with protruding flanges on sides Chinese bells used as a musical instrument, Japanese bell doesn't ring when struck Function remains a mystery Surface: 12 squares, stand for the 12 months of the year?

Chinese and Korean influences on the art of the Yayoi and Kofun periods

Reflected in bronze and clay objects, and tomb paintings in the southern and westernmost parts of Japan Native Japanese styles in clay continued in the north

Middle Yayoi vessel

Tall, thin vase, 27 and 5/8 inches high, relatively large for a Yayoi vessel On one side of the neck: human face Could be used in the process of a second burial to store bones after a few years buried Or could hold water for the bone-washing ceremony

Heijokyo

The Hakuho period ended in 710 with the establishment of a new capital here Modern-day Nara, modeled on the grand capital city Chang'an of China Major center of Buddhist worship The imperial palace: located to the central north of the city, facing the south Ten main lateral avenues and nine main longitudinal ones, form blocks of districts in the city

Neolithic Japan

The New Stone Age Begins around 10,000 B.C. Technology: the creation of stone tools of a much higher quality, including polished axes, knives, and even fishhooks Hunters, fishers, and gatherers, especially fond of shellfish Artifacts : hand-built pottery, fired under primitive conditions (pit fire, or bonfire)

Suzaku Oji (O means big and ji means road)

The central avenue connecting the palace to the south gate of the city in Nara. This road divided the city into two halves.

Emperors Ojin (346 - 395), and Nintoku (395 - 427)

The grandest kofun, in Osaka prefecture, south-central Honshu Thought to be tombs of these 2 Emperors

Pure Land Buddhism

This new faith required that people worship the Buddha Amitabha (or Amida), and promised birth into Amitabha's Western Paradise to anyone who would sincerely recite Amitabha's name, even if only once in one's lifetime, even if only at the last moment, on one's deathbed. Attracted the faith of the common masses who had been excluded by the monastic hierarchy. Factors that led to its rise: 1). fear of mappo 2). a series of natural disasters and famines that made people long for a better life 3). the preaching of several messianic priests, whose simple message was attractive in difficult times

"Eye-opening" ceremony of 752

Todaji temple Special ceremony held right after a Buddhist image is in situ The eyes of the sculpture are symbolically painted in by a high-ranking monk or dignitary The deity is then initiated and assumes divine power Involved the Japanese government, Buddhist dignitaries from China and India Shortly before the ceremony, Emperor Shomu abdicated his throne to his daughter. Some sources indicate that the retired Emperor himself performed the ceremony. Other sources show that either an Indian monk, or the Indian monk and a Chinese monk together, performed ceremony.