3.2: Worksheet: Selection of Arts of Japan ahis 17

1. MAIN HALL, INNER SHRINE. Last rebuilt 2013. Ise-jingu, Mie prefecture. © Jingū-shichō. Sengu Photo Library. [Fig. 12-2]

What important aspects of Japanese tradition does this shrine represent? How would you explain the expressed relationship to nature?

2. VESSEL. Middle Jomon period, ca. 2500–1500 BCE. Low-fired clay. Height 16-1/2″ (42 cm). Kimbell Art Museum, Fort Worth, Texas/Art Resource, NY/Scala, Florence APx 1974.03 [Fig. 12-5]

Describe this piece. Is this sculpture?

3. VESSEL. Middle Jomon period, ca. 2500–1500 BCE. Low-fired clay. Height 16-1/2″ (42 cm). Kimbell Art Museum, Fort Worth, Texas/Art Resource, NY/Scala, Florence APx 1974.03 [Fig. 12-5]

Describe this piece. Is this sculpture?

How is this an example of the adoption of a form from Korea and/or China that has taken on new signficance in Japan?

4. HANIWA FIGURE OF FALCONER. Kofun period, 6th century. Terra-cotta. Height 29-4⁄5″ (75.8 cm).
Yamato Bunkakan, Nara. [Fig. 12-18]

Where were such figures placed? Why? And why might they look so simple?

5. GENERAL VIEW OF HORYU-JI. Asuka period, 7th century. Nara prefecture.© DAJ/Getty Images. [Fig. 12-21]

Despite its asymmetry, why does this temple complex still appear balanced? What is the significance of this temple in Buddhist architectural history in Japan?

6. Tori Busshi. SHAKA TRIAD. Asuka period, 623. Gilt bronze. Height 46″ (116.8 cm). Kondo (main hall), Horyu-ji. Nara prefecture. Photo Benrido Inc., Kyoto. [Fig. 12-26]

How and why might this figure, particularly the drapery and the face, look like Northern Wei Chinese Buddhist sculpture (from, for example, Longmen) or Paekche Korean Buddhist sculpture?

7. DETAIL OF “HUNGRY TIGRESS” PANEL from the Tamamushi Shrine. Asuka period, ca. 650. Cypress and camphor wood, with lacquer. Height 7’7-1/2″ (2.33 m). Gallery of Temple Treasures, Horyu-ji, Nara prefecture.

Northern Zhou dynasty, ca. 557–581. Mural. Cave 428, Mogao Grottoes, Dunhuang, Gansu province. [Fig. 7-9]

These two works depict the same jataka tale, or tale of the past lives of the Buddha. Describe their different techniques and results.

8. KICHIJOTEN. Nara period, 8th century. Color and gold on hemp. 20-7/8″ × 12-1/2″ (52.9 × 32 cm). Kondo, Yakushi-ji, Nara. Photo Askaen Co., Ltd, Nara. [Fig. 13-1]

How does this work bring China and India to Japan?

9. BUDDHA ROSHANA. Nara period, 8th century, reconstructed 17th century. Bronze. Height 53′ (16 m). Daibutsuden, Todai-ji, Nara. © Luca Tettoni. [Fig. 13-6]

How does this colossal Buddha compare to others we have seen in China and Korea? How was this project religious and political?

10. Left: WOMB WORLD MANDALA (TAIZOKAI) OF THE RYOKAI MANDALA. Heian period, late 9th century. Hanging scroll, color on silk. 6′ × 5’1-1/2″ (1.83 × 1.54 m). To-ji, Kyoto. [Fig. 13-14A]

Heian period, late 9th century. Hanging scroll, color on silk. 6′ × 5’1-1/2″ (1.83 × 1.54 m). To-ji, Kyoto. [Fig. 13-15A]

In form and meaning, how do these mandala paintings present different ideals of Buddhism? Which sect of Buddhism? What is a mandala? Can you give another example?

11. Jocho. AMIDA BUDDHA. Heian period, ca. 1053. Gold leaf and lacquer on wood. Height 9’8″ (2.95 m). Phoenix Hall, Byodo-in. Uji, Kyoto prefecture. [Fig. 13-21]

12. SCENE FROM THE “MINORI” (“THE RITES”) CHAPTER OF THE TALE OF GENJI. Late Heian period, 12th century. Handscroll, ink and color on paper. Height 8-5/8″ (21.9 cm). Gotoh Museum, Tokyo.

Describe how the visual elements (composition, diagonals, colors, symbolism) are used to tell the story and express emotion.

13. PRIEST SHUNJOBO CHOGEN. Kamakura period, early 13th century. Painted cypress wood. Height 32-3/8″ (82.2 cm). Todai-ji, Nara. Photo Nara National Museum. [Fig. 14-4]

Compared to the earlier portrait sculpture (below), how does this Kamakura piece seem more realistic? How would you describe the earlier sculpture in comparison? Do the different materials affect the design of the sculptures?

PRIEST GANJIN. Nara period, 8th century. Dry lacquer, painted, height. 32-1⁄10″ (81.7 cm). Toshodai-ji, Nara. Photo Benrido Inc., Kyoto. [Fig. 13-10]

14. Unkei and Kaikei. KONGO RIKISHI (UNGYO), and KONGO RIKISHI (AGYO). Kamakura period, 1203. Painted wood. Height 27’5″ (8.40 m) and 27’4″ (8.36 m).Great South Gate, Todai-ji, Nara. National Museum, Nara. [Fig. 14-5 and 14-7].

Describe these figures as thoroughly as possible to capture their dynamism.

15. Josetsu. CATCHING A CATFISH WITH A GOURD. Muromachi period, ca. 1413.
Hanging scroll, ink and slight color on paper. 43-7/8″ × 29-7/8″ (111.5 × 75.8 cm).
Taizo-in, Myoshin-ji, Kyoto. [Fig. 14-15]

Explain the subject matter of this painting.

16. ROCK GARDEN, RYOAN-JI, KYOTO. Muromachi period, ca. 1480. Current garden design likely dates from around 1650. 29′ × 75′ (9 × 23 m). © Michael S. Yamashita/Corbis. [Fig. 14-20]

Do you think this rock garden is related to landscape painting? Why or why not?

17. Attributed to Kano Eitoku. CYPRESS TREE. Momoyama period, 1590. Color, ink, and gold leaf on paper. 5’6-7/8″ × 15’1-1/2″ (1.7 × 4.6 m). Tokyo National Museum. Photo DNP Art Communications Co. Ltd. [Fig. 14-31]

How does this painting show aspects of Chinese painting, as well as an adjustment to a new display space and patron?

18. Kitagawa Utamaro. NIGHT RAIN. Edo period, ca. 1797. Polychrome woodblock print on paper. 15-1/8″ × 10-1/8″ (38.5 × 25.9 cm). The Art Institute of Chicago. [Fig. 15-16]

Toshusai Sharaku. OTANI ONIJI III AS YAKKO EDOBEI IN THE PLAY THE TWO-COLORED REINS. Edo period, 1794. Woodblock print, ink, color, and white mica on paper. 15″ × 9-7/8″ (38.1 × 25.1 cm). Metropolitan Museum of Art, New York. [Fig. 15-17]

In both form and subject matter, these prints show attention to new populations of urban life. How?

19. Katsushika Hokusai. THE GREAT WAVE OFF KANAGAWA. Edo period, ca. 1831.
Polychrome woodblock print on paper. 10-3⁄16″ × 15-3⁄16″ (25.9 × 38.5 cm).
Honolulu Academy of Arts. Gift of James A. Michener, 1955, 13695. [Fig. 15-18]

In your opinion, why has this image become so famous?

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