Ancient Japan
Before we dive into the actual artwork we must
build some foundation that explains the structure of the form and function of
the art of ancient Japan. So, hang in
there and stay tuned…
The Japanese possessed a complex system of beliefs, known
as Shinto.
Shinto believed that certain trees, boulders,
mountains, waterfalls, or similar physical expressions of nature's awesome
powers housed/and were Kami.
Humans were part of nature and Shinto followers
sought through ritual, to earn the favor of the Kami.
The influence of China and Korea on Japan was
substantial. As you brilliant ones know, Japan is an island off the
coasts of China and Korea, so they physically link Japan to mainland Asia.
Buddhism arrived from Korea in 500 CE; you
Suave types know it came from India and China then to Korea. The statues of
Buddhist gods incurred a strong reaction in Japan. Imagery wasn’t originally
used in Shinto.
Gradually, the Buddhist sculptural tradition and
the importance of using art to spread the religious word led to the creation of
images of the Kami. The Kami figures were placed in Shrines.
Entrance to the Shinto shrine
Site Daizufu, Fukuoka Prefecture,
Kyushu District, Japan
Photographer: Irving Rouse
Peabody Museum of Natural History
Japanese Shinto was heavily connected to
nature and many of it’s gods were gods of specific natural sites. Zao Gongen
was one of these gods- the spirit of Mt. Kimpu, a place regarded as a Buddhist
paradise.
The Shinto Deity Zao Gongen
Date 14th-15th century
Wood with color, 7 3/8 in. (18.7 cm)
The Walters Art Museum
Some Kami figures were created to resemble
male and female aristocrats.
12th Century Shinto Deity
Wood, with traces of polychromy
50.3cm x 38.1cm
The larger figure (above) holds a table that
symbolizes authority and head wear that was worn by high ranking members of the
court.
The smaller, female kami wears a court robe.
The surfaces of the kami were originally
painted.
Shinto goddess personifying the Princess Nakatsu Hime
Date 9th century Heian
Material wood
14.2 in. high
The Ohio State University
In 7th century Japan Buddhism was still in its
infancy, although under the reign of
Empress Suiko (593 - 628) and Prince Shotoku
Taishi (574 -622) its practice grew.
By maintaining active relations with China,
and especially with Korea, Empress Suiko and Prince Shotoku were able to
develop, and then initiate, sweeping changes in government organization and
society. Influenced by the Chinese philosophy, Confucianism the Japanese
government now focused on the moral responsibility of leadership.
9th- and 10th-century Buddhist sculpture in
Japan often portrayed the Buddha wearing a distinctive pattern of thick, folded
robes.
Asian; Far East Asian; Japanese
Sculpture Japan, Heian Period (794-1185) c. 900
Material wood
with lacquer and traces of color
Overall: 57.2cm x 46.4cm x 38.1cm
The Cleveland Museum of Art
The devotional image below from early Buddhist
Japan, portrays a seated figure, right leg crossed on top of the knee of
the suspended left leg and right hand rising to touch the chin. The left hand
rests on top of the ankle of the crossed right leg.
Buddha of the Future (Maitreya)
Japan, Asuka Period late 7th Century
cast bronze, incised, with traces of gilding
Measurements: 39.4cm
The Cleveland Museum of Art
The Future Buddha, Maitreya (Miroku in
Japanese), was believed to appear at the end of the world to offer salvation.
The fiery death of the planet was preached in early Japan and the Miroku
statues were produced in response to end of the world forecast.
The Japanese Shinto and Buddhist inspired
sculpture is known for its fascinating religious based figures (especially the
supernatural guardians of the Buddha). Once again, I could spend weeks
examining the artwork, but your boredom level concerns me. So sorry, here are a
few that will forever be near and dear to your own hearts:
Aizen Myoo
Aizen Myoo (Ragaraja)
Date 14th Century Japan, Kamakura Period
Wood, with black lacquer and red pigments
75cm x 59cm x 35cm
The Cleveland Museum of Art
Aizen Myoo (Ragaraja in Sanskrit) Japan’s
esoteric Buddhist King of Love, Lust, and Desire, patron of erotic love and
sacred sexuality. He helps move earthly, physical desire into the realm of love
and spiritual awakening and enlightenment.
He is usually depicted with six arms, each
holding an object signifying the religious power of the icon, thunderbolt,
bell, bow, arrow, lotus flower, and clenched fist. Also visually prominent is
the third eye that appears between the furrowed eyebrows, a lion's (or dog or
lion/dog) head emerging from Aizen's flaming hair strands and bulging eyes and
ferocious mouth.
Myoo (King of Light) icons often signify a
ferocious aspect of the Buddha of Wisdom and were introduced into Japan during
the ninth century, a period of intense religious fervor.
Ashura
Ashura
8th century Japan Nara
Dry lacquer
Measurements 60.39370079 in. high
Style Period
The Ohio State University
Ashuras rank low on the ladder of deities
(above humans of course). They are addicted to passion, wrath, pride, envy,
insincerity, falseness, boasting.
I think I promised more actual prints last
post? Sorry about that. I got carried away with the descriptions and examples
of the religious impact on ancient Japan. For the next post I swear to hit some
2D highlights!
Thanks for reading.
