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38 Cards in this Set
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• Conical Vessel Fig. 2
Jomon Period • Clay • Rolled coil, made in open fires • Rim undulations • Portable • Used to boil food |
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• “Flame-ware” vessel
Fig.7 Jomon Period • Clay • Rolls of clay applied to surface to build strong 3-D designs • Extravagant scalloped edge • Hand built • Probably ceremonial |
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“Goggle-eyed” Female Dogu
Fig.11 • Jomon Period • Clay • Exaggerated bodies and faces • Hollow body to allow residence of soul • Huge eyes either as reflectors of death or windows onto soul |
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Yayoi Period
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• 400 B.C.E.-300 C.E.
• Agricultural-based culture • Manufacture of bronze and iron objects • Pottery wheel • Cultivation of rice • Industrial and agricultural revolution • Established large settled communities |
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Dotaku
Fig.20 • Bronze • Yayoi • Bell • Geometric or figural designs • Used for ceremonial purposes. Did not have a clapper on the inside • Many buried in graves |
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Vessel with Human Face
Fig. 23 • Clay • Yayoi • Maybe used for storing grain • Offering to spirit world or food for deceased • Secondary burial, used to store bones, or contained water for bone-washing ceremony • Face on jar to protect contents |
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Kofun of Emperor Nintoku
Fig. 24 • Kofun • Largest tomb mound • 458 acres, surrounded by 3 moats • Weapons made of iron, bronze mirror, C-shaped magatama, jewelry, etc. placed inside • Haniwa distributed of surface of mound |
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Haniwa Warrior Figure
Fig. 28 • Clay • Kofun • Used to prevent erosion, separate the world of dead from living, or protect deceased and provide spirits with familiar resting place. • Wearing full- • body armor over wide-legged trousers, gauntlets and a helmet, suggesting warfare was common. |
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Mirror
Fig. 34 • Bronze • Kofun • Represent high-status • Associated with Amaterasu, local leaders processed • Chokkomon design (geometric patterns) • Found in Otsuka Tomb on Kyushu |
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Painted Wall
Fig. 40 • Kofun • Takehara Tomb • Prominent red and black color • Framed by two ceremonial fans, center images in three tiers. • Different landscapes may imply the journey of the soul after death |
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Ise Shrine
Fig. 59-60 • Kofun or later • Principal shrine of the imperial court and of Shinto • Amaterasu’s mirror located • Unpainted wood, no nails, everything natural. Rebuilt every 20 years to keep wood pure • Outer shrine (geku) dedicated to provider of grain • Inner shrine (naiku) dedicated to Amaterasu • One side of honden enclosure is an open, pebble-covered plot where previous honden stood • Buildings elevated (like granary) • Built shinmei zukuri sytle. No other shrines can be built in this style because of building’s connection with imperial family. • Roof used to be thatched, now uses cypress tree bark • To reach inner shrine, must pass through torii gates. Pathway to shrine runs parallel to river (rinse hands and mouth). Then reach a wooden fence, located inside three additional fences is the main hall where mirror held (honden). Also behind are two treasure houses, where mass offerings held. |
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Shaka Triad
Fig. 86 • Tori Busshi • Asuka Period • Gilt bronze • Sits atop rectangular platform (Mt. Meru) • Hand gestures: right-tranquility left- infallible path to salvation • Borrowed from Chinese Wei style. Waterfall like skirt, cant really see body through flow of skirts • One Bodhisattva represents wisdom + oter represents compassion=enlightenment • Around Shaka’s halo are Seven Buddhas of the Past (seven earthly manifestations of Buddahood who immediately preceed Shaka) • Above Shaka’s head is the flaming jewel of Buddhist wisdom • Commissioned by Empress Suiko, intended as a votive offering to promote Prince Shotoku’s recovery or his rebirth into paradise |
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Hungry Tigress Jataka
Fig. 91 • Asuka Period • Panal from Tamamushi Shrine • Lacquer on wood and paint • Bodhisattva offers his body to feed starving tigress and cubs. Story of compassion. • Continuous narrative. Repetition of one figure in same image • Wei style. Skinny body, flowy skirts |
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Horyuji Complex
Fig. 66-67 • Nara Period • Chinese Tang style • Private temple of Prince Shotoku • Main entrance Great South Gate |
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Chumon (Central Gate)
Fig. 68 • Nara Period • Entrance to main compound at Horyuji • Set withing roofed plaster perimeter cloister wall, two-storied, four bays wide |
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East Guardian (Ungyo)
• Chumon, Horyuji • Nara • Clay with paint • Defender of the night, guard of Buddhism and its adherents • Black-skinned, clenched teeth |
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Golden Hall (kondo)
Fig. 69-70 • Horyuji • Nara Period • Building for active worship. • Step over large thick threshold in entrance. Alter in center so worshipers able to circumambulate (clockwise) |
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Alter of the Golden Hall
Fig. 93 • Nara Period • Horyuji • Located in Kondo on raised platform • Shitenno installed at corners of alter. • Each king is distinguished by his attribute. Made from a single block of wood. Halos made of separate piece of wood. Crown and strips of openwork metal attached to the halo and skirt of the armor are made of cut gold. • Able to circumambulate alter • Also has Buddhas, bodhisattvas, and guardian deities |
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Guardian King of the North (Tamonten)
Fig. 94 • Nara • Golden Hall, Horyuji • Wood, paint, gold leaf • Made from a single block of wood. Halos made of separate piece of wood. Crown and strips of openwork metal attached to the halo and skirt of the armor are made of cut gold. • Holding a halberd and a reliquary stupa |
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Amida Triangle
Fig. 101 • Nara • Golden Hall, Horyuji • Wall painting of Amida, Buddha of the west • Sits on high backed throne engraved with jewels • Sitting on left is bodhisattva Kannon (has Amida Buddha on crown, Kannon is emanation of Amida in Buddhist cosmos) • Sitting on right is bodhisattva Seishi, normally paired with Kannon as attendant to Amida • Use pouncing technique to transfer image onto wall • Uses red color to outline figures also uses “iron wire” technique which does not vary in width and lacks all calligraphic flourish. • Figures are more naturalistic |
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Pagoda
Fig. 72-73 • Nara • Horyuji • A structure as a memorial to an important person (Buddha) • Also as a diagram of the universe -It makes manifest the invisible path of the Buddhist practioner’s aspiration, which rises along a vertical axis, the heart pillar of the structure, to unite with the absolute -Bright light of truth can penetrate downward along the vertical axis to illuminate our dark illusion • Functions as a reliquary, holding sacred remains from the past. • Brackets supporting eaves are of a stylized cloud-shape, accentuating the concept of an ascent into the heavens, and have a strong 3-D presence |
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Death of Shaka
Fig.99 • Nara • Horyuji, in Pagoda • Clay over wood • North tableau, depicts Shaka passing into Nirvana. Golden body lying on platform, while his disciples and various bodhisattvas look on. His mother even comes down from the heavens to witness the moment of her son’s joyous release. • Disciples who have not fully mastered Buddha’s teaching fall into violent demonstrations of grief. |
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Bodhisattva Miroku
Fig. 96-97 • Nara • Chuguji convent • Camphor wood • Style popular in Korea, sitting on a throne with left leg bent. • Signifies the Future Buddha in his paradise meditating upon the true nature of things until he will descend as the next Buddha. • Has gently swelling torso, softly modeled face, and its naturalistic pose |
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Yakushiji Temple Complex
Fig. 74 • Nara • Built because Emperor Tenmu’s consort afflicted with eye disease, afraid she would go blind. • Yakushi is the Buddha of medicine • Has a hondo (main hall), two pagodas, lecture hall • Buildings have double-roof system (mokoshi) for each story. Also have three-stepped brackets and the latticed ceilings beneath the rafters, allows more light to penetrate • Empasis on hondo, towering two-storied structure immediately visible when entering precinct |
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Main Hall (Hondo)
Fig. 75 • Nara • Yakushiji • Empasis on hondo, towering two-storied structure immediately visible when entering precinct |
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Medicine Buddha Triad (Yakushi Triad)
Fig. 102-103 • Nara • Yukushiji • Bronze • Tang style- full, fleshy, natural figures • Seated image of Yakushi Buddha, with bodhisattva Nikko on left, Gakko on right. • Rich black color because bronze contains a high amount of tin and arsenic. • Bodhisattvas pose suggest they are moving in space. Clothing reveals bodies form underneath, very elegant rich jewelry • Buddha no jewelry. Left arm holding medicine jar, right hand in teaching gesture • Sitting on throne decorated with grape leaves (Tang), rich jewelry patterns. On each of the four sides are dragon, tiger, phoenix and snake/tortoise adopted from Chinese mythology. Also figures of squat men portrayed as the Dharma and number amongst its guardians |
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East Pagoda
Fig. 76 • Nara • Yukushiji • Three-storied structure with mokoshi added at each level. • More stable and buoyant than Horyuji pagoda. • Also have three-stepped brackets and the latticed ceilings beneath the rafters, allows more light to penetrate |
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Great Buddha Hall (Daibutsuden) and Birushana Buddha
Fig. 78 • Nara Period • Todaiji Temple • The hondo which houses colossal Birushana Buddha • Temple complex commissioned by Emperor Shomu • Bronze Buddha • For opening ceremony, court, government officials and Buddhist dignitaries from China and India came • 53 ft. tall |
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Great Buddha Hall (Daibutsuden) and Birushana Buddha
Fig. 78 • Nara Period • Todaiji Temple • The hondo which houses colossal Birushana Buddha • Temple complex commissioned by Emperor Shomu • Bronze Buddha • For opening ceremony, court, government officials and Buddhist dignitaries from China and India came • 53 ft. tall |
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Eight-Armed Kannon (Fukukenjaku Kannon)
Fig. 108 • Nara • Todaji Temple • Hollow dry lacquer and gold leaf • Represents one of the 33 forms Kannon can assume • “Kannon of the never-empty lasso” has the strength to lasso beings caught in delusion and bring them to the safety of Enlightenment. • Has additional eye in middle of forehead and 6 additional arms each holding/representing different manifestation. Lotus blossom of Buddhist wisdom, pilgrim’s staff, and lasso. Has rays of golden light emitting from body • On crown has standing Amida Buddha, who he will become • Eight-arms related to esoteric or tantric teachings • Bodhisattvas Nikko and Gakko |
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Ganjin
Fig. 119 • Nara • Toshodaiji Temple- built for Chinese monk Ganjin who brought Buddhist ordinations from China to Japan. • Dry lacquer with paint • Sitting in position of meditation • Earliest example of true portrait sculpture in Japan |
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Temptation of Mara in The Sutra of Cause and Effect
Fig. 124 • Nara • Ink and color on paper • Emakimono “rolled pictures” • Earliest surviving example of scroll painting from Japan • 8 illustrated scrolls depicting life of Shaka Buddha from his youth in his father’s palace to his preaching to the faithful after he had attained Enlightenment, as well as some jataku scenes from his previous incarnation. • Temptation of Mara, who is the embodiment of Buddha’s enemies. As Shaka approaches Enlightenment, Mara sends his daughters and demons to frighten and attack him, but Shaka is no fool, and reaches Enlightenment, touching the earth to be witness to his spiritual transcendence |
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Characteristics of the JomonPeriod
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•Hunter/gatherer society so portable culture and pit houses
•Ceramics are clay •Decoration of ceramics: rolled-cord, flame-ware, incised lines •Dogufigurines: possible votive offerings, some female perhaps fertility figures •Stone circles |
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Characteristics of the Yayoi Period
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gricultural society with settled communities
•New architecture –raised storehouse •New bronze and iron objects: including the dotakuwith figural art •Continued use of clay ceramics with new pottery wheel •Decoration of ceramics in registers and drop-and-drag technique |
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Characteristics of the KofunPeriod
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•New centralization of authority with Yamato Dynasty
•Appearance of imperial tombs -kofuns •Haniwafigures (unpainted as taste for truth to the materials) •Bronze mirrors as grave goods •Chokkomondesign (taste for irregular patterns) •Later corridor tombs from Korea used = family tombs with wall paintings |
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Characteristics of Shinto
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•Worship of nature spirits called kami
•Primary kami is Amaterasu(sun-goddess) –line of emperors are her descendents •Raised storehouse architecture of Yayoi used for sacred shrine architecture •Shrines built in natural environment with natural construction; continued taste for truth to the materials •Old and weathered can also be respected as part of taste/aesthetics |
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Characteristics of the AsukaPeriod
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•Introduction of Buddhism to Japan
•Prince Shotokuis key supporter of Buddhism and is patron of imperial Buddhist temples •Use of continuous narrative •Artistic style of painting and sculpture is borrowed from the Chinese Wei Dynasty: •elongated figures with narrow shoulders •long and slender faces and hands •drapery is stylized in cascading waterfalls and swallow-tail folds •halos are pointed and feature flames •use of bronze medium |
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Characteristics of the Nara Period
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•Buddhism becomes the state religion with support and patronage by emperors
•PurelandBuddhism is popular with Amidaof Western Paradise •Kegonschool of Buddhism is popular with the emperors and the Birushana/ Dianichi Buddha •Use of dry-lacquer technique •First sculptural portrait and first illustrated narrative scroll (emakimono) •Architectural style first borrows from Chinese Tang Dynasty style •Artistic style of painting and sculpture is borrowed from the Chinese Tang Dynasty: •plumb and fleshy figures •round faces with fleshy folds at the neck •delineated pectoral muscles •tiny mouth (rose-bud lips) •crescent shaped eyebrows •elongated eyes (almond shape) •drapery is more naturalistic •iron-wire line |
