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90 Cards in this Set

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Original city plan of Heian-kyo, Early Heian Period 

the capital at Heian, capital 794-1868, the idea of a permanentcapital actually 成型 during Heian period, brought in from Tang Dynasty. All regular square, protected by mountains, has nice river, Kyoto today developed to the north and to the east. Emphasis on place, Buddhism temple a bit far away, Shift of aesthetics from stone to timber floors, A new vision for court styles

Exterior of the Seiryoden清涼殿, Imperial Palace, Kyoto, Heian style

keep warm, a small spaceprivacy is ensured by fabric, shoji, slide doors, roomgilded w/ gold leaf land scape, continental, not so much like tang china, multi-function rooms separated

Asymmetrical Shinden-zukuri mansion (reconstruction drawing), Middle Heian period

shift towards asymmetry, bi-lateral symmetric: continental, kyoto has very high water table, so dig down a littleand get lake, women live in these compounds and basically never leave it, become literate, develop script, mix scent, have loveaffairs

The Tale of Genji, ink, color, and gold leaf on paper, Late Heian Period

The quality of the paper and what you put on the paperis important, Paint, dust, stamp, gold leaf, Written form: the sound, syllably, Maybe developed in the 8th c., Referred to as women’s writing, Allowed for women to be more easily taught to read, Script is based on the pronunciation of kanji

The Tale of Genji Chap. 36 (Kashiwagi III), ink and color on paper, Late Heian Period

the tale of genji, thought to be the world’s firstnovel

Painting, 5 people workshop, Layers of silk garment, Extremely expensive (the mineral paint), Master: sumigaki , The color of clothing:harmonic but slightly contracting, Maybe just description, maybejust passing around amusing, maybe reading to pass time, maybe criticism. Yamato style, Tsukuri-e, The style, “blown-off roof”technique. fukinuki yatai?Facial expressions extremelysimplifiedObscure the expression,line-eye, hook-nose

Senzui byōbu from Tōji東寺, ink and color on silk, 6 panels; each 146.4 x 42.7 cm, Middle/LateHeian period (11th century)

the multi-panel screen separate space in room, in Japan these screensbecome really important, in Buddhism separate areas of ritual, layers of paper, gold leaf, Dufu, produced in Heianperiod, Japanese landscape. We also having peoplereading Dufu and comments on it, Cosmopolitan. Residing in a hut withfabric screen, Rolling hills

Ritual in Choju jinbutsu giga (Animal caricature scroll), ink on paper, h 11 7/8”; Kozanji,Kyoto, Late Heian period (mid 12th century)

art from the calligrapherin a very amusing way, show animals acting likepeople, cynical, use animals asactors/metaphors to .. humans, not everything layered withcolor, brush and black ink, regulated by thegovernment?tradition of using paintingto critique. don’t know who paintedthesethis picture. made more amusing bc theanimals,memorial service, the robes are typicalBuddhist robes, professional cleric beingemployed, compare: how stylish,particular the aesthetic the genji-ish paintings have

Negotiating for the Return of the Grain from Shigisan engi emaki I, ink and color on paper, h.31.8 cm (12.5 in), Late Heian period (12th century)

the final style, in between. masculine style, expressions are crazy, used to describe thefounding of a monasterypractice, Buddhist in themountains, got hungrybowl takes away the entiregranary, I will return your grain aslong as you promise to help out, A use of wash but stillcalligraphic line, All feature of masculinestyle (advertising how powerful B is)Concurrent with thetsukuri-e (feminine style, feeling the deep..of a story you know about)Different audience anddifferent use

Kongokai (Diamond World), of Ryokai Mandara in Toji, Hanging scroll, ink and color on silk, h 72”, w 60 5/8”, Heian period (2nd half of 9th cen.)

diamond world mandara, symbolic of wisdom, each square is a separatecourt, all fully enlightened

Taizokai (Womb World), of Ryokai Mandara in Toji, Hanging scroll, ink and color on silk, h 72”, w 60 5/8”, Heian period (2nd half of 9th cen.)

Womb world mandara, Has lotus in the center, Buddhist in the cardinal,buddhisattvas in between, More and more enlightenedwhen you move towards the center.

Ritual so complicated youhave to have that image to help you interpret

Fudo Myoo (immovable one), in the Kondo, Toji, Kyoto,c. 839; wood, painted, h 681/4”

enlightened king, common on a staple rock, less terrifying, hold a thunderbolt sword to break through you delusions, capture you and help yousee the light, symbolicpower in the sculptureitself, made from a number ofsmaller blocks, use a wide range of media, developed through Nara period, gilding on the sword andarmexpress power

Yellow Fudo Myoo, Hanging scroll, color on silk, Heian period (12th cen. Copy of the 9th cen original at Onjoji. Manshuin), h 70 1⁄8”

tendai Buddhism, enchi, fudo came to him during hismeditation, floating in the spacethe representation of thatvision. gold used in therepresentation of the eyes, trying to make this image realistic,confronting with the representation will transform you into what enchi saw

Standing Yakushi at Jingoji, Kyoto, Early Heian (ca. 793), Cypress with traces of paint, h. 67”

Earlier than esoteric B butclosely tied to kukai himself, Acquiring the timber thatmatch the life of sculpture, From a single block of wood, Monumental piece, Ceremony for selecting thetree and bringing it down, Essence of truth in life, Wood dries unevenlyCrack when it driesSo hollowed out to preventcracking ,Mudraof reassurance, Originallywas painted, Authentictradition from continent, Fueleddesire to build a sculpture from a whole piece of wood

Muroji, plan, Early Heian period (no medium)

Willingnessto appropriate the local spirit to protect Buddhist law, Distinction,temples in city center and outside mountains

Muroji 5-story pagoda, Early Heian (late 8th-early 9th century), timber frame, h. 16.2 m

very small size, half the size of normal pagodasveryfar away from rigid axial structure of courtyard complex, Centralcore lead us to enlightenment, Lookspretty freshroof made of bark?Don't need to make itauthentic Buddhism, A way of respecting thenatural environment. Recoverable if damaged

Seated Shaka, Mirokudo, Muroji, Middle Heian (2nd half of 9th cen), Cypress with gesso (gofun) and paint, h 41”

A single block sculpture, Sections added e.g. atknee, Desire to create a calm,serene naturalistic look, Leaning pitch forward,waiting, Powerful presence, Hompashiki,the rolling-wave style, mid-heianperiod sculptures, webbed fingers, interior carved out

Shaka in Parinirvana (Death of the Buddha), The Death of Shaka, hanging scroll, color on silk, Middle Heian period (1086)

help us visualize, huge painting help imagine vividly,detailed, distinction if differentclass of people, Fujiwara aristocracy, Understand that this is anew phase of being, Mappo: the end of days/law, Peoplethought that would happen in 1052. Increasedrealism, Naturalization, Thetrees is idiosyncratic, Leafand fruit, Powerof regeneration

Amida Raigo Triptych, color on silk, Middle Heian period (late eleventh century)

Amida became important inthe 11th c., Amida decending, taking youoff into his western paradise, Sutra of visualization, Lotus takes you away, Musical instrument, The landscape behind, hillleads down into the Yamato plain, This scene: Raigo来迎. Help you transcend fromthis world to the other

Amida Hall, Byodoin, timber frame, (c. 1053)

Structures build for thiskind of visualization, Shinden-zukuri mansion,early HeianGarden of Hojoji Temple,Heian. All patronized by Fujiwarafamily members. Amida hall on the west sideof the lake, 3-d vision of thevisualization sutrathe idea of paradise isparallel to the building of backyard gardens. Architecture made forviewing rather than using, Bracket, The bird (phoenix) gilded, The perfect paradise of Bare not related a lot with nature (not authentic). phoenix hall??Bilateral symmetry, Desire to show the properplace to the ruler, Helps to focus yourattention to the center where the Amida is, Water and diety on anisland

Seated Amida in Amida Hall, Byodoin, Uji, by Jochō, Heian period (c. 1053) gilded wood, h c. 16’

can really picture, a private meditation hall,not big, Jocho, sculpturor Given a B title because hewas an expert in B sculpture, Dev a new technique, Multi-block, 53 pieces ofwood, Curl up squeeze into theceiling Put together moreefficiently, can build outside, Prevent cracking. Why create out of wood?Has life force, selectingthe correct tree. More convenient andeconomical. By the time of Middle Heianthe economic aspect may not be at work. Transport in the smallpieces, Very shallow carving,slender figures, refined looking of drapery, Different from the rollingwave style we seen before, Can get finer detailwithout those worries, Narrower, shallower, He can see out, you can seein, More than one type ofritual you can do to be connected with the Buddha, The ceiling is all gilded,covered w/ flowers

Dancing bodhisattva in Amida Hall, Byodoin, by Jocho, Heian period (c. 1053) wood with gofun and paint

the next realm of music andsong and dance, the Buddhisattvas areexquisitely carved, painted, would have hadlife like color, arrayed around the side ofAmida in the center

Descent of Amida in Amida Hall, Byodoin (reproduction), paint on wood panel, Heian period

would have been paintingsof all nine levels of rebirth, now all washed out, this is a repainting of thescene. inside a shindenzukuristyle mansion, why it’s not the paradiseitself?It’s asymmetrical. Roofing: tile? No. lookslike bark, residential archi. Also balconyYamato style, which meancharacteristically Japanese, Sharp cliffs (Chinese) becomesJapanese landscape of lower rolling hills, Amida huge in the middle, Grab your soul. Some scenes show cliff-likeenvironments ,Still in general indigenous

Sukhāvati Paradise of Amida in Phoenix Hall, Byodoin, paint on wood panel, Heian period

tiled roofs with redcolumn, stone foundation, U shaped configuration, distinct from residential

Burning of the Sanjo Palace from Illustrated Scrolls of the Events of the Heiji Period, 13th cen, ink and color on paper, h 16 1/4”; MFA Boston

a very long scrollnarrative handscroll, very dramatic, thought to depict the startof the Kamakura period, theactual burning of the palace, fellinto otobu style (male), diagonal, tileroof ridge, alot of action, exquisite detail, thesame sharp angle , used to heighten the sense of drama, strong emphasis on theweapons, desire to used multiplemedia, increase energy, make it more immediate, splattering redink/pigment, showing the explosion, a real shift from the taleof Genji scroll, at the end, the horse stopsand the story continues, it’s not public art in theway of B art

Shunjōbō Chōgen (1121-1206), wood with paint, h. 32 3/8”, Tōdaiji, Nara

Realism become important inpictorial arts and arts of B, including sculpture and archi. Chogen was in charge ofreconstruction of Todaiji, Was interested in asyncretic approach, Went across Japan raisingfunds, At 60 travel to ChinaTry to get access to truescriptures, Willing to sacrificehimself for true B, HuaYan under his support.

This sculpture: Showing hisworldliness, the humanity. It is not idealizedespecially face, but not so frail bc straight back. Carrying rosary, carefullycounting. Multi block technique, Emphasize the robe gravity, Eye puffy and asymmetric, Dramatic realism, All of the sculptures inthis period

Nandaimon (South Great Gate), Tōdaiji, Nara, rebuilt in 1195

the great Buddha stylebc used to rebuild thegreat Buddha hall in Todaiji, ceramic roof tiles, bracket don't seem todominate the roof, without cross member, only extending out. new kind of archi style, deemed more authentic, the time it was built called Indian style. looks like 2-story butactually one-story, gives a greater sense ofinterior space, has same structure incoastal China

Hokuendo (North Octagonal Hall), Kofukuji, Nara, 1210

indigenous style of archi,developing since intro of B into Japan. Fujiwara clan temple, It was also burnt. A Wayo or indigenousJapanese style. It’s more native thananything new coming in. Lateral bracket arms fallin the walls, support the roof, Allows the insertion of ceiling, Lotus flower with rays fromit, Able to modify the slope ofroof with changing the bracket, Popular probably bc stylistic,or bc help shed rain. Yakushiji east pagoda3-step bracketing

Minamoto no Yoritomo, attrib. to Fujiwara TAKANOBU, c. 1179, ink and color on silk. Jingoji, Kyoto

Yoritomo(the first shogon)Tradition paintingdeveloped in Heian period, Yamato style portraitpainting, Keeping of style,Tsukuri-e, female style, His face has a lot moredetail, Clothing: member of elite,significance, Detail of face: identity asan individual, Idealized, Don't see any trace ofbrush (feature of tsukuri-e)

Myoe Meditating (1173-1232), by JONIN, hanging scroll, ink and color on paper, h 57 1/2” 13th cen.

another style of painting, priest Myoe,peacefulness, incased in the activitiesof the trees and rocks and cliff, can see and follow the linesof brush, the hair, the wash, translucent washeslack of layering of paint, incorporate masculine style,

Jingoji burnt again 1149, In the mid 12thc the restoration sponsored by monk MongeakuHe was a warrior feel inlove with married woman…He worked with this monkmyoe who was a disciple, Myoe associate with theeffort of reconstruction, Myoe was a proponent ofKeigon B, asso with the Nara court, The artist Jonin was alsoresponsible for a scroll that’s about the founding of Keigon B in Japan

Zenmyo as dragon from the Kegon engi emaki, attributed to JONIN, ink and color on paper, h 57 1/2”; 13th cen.

she’s transformed to theamazing dragon to protect the boat, continue of engi(masculine) style of painting domination the patronage of art, dramatic action, dynamic

Zenmyo, attributed to TANKEI, c. 1225. Wood, with paint and gold leaf, inlaid eyes , and metal details, Kozanji, Kyoto

realism, Kei school of painting

Detail from Pictures of the Holy Man Ippen (Ippen Hijiri-e), handscroll, ink and color on paper, h. 15”

landscape has roots in SongChia but represent indigenous Japan, low level, banks of river, pine trees, this painter may havestudied Song landscape painting and adjusted to indigenous, use brush and ink torepresent the tree type through their leaves

Taima Mandara, color on silk, 71 3/8” x 70 5⁄8,” Kamakura Period (13th cen.)

woven by a nun who devotedherself into pureland B, she was living in the 8thc in Nara, at age 20 she had vision offigure weaving this mandala, so we have the Taimanmandala created as an experience of the nun.

revival of pure landBuddhism, can trace back to dunhuang, why does the tale ofTaima/visualization sutra itself appeal to women? queen imprisoned andShakyamuni appeared and said you can invision a pure land and I can help youreborn their, she visualized the westernparadise. thirteen levels ofrebirth/visualization, this mandala is a tool tohelp women been translated to the western paradiserepresentation of westernparadise, is not one with a lot of nature, but a lot of people, beautifulbuilding, and jewels, painted on a deep blue silk, With gold, expensive material, definitely for the elite

Detail from Legend of the Taima Mandara (Taima mandara engi), color on paper, h 19 1/4”; Komyoji, Kamakura Period

show princess Chujo. she first encounters thenun who is speaking to some court lady with beautiful long hair. The lady move to the middleroom and weaveThen nun explaining toChujo the .. that had just been weaven. Then the lady flew away, Narration and repeatedfigure, Lady is Manifestation ofKanon, The nun is a livingmanifestation of amida, These figures are not tiedto a specific genter, manisfected in a form appropriate to the devoted, A kind of combination oftechniquesUse of blown-off roof,shindonzukuri style mansion. Not really fall into femaleor male style

Mountain-crossing Raigo (Yamagoshi Amida), hanging scroll, ink, color, gold on silk, h. 54 3/8” Zenrinji, Kyoto, Kamakura Period (13th cen.)

asso with pure landBuddhism, the idea that Amida willcome if we recite his name, Kanon with a lotus bud sowe can hop in, Monumental and immediate, Things being much moredramatic, The mountain-crossing raigo, Amida his illuminatingpresence that lead us to the pure land, Guardian kings on the side, A way of really sensing ouraction is going to be resulted in …

Swift Raigo (Haya Raigo), hanging scroll, ink, color, gold on silk, h. 57”, Chion-in, Kyoto, Kamakura Period (early 13th cen).

similar shift of style, strong use of diagonals, the gilding with theamazing scene, musicians, Kanon with lotus bud, helprescue the praying elite, Paradise on the upper right, The version of the Raigo(seen in byodoin), more dramatic, more angular, The way the compostion isconstructed, more gold being use, the sparkle: heightens the immediacy, Increased intensity

Hell for those who short-weigh customers, Hell Scrolls (Jigoku Zoshi), handscroll, ink and color on paper, h. 10 1⁄2”, Kamakura Period (late 12th cen.)

carefully controlledrendering, immediacy of the possibleconsequence of your negative behavior, intense scenes

Agyo in Nandaimon at Todaiji, UNKEI and KAIKEI, wood with paint, Kamakura Period

guardian deity, yosegi technique,monumental sculpture, more real than real, moreenergetic than energetic, musculature, ferociousface, very deep carving despite that it’s multi block, they grew up seeing othersculpture and they seek model compare,

compare Hokeido, Todaiji: more dramatic, deeper carving, fingersstretch out, whipping scarf, Lines of drapery reiterate motion, movement through space

Miroku Butsu in Hokuendo, Kofukuji, UNKEI; wood with paint, gold leaf, and inlaid eyes, Kamakura Period

The way the drapery falls,close to petal, More serene Images as aids to practicewhen the text along is not enough, Gilded: illuminated glowing

Muchaku in Hokuendo, Kofukuji,, UNKEI; wood with paint and inlaid eyes, Kamakura Period, Nara

People who give their lifesto the path of B (Maha?)Translation of anindividual into an indigenous concept, We can see his facialexpression, Inlay eyes, polishedcrystal, Very realistic, like actualbreathing human

Hachiman in the guise of a monk in Todaiji, KAIKEI, Wood with paint, Kamakura Period

by Kaikei the adopted son, his hands even moresensitive than Unkei, a follower of Chogen’s teachings, Chogen commissioned thissculpture. A Hachiman who is a Shinto represented in the guise of a monk, as a protector ofBuddhism, Has an nimbus, glow behindhim, Holding monk’s staff thathas 6 rings on it, Makes lots of noise, toscare bugs away to not kill them. Idealized deity, Compare the realistic,unidealized representation of a monk Chogen. The smooth skin, the evencomplection, has no imperfections, Has a slight smile, no signof age, no wrinkle? Perfectly symmetrical, Chogen is a real old man,intentionally rendered asymmetrically, Kaikei was skilled inrendering a perfect being that can only be a deity. Spirituality, purified formand refined style is related to Kaikei

Kongo Rikishi in Kofukuji, JOKEI, Wood with paint, Kamakura Period

Disciple of Kokei? But noblood relation, Much larger school ofsculpture, the K school is beyond just a couple of people, Sense of realism

The priest Kuya, KOSHO, wood with paint and inlaid eyes, Kamakura Period

Kosho, next generationdown, one of the younger sons of Unkei, Priest Kuya, He was asso of the Nimbutsurituals, recite the name of Amida, A staff with an antler onit because he was a hunter. The figures are hisreciting the name of Amida, A narrative quality

Tentoki in Kofukuji, by KOBEN, wood with paint and inlaid eyes, Kamakura Period

little demon, lanternbearers, part of a creation of thisworld, monks look around and seethis creatures of other worlds, visualize the other worldsthat can be seen in thetreasure house in kofukuji

Relic Hall (Shariden) Engakuji円覚寺 , Kamakura, 1285 with later repairs

the relic hall in Engakuji, Chinese (monk patronized by aregence Tokimunei after repelled the Mongol when they try to invade Japan) Sub temple of Zen monastaries, Moved from the TaiheijiNunnery, Bracket sets, Double beaks ,Cast windowsKarayo style, Entirely wooden, Cast window we can trace toSong southeast coast Hangzhou , As well as the bracketing inthe upper story, International trade, Radiating eves at the corner, Rafters join into the building, Curved rafters Parallel to thehip

Relic Hall (Shariden) Engakuji, Kamakura, 1285 with later repairs, reconstruction showing original roof

roof not tiledbut probably theoriginal roof may be tiled, double angle beak form, tile rafterscharacteristics of Karayo唐様 style, rafters don't support the actualroof , exquisite timber structure

Daitokuji, Daisenin, view of east garden from hojo hermitage, 16th cen., Kyoto

viewed from a seatedpositionminiature of actuallandscapesthis one probably maintainsits original designstone selected that looklike they have water flowing down themfrom a seated position yousee a large landscapelike another world, likebeing close to natureimaginativebackground white wall looklike the back of a landscape paintingrepresentation of a largerlandscape in 3 dimension“working in these gardenare like Zen practice ““the world is around you,the world is just as much as an illusion”don't have any proof forthose things

Portrait of Enni Benen (1202-1280), by MINCHO (1352-1431), hanging scroll, ink and color on paper, h 7’11”, Tofukuji, Kyoto

paintings that can be usedfor that (zen meditation) purpose, but doing anything can work, , Asso with court painting onpaper, Deep color and pictorialrealism, Shoes off, legs crossed, Fabric draping the chair, Fine detail, don't haveshades and shadow, but have natural drape of fabric

Hermitage by a Mountain Stream, by MINCHO (1352-1431), Hanging scroll, Ink on paper, h 40”, Konchiin, Kyoto

Associated with poetry?Shikujiku?1413 celebrate thecompletion of this hermitage, a group of friends came andMincho painted an image, you don't have to havepaintings on screens anymore, you have paintings that youcan roll and put away, women and elite gettogether and create portrait and record it

Kanzan, by KAO (c. mid 14th cen.), hanging scroll, ink and color on paper, h 40 3/8”; Freer Gallery, pre 1345

A figure from B from china,Kanzan, You have a figure that isrecognizable, One of numerous of paintingsthat are accomplished very very quickly, Really see the marks of thebrushOnly real fine detail,feet, face, hair, This kind was practiced asa model collected in the zen monasteries

Catching a Catfish with a Gourd, by JOSETSU, c. 1413, hanging scroll, ink and color on paper, h 43 7/8”, Taizoin, Kyoto

A shigujiku withdocumented…A Buddhist theme, adifferent kind of Doshakuga, theme asso withB or Daoism, Represent a Koan, askingquestions that cannot be answered, Divorce you from yourintellect, not anything have an answer, not anything can be logiced out, Help you achieveenlightenment, not so attached to the world, Asso with a particular workfor one of the shoguns, inscription show this moment, Brushwork became paramount

Winter Landscape, by SESSHU, c. 1470, ink on paper, h 18 1/4”; Tokyo National Museum

sesshutravel and study paintingin places like china, studied with one ofJosetsu’s students, then decided to travel tochina and study in monasteries, landscape of seasons, Ming landscape painter atthat time, Stropes clearly renderedwith wet brush, Creating texture, Serve as substitute oflandscape, hang according to season


more asso with zen, splashed ink technique, shake ink on the page andmove brush very quickly and make sth with it, more accidental, reflective of the idea ofyou cant even control anything and you shouldn’t even try

Tenmoku Tea bowl, tenmoku stoneware, dated 1480s, Shinjuan, Daitokuji, Kyoto

asso with shogun yoshimasa, tenmokudripped glaze, thick, made of stone, betterpreserve heat, darker glaze, contractwith the green color of tea

Tosa Mitsunobu (1434-1525), Legends of the Origins of the Kiyomizu-dera (Kiyomizu-dera engi emaki, detail), handscroll, colors on paper, 1517-1520, Muromachi Period (1392-1568)

like a shindonzukuri style, having tea ware and tea asoffering to the deities, and buddhasdrink tea themselves, preparing tea for the monksto drink

Golden Pavilion (Kinkaku), Rokuonji, Kyoto, Rebuilt in 1964 after 1390’s original, timber frame with gilding

miniature landscapes, shindon-like, open to thewater, stick out a little into the lake, the samurai class, upper stair, song/zen style, similar to relic hall inengakuji, the cast windows, bracketing dramatic, zen-style, upper finial with bird, probably added in Edoperiod, no tile, space on the upperlevel for B worship

Silver Pavilion (Ginkaku), Jishoji, Kyoto, 1489, timber frame

contrasting, easternmountainshigher water table, a large monastic communityvery rich culturally, a different kind ofculture, yoshimasa, never covered with silver,

use of a new kind ofdoorway, viewing from one point,zen, let mind move through it, the concept of seatedmeditation, a move towards natural materialsand simplicity, papered windows allow lightgo into interior, upper story for B worship, veranda doesn't go all theway around, papered windows: shoji, notdecorated with paintings

Dojinsai tea ceremony room, Togudo (1486), Jishoji , Kyoto, timber frame

the place the ceremonytakes place, a kind of new archi, the space designed for aspecific use, the size of the tatamimatts, 15th c the mattproduction standardized, design a room based on thesize of the matts, this is a 4 and a half sizeroom, natural light coming inform the window, tatami fill the floor,built-in desk, shoji screens, a set of shelfs (staggered shelf, chigaidana) foryour important ceremics or flowers, the art of arrangingflowers as a meditating process, a male-gendered space, the simplicity: wabi, compare the stone bowltenmuku: asso with the shogun yoshimasa, the subtulty and simplicitytaking over the culture

Eight views of the Xiao Xiang, by Soami (1472-1525), early 16th cen., one panel of 16

Soami: the suffix AMI, They were not monks, justadvice the shogun on the collection of arts, Import for the continentceramics and paintings, The eight views of XiaoXiang riverSth becming popular in thecourt culture in the Southern Song, Painted by Japanese, theaesthetics closely resemble the technique popular in Song, Wash on paper, very soft,wet brush, Painting tied to aestheticprinciples rather than meaning, The culture of poetry, Bunji: 文人Monochrome, Literaty style

Zen Patriarch Kyogen Sweeping with a Broom, Kanō MOTONOBU (1476-1559), ink and color on paper, h. 65.25”

Kano school also paints zenscenes, Stropes, distinguishingcharacters, detailed clothing, details of face and hand, Decorative court style, Kyogen the monk trying togain enlightenment, The image of life beforebirth, He decided to clean hisroom and enlightenment happened, The level of detail in theprofessional painting is much greater, Narrative quality valued, Don't need imagination

Dry Landscape Garden of Ryoanji, Kyoto, white pebbles, stones, moss; c. 1488-1500 (Muromachi Period; with later modifications)

less being more, today: the garden asso withzen, found in the morimachiperiod, that simplicity only startin 18th c, they develop from complexto simple, nothingnessthe model for thisparticular American version of Japanese aesthetics, sit inside and view thisgarden ,wall become background, 23 by 9 meters, originally had cherry tree,no longer have by end of 18th c, 15 rocks in 5 differentgroups, 1stinterpretation: tiger helping cubs crossing river, 2nd satisfy theriddle panther cub and tiger cubs, the maintenance of thespace is labor intensive, considered theorigin/epidamy of zen, people come, finding thisand making it famous

Azuchi Castle, Shiga prefecture, built 1576, reconstruction drawing according to professor Naito Akira

thought to be the first real castle, reletively low hill, has atown attached to it, mixture of fort and court, jesuits, nobunaga was interested in Christianity and Buddhism, nothing left but the foundation called tenshu, protected hall,the same way to translate Christian God, nobunaga was able to look over the plain, people, trading etc. have textual information so reconstruct the castle, very symbolic as defensive,33 meters high atop of the foundation, six stories base quite tall, outer walls scarlet walls and blue, Christian theme, confusion tower

Main Donjon of Himeji Castle, masonry and timber, 1608-13, Himeji, Hyogo Prefecture

tenshu complex (4) 1609completed, the most impressive, shipping lanes inland sea, Hidiyoshi, Main tenshu, actually hard toaccess, Labyrinth system, 84 differentgates, Today only have 16 thosegateways, main Donjon of Himejiquite commanding, dressed stone for the corners,reinforce the structure

Section drawing of Himeji Castle, masonry and timber, 1608-13, Himeji, Hyogo Prefecture

main tenshu, entirely wood, quite large, employ the tech of dealingwith timbers we see in pagoda, the 7 interior stories28.4 meters long, lateral stabilityidiosyncratic moment

Built-in desk (tsuke-shoin) in the Guest Hall (kyakuden) of the Kojoin, Onjoji, Otsu, timber with tatami floors, 1601

Tatami, shelvingm Space for display of artpainted with very bode tree, kano style, panel doors for storage/bodyguards, built-in dest over look thegarden\Shoin zukuri (tatami), Move away from need ofbilateral symmetry, white paper to cover screens,then covered with other doors , Space for artworks, Built-in desk, sunlightilluminating what you are reading, Use of different levels tosignify status, Subtlety overwhelming theme inthe overall layout

Interior of the Ohiroma in the Ninomaru compound of Nijø Castle, Edo period, (c. 1625)

gilded wall paintings, pine trees symbolic longevityand fortitude, use of gold leaf, incorporate other elements ofstyle of shoin archi, elevated floor, audience astep down, a great amount of spacebetween these two, staggered shelveslarge tokunoma, containbealtiful pine tree, slightly off center, use of flooring to indicatestatus and also to separate the shogun and audience for safety, bc of way in which ppl areorganized, able to intervene when assassination

Rakuchu-Rakugai: Useigi screens, by Kano EITOKU, pair of 6-panel screens, h 5’2 3/4”, detail

scenes in and outside of Kyoto ,raku: east side of Kyoto, popular after the oin wars,Use of gold leafs (standingfor clouds) to separate individual sequences

Birds and Flowers of the Four Seasons in the Jukoin, Daitokuji, by Kano EITOKU, ink and gold on paper, 1566, h 69 1/8”

his real fame come from major initial painting in thedecoration of panels in Jukoin, Daitokuji, working with his father, who was the leader of Kanoschool, new chapel for the new elite family, 16th c, handle this middle room, he was 23 years old, his style was a revolution in interior painting, the panel in the past reinforce the structure of theroom, now emphasize the structure of building??Scene Pulled slightly away from the structure of theroom ,Theme: 4 seasons, Stands in for the natural beauty that surround thesespaces

Cypress, by Kano EITOKU, 8-panel screen, ink, color, and gold leaf on paper, h 67”, Imperial Household Agency, 1575-1600

later style cypress tree, all of the same features, tree branches breaking awayfrom scene, use of blue pigment for the ground to signify water,as well as a sky, to contrast the brilliant gold of the leaf, ambiguity of the blue on top(water or sky), lively character of the tree , aged quality importantas symbol of fortitude/longevity, blue and gold style asso with the kano school byneitoku

Winter in the Guest Hall, Kangakuin, Onjoji, by Kano MITSUNOBU, ink, color, and gold leaf on paper, 1600

the son of neitoku. back to a more subtle, less aggressive style forinterior, same blue and gold style, more elegant and decorative, show the tokonoma 床の間“winter”, waterfall, pinetrees, pool flowing away from the picture plane, integrate the scale ofexterior inside, scale smaller now

Gibbons, by Hasegawa TOHAKU, detail from a pair of hanging scrolls, ink on paper, Momoyama Period, h 60 5/8”

isn't that same kind of court material (expensivesilk), tohaku is using them as a means of practicing,hopefully lose your attachment to your intellect, which is Zen, grabbing the moon in the lake, illusion of this world, there’s no way we can actually reach anything, simplicity of zen theme

Pine Trees, by Hasegawa TOHAKU, one of a pair of 6-panel screens, c. 1600, ink on paper h 61”

he can take those principles and apply them to thesubject matter that are more typical to the kano school, instead of blue and gold, he take the idea of pine andrender it in a completely zen way, asymmetry, diagonal, a much more contemplated,peaceful atmosphere, a mastery of first the monumental forms and then whathe learnt in the monastic setting

The Funaki Kyoto (rakuchu-rakugai) screens, right screen, ink color and gold leaf on paper, Momoyama period (1614-1615)

increasing amount of detail/interest in what's happening, not just the buildings, but the activities takingplace in the city as well, this temple: hokuji, rich people appropriate art from the court, using themfor their own purpose, one side emphasize toyotomi family and one side the ? the two screen: power struggle of the period, activity of individuals, full range of people at work, samurai, people sellingstuff, commoner engaging in daily activity

Shijø-Kawara, one of a pair of bi-fold screens, color and gold leaf on paper, Momoyama period (early 17th century)

another trajectory of looking at festivals, on the riverbank, bi-fold screen, fair-like situation, musician, dance, animal, flower arranging, pay entrance fee, everyone gathering, happy moment

Hikone screen, 6-panel screen (now framed), ink, color, and gold leaf on paper, Edo period (1624-1644)

female entertainers problem, it's a problem started to restrict female entertainersin edo, concerned about the consumption of entertainment bcit's a distraction, by the 17th c have widespread prostitution, hikone screen also musicians, samurai/merchants, by mid 17th c we see these activities ,prostitution in both Kyoto and edo, people that are attending these places very aware ofthe aesthetic of confusion culture, concern/conscious/aware about authenticity of continentalculture, a landscape, on the gold gilded (kano) background, play off against the elite culturemaking fun of the theme 琴棋书画

Courtesan and Courtier, Edo period (Kanbun, c. 1660s) hanging scroll ink, color, and gold wash on paper

type of garment irony, he is in Heian court dressshe is in modern dress(edo), he’s confronting thislovely woman who’s completely modern. a kind of new wealthy merchantclass, what they are able to afford, but it was in exchange of personal freedom

Whose Sleeves? anon Edo period (17th cen.) Pair of 6-panel screens, ink, color, and gold leaf on paper, h. 67”

these are artists who arecreating kimono and paintings, wearable artworks, hanging on clothing racks, little tea set, people aresomewhere elseerotic, range of erotic art that wesee during this time period, eroticism: people aspiringtowards, a screen for a merchant’shouse, a merchant will appropriateall kinds of media of painting of subject matters for the interest for these patrons, using the same gold leave,but the subject matter…a new group of people

Chosen Karatsu ware water jar, earthenware with glaze, Momoyama period

made in Kyushu, Koreanstyle, interest in asymmetry,simplicity, imperfection, produced by new groups ofppl, coming from souther Korea, produce for localcommunities throughout Japan

Tea ceremony water jar called Kogan. E Shino Mino ware, 16th century, stoneware, painted with feldspar glaze; h. 7”

water vessels, E-shino ware, naturalism, Painted with orchids, by ariver, Asymmetry, perfectbackground of the scene

CHOJIRO, Chinese Lion, Raku ware, earthenware with green and transparent glaze, h. 14” Raku Museum, Kyoto, two views

Chojiro, take off as sthreally appropriate wabicha throughout the edo period, Chojiro a tile maker, His early famous item, roof, Dynamic

CHOJIRO, tea bowl called 'Goose-Catcher' (Gantori), black raku ware, Momoyama Period, h. 7.8, d. at mouth 11.1, d. of foot 5.3

Aesthetics of Raku ware areintentionally accidental Contrast Karatsu ware: fastmass production Designed to fit into thehand, Personal production, The idea of using anddrinking from it is important, The tools used to carve itis also roughly hand made,

names pass down fromgeneration to generation, the person who receivedthis bowl gifted back a goose, side: kinking, retainswarm, fit the hand

HON’AMI KOETSU, Fujisan tea bowl, raku ware, h. 3”, Momoyama period

hon’ami koetsu, producing his own bows(rikyu patronaging chojiro)with no training as a potter, doing for fun with his friends, glazing, give people a sense ofmountain ranges, talking about what they remind people of, help you fall into acontemplative state, like consuming lava from themountain

Tai’an tea ceremony room, attributed to Sen Rikyū, Momoyama period (1580s), Myoki-an, Kyoto

rikyu wants to turn the tea roominto a hermitage, has garden around it, should be extra tiny

Plan of Tai’an tea ceremony room, attributed to Sen Rikyū, Momoyama period (1580s), timber and thatch, Myoki-an, Kyoto

set in its own garden, tea hermitage, only two matts, host sits on the matt that hasa corner carved out, water kept on the stove, no veranda, you don't sitoutside, go into the crawl door, bowbefore you enter, stepping stones

Tokonoma in Tai’an tea ceremony room, attributed to Sen Rikyu, Momoyama period, timber and thatch, Myokian, Kyoto

inside, alcove (tokudoma)wall made of rough plaster, framed with wood unhuned, see the sorce of the tree, appreciate the imperfect likethe tea bows themselves, shelf in the corner that washung ,ceiling exposed, see the beams, simple wood andbambooasso with the aesthetics inzen monasteries

Shokin-tei and garden seen from Geppa-rō Katsura Imperial Villa, timber and thatch, Edo period, 1616-1654

provides wonderful views,subtle landscapesmanicured to look completelyaccidental, various elements

Interior of Shokin-tei, Katsura Imperial Villa, timber and thatch, Edo period, 1616-1654

the shoin, interior, monochromatic paintssimilar to the kind of the zenstyle , paintingseach following theshindonzukuri style

Poem scroll with lotuses, by SOTATSU, calligraphy by Hon’ami Koetsu, handscroll, ink, silver & gold paint on paper, Tokyo National Museum, early 17th cen.

collaborate koetsu andSotatsu , More cultured elites,educated, This style of artthroughout the edo period, Koetsu family asso withsword maintaining, Combine poetry andcalligraphy with painting, Popular in Japan as earlyas early Heian, see this as revival, Overall reacallingtradition of creating beautiful papers and make personal expression

God of Thunder, by SOTATSU, one of a pair of two-panel screens, Edo period (after 1621)

the thunder god, same kind of style, can alsobe used in more dramatic scenes or landscapes, created for the elite, long history from the Heian, aren’t any outline, all inkwash, volume and texture, densityof the paint, playing with the instrument, there is something of thelinemove around the pigment,create volume of the shape of the foot, the location of thesefigures on the screen, corner composition, asymmetrical chara of indigenousaesthetic preferences

Pine Island (Matsushima) Screens, by SOTATSU, pair of 6-panel screens, ink, color, and gold leaf on paper, 17th cen.

ass with locations, indigenousof Japan, three of the most beautifullandscapes in Japan, reminds viewers of the littleislands covered with pine trees, very deff from hicone, composition: two screens, ground marked by black, water: song style, absorbedtheme of banishment to island, literary themes of culturally sophisticated merchant class, think of the rock containsindigenous deities of japan Itsumo