BackNo.52
APRlL 1936
ON THE PICTURES DESIGNATED AS "KARA-E" IN THE MUROMACHI PERIOD.
BY SHIN'ICHI TANI
As the word "Kara-e" (literally meanig "Chinese picture") has been freely used since the Heian period, there must have been a style of paintings coming under this name.
Generally. they are thought of as pictures representing things Chinese after the style of Chinese paintings. But this construction does not seem to elucidate the history of the word "Kara-e"
At the present time, however, it is impossible for us to form a clear idea of the nature of the "Kara-e" prevalent in the Heian period, simply because we are lacking in positive evidence. So we must be contented as least now, with the view that the picture in question were those in which other than Yamato-e elements predominated.
It is, however, possible to say what was the conception of "Kara-e" in medieval times. It meant Chinese paintings of the Sung and Yuan dynasties which were newly imported at that time and in addition some Japanese pictures which were more or less influenced by these Chinese paintings.
From the late Kamakura period an interest in Chinese Sung and Yuan pictures was taken by the Zen priest and samurai. We have already mentioned. on previous occasion how fanatically these paintings were appreciated by the art-lovers of the days.
It is quite natural that the painters tried to master a new style of panting, inasmuch as the connoisseurs had changed their taste. It was in these circumstances that the Chinese paintings of the Sung and Yuan dynasties were so eagerly copied by Japanese painters of the Muromachi period, and Kyoto, where one can easily came across Chinese paintings, was regarded as Mecca for painters. By and by painters became proficient in imitating the Chinese paintings. They could paint pictures in the style of any Chinese masters they liked. Sometimes they painted in the style of Sun Chun-tse, sometimes in the style of Li Lun-mien.
These pictures were also called "Kara-e," and this tendency of following Chinese models faithfully was continued until the middle of the Muromachi period. But after the advent of Sesshu the Japanese elements in these "Kara-e" grew greater and greater, while diminishing the Zen-Buddhistic elements, until finally Kano Motonobu and his school, throwing off the yoke of Zen Buddhism, accomplished a perfectly "Japanized" style or Kara-e called "Kanga."
SUPPLEMENT TO MY "STUDIES ON PAINTING BY KANO SANRAKU."
BY KISAKU TANAKA
Mr. Tanaka discussed in his "Studies on Painting by Kano Sanraku" (Bijutsu Kenkyu, No. XI, April 1935) some individual pictures which are ascrived to Sanraku by authorities, and he tried to outline the enigmatic character of Sanraku's art.
He then referred to a couple of seals as read "Mitsu-?" and "Shuri" which are usually stamped on the pictures attributed to Sanraku, and he was of opinion that it is doubtful whether these two seals belonged to Sanraku himself.
Shortly after the time when Mr. Tanaka's report was given, Mr. T. Doi published an article on Sanraku (On Sanraku's style as viewed from his screen paintings of "Instruction for Dynasts." Bukkyo Bijutsu, No.20, May 1935) wherein he introduced an important work of the master. This is a pair of six-fold screens in the collection of Mr. Kinnosuke Fujimura, Kyoto. (Pl. V, VI & XII. Painted in ink on paper. Size of each picture: H. 130cm, W. 51cm.)
The themes of these twelve pictures are selected from the "Instruction for Dynasts," a Chinese picture-book of the Ming period compiled by Chang Chu-cheng. In the picture reproduced on Pl. V is depicted the scene where the Emperor Yao-ti is looking throughout the country for men of talent, whereas on P1. VI is presented the scene where the Emperor Ch'eng-ti of the later Han is travelling incognito to inspect the conditions of the masses of people.
In these twelve pictures we can easily discern the stylistic influence of Eitoku. Especially, their treatment of draperies is just what Eitoku did in his "Hsu-yu and Ch'ao-fu" now in Mr. Ogura's collection. And if we rely on the account given in the "Honcho Gashi" by Kano Eino its close resemblance to the style of Eitoku must be regarded as the most important factor in confirming the style of Sanraku.
The seals in question are also stamped on those pictures. But they are stamped in a curious way. The two seals are stamped separatedly on either side of each picture and such a careless way is quite unworthy of a master. Here comes again a question about the seals, and the writer still has a doubt in admitting them as the genuine seals used by Sanraku, though the pictures themselves may be regarded as the authentic work of the master.
A BELL WITH FIVE POINTED VAJRA IN MR. NAGAO'S COLLECTION.
BY SENSAKU NAKAGAWA
It has been believed that the sound of a Vajra bell peals through all the world and wakes up the divinities whom one invokes. So Vajra bells are regarded by the Buddhist of the esoteric sect as the most important Buddhist implements; consequently, most of these bells are exquisitely made and also decorated elaborately with reliefs.
A bell with five pointed Vajra in Mr. Nagao's collection is an excellent work of art. It is made of gilt bronze and measures 17.5 cm. in height.
Round its body are cast in relief the images of four divinities which seem to represent the four great Myoos,i.e. Gozanze Myoo, Gundari Myoo, Kongoyasha, and Daiitoku Myoo. However, as their iconographic representations do not conform to the account given in any Books of lconography, it would be dangerous to determine hurriedly the identity of these four divinities.
Examples of five pointed Vajra bells decorated with the images of Buddhist divinities are not rare ; most of them are of Chinese origin. Among them is a bell decorated with the image of five Myoos--a work of the T'ang period--in the Shochiin monastery, which resembles most closely in style to the present bell in Mr. Nagao's collection, though the latter shows more or less stylistic weakness.
PLATES
Pl. I, II & XIII. Hokke Mandara.
Painted in Colors on Silk. Mounted as a Kakemono.
Size: H. 145 cm., W. 132.9 cm.
In the Kaijusenji Monastery, Kyoto-fu.
There are two different types in the so-called "Hokke Mandara": one follows the esoteric iconography based on a canon "Yuga Kanchi Giki," the other represents the "Hokke Henso" that is the episodes in the Saddharma-pundarika Sutra.
This Mandara in the Kaijusenji monastery, a master work of the middle Kamakura period, belongs to the latter type. Unlike to the usual manner episodes are here synthesized in a single composition. On the middle is depicted the scene of Sakyamuni preaching in the Vulture Peak, and on the right are painted the images of the Boddhisattvas of the Other World (tado). Left below, the Celestial World, Terrestrial World and Hell; right below, the Nirvana of the Boddhisattvas of the Other World. On the upper part of the picture, a Tahoto wherein Sakyamuni and Tahonyorai are seated is painted in the centre, and a Boddhisattva (probably, Myoon Bosatsu or Fugen), followed by attendants, is hurrying to the presence of the Buddha.
Pl. III, IV & VIII-X. Landscapes. Signed Toyo.
Painted in Ink with Slight Color on Silk.
Size of each Picture: H. 150 cm., W. 75.2 cm.
In the Collection of Mr. Tomitaro Hara, Yokohama.
Each of the four Kakemonos is signed "Nippon Zenjin Toyo" (Toyo, the Japanese Zen Priest) representing that they are the work of Sesshu made during his sojourn in China.
However, the authenticity of these signature is denied by most art critics. The works are usually regarded as Chinese paintings of the Ming dynasty, because their style is that of the Ming landscape and quite different from the usual ink-painting of the Muromachi period.
But Mr. Shin'ichi Tani attributes them, with confidence, to Sesshu after making a thorough study on the development of Kara-e in the Muromachi period.