BackNo.95
NOVEMBER 1939
STUDY ON PORTRAITS OF GOTO YUJO AND HIS DESCENDANTS
BY TEIZO SUGANUMA
Goto Yujo (1440-1512) was well mown as the originator of the modern metal ornaments of swords. In the collection of Mr. Sueo Goto, descendant of Yujo, there are many portraits of Yujo, Tokujo, and Myotokuni--Tokujo's wife--and other ancestors of the Goto family. Choosing specialiy excellent works from among them, the author gives here his detailed study on the portraits of Yujo and of Myotokuni
In the portrait of Goto Yujo, the sitter is placed on an elevated straw-mat, wearing ceremonial garment and cap. In the middle of the upper space is written the characters "nammyohorengekyo"--a sentence chanted in the prayer of Hokke sect--and on the right hand side is written "Soso Yujo Reikon" meaning "the soul of great-grandfather Yujo" and on the left hand side, the date "May 7, 9th year of Eisho (1512)." As recorded in the documents enititled "Goto Kafu or Chronology of the Goto Family" and "Yoshu Fushi or History of Yamashiro Province," this portrait of Yujo seems from olden days to have been well known. In discussing this portrait the main point is whether it was produced in the person's lifetime and the date mentioned was added afterward or the picture itself was done abeut the time of the date signed. The author discusses this point, comparing the picture with other similar portraits of lords and knights of the time. The portraits referred to are as follows: "Portrait of Masuda Kengyo" (produ&d in 1479) in the collection of Baron Kenshi Masuda, "Portrait of Momonoi Naoakira" (produced in about 1480) in the collection of the Tokyo Imperial Household Museum, "Portrait of Taga Takatada" (1452) in the collection of Hoshunin Monastery, Kyoto, "Portrait of Miyoshi Chokei" (1566) in the collection of Jukoin Monastery, Kyoto, "Portrait of Asai Nagamasa" (1539) in the collection of Jimyoin Monastery, Koyasan, "Portrait of Hojo Ujiyasu; (in about 1671) in the collection of Sounji Temple, Kanagawa etc. Comparing the portraits of Taga Takatada, of Masuda Kengyo, and of Momonoi Naoakira, with the portrait of Goto Yujo, we find the brunshwork of Goto Yujo is not so good as that of the others, and also the date of production seems to be later; but in comparison with those of Miyoshi Chokei, of Asai Nagamasa, and of Hojo Ujiyasu, the portrait of Goto Yujo contains more antique effect though the styles of the paintihgs seem to be alike and probably are of the same period.
The garment of the person is the ordinary ceremonial dress of lords or knights of the Muromahi period, but in the details some mistakes are found which prove the portrate probably not to have been painted at that time. As for the writings in the middle of the upper Space, there is a seal drawn by hand and it is clear that they were written by the famous priest Nichio in the early part of the Tokugawa period who founded later a new school in Hokke. Judging from the career of the priest Nichio, the characters seem to have been written at sometime during these four and a half years from the first to the fourth year of Bunroku (1592-1595) and from June to October of the fourth year of Keicho (1599). At that time Tokujo, great-grandson of Yujo, was flourishing, and it is easy to understand that under these circumstances a portrait of the great-grandfather (founder of the family profession) may have been painted. Probably there was a portrait of Yujo produced during his lifetime or at latest not long after his death, and done by the famous painter Kano Masanobu or Kiho Motonobu, as they both were acquainted with Yujo. And in this original one, the person, who was then allowed an eeclesiastical rank of Hokkyo, was perhaps dressed in priest's clothes. But at the time of Tokujo the portrait of Yujo seems to have been reproduced, and for some reason the clothes were changed to those of the lord. This is why the present portrait of Yujo contains some inconsistent points in garment.
The next interesting work is the portrait of Myotokuni. She, with her hair hanging about her shoulders, wears a kind of coat called "Uchikake" and is counting the beads in her hands. In the middle of the upper space there are written the same characters "nammyohorengekyo" and on one side is signed the date "July 7, 15th year of Keicho" and on the other side the name of the person "Hibomyotokureini." Judging from the date, this was when Tokujo was sixty-three, his eldest son Eijo thirty-four, the second son Kenjo was twenty-six years old. Probably it was painted in this year in memory of the late Myotokuni. The brushwork of this painting is quite good, reflecting the gorgeousness of the paintings of the Momoyama period.
And here is another interesting work worthy of notice. It is the portrait of the 14th Goto, Keijo, painted by Kita Busei who was a pupil of Tani Buncho and flourished during the Bunka, Bunsei, and Tempo eras (1804-1843). Busei died in the third year of Ansei (1856) at the age of eighty-one. This portrait is famous because of the name of the painter, but the artistic value of the painting itself is not so great. Besides these, there are two portraits of the 5th Goto, Tokujo, one portrait of the 6th, Eijo, and one of the 8th, Sokujo, but these are not worthy of mention except as historical material.
STUDY ON THE BIOGRAPHY OF URAGAMI GYOKUDO (PART I)
BY SENZO MORI
Uragami Gyokudo is a conspicuous painter in the Bunjinga school in Japan. He was called "four capacities" because of his supreme ability in four accomplishments, poetry, calligraphy, painting, and koto, a musical instrument. He was especially fond of playing koto and called himself "Gyokudo Kinshi" (meaning koto player). When he drank moderately and was in high spirits, for he was a great drinker, he took his brushes and achieved wonderful works. Although some of his paintings drawn when dead drunk are somewhat confused, his masterpieces contain really fathomless charm. The above comment was made about Gyokudo's paintings by Tanomura Chikuden, a contemporary famous painter of Bunjinga school. Indeed, judging from his career and works, such a man as Gyokudo deserves the name of "the real artist" who mastered the mysteries of Oriental art.
There has been no specially compiled biography of this iteresting painter, but the author of this article, who is a wide reader of the literary works and documents of the Edo period, gathered records scattered in many literary manuscripts and gives here some events in Gyokudo's life which have been so far unknown. In this summary only the chief events are picked up and translated.
Gyokudo's clan was called Ki. Uragami was his family name. Though his real name was Kohitsu or Hitsu, he had a familiar name (or azana) of Kimisuke by which he was commonly called. In childhood he was called Isonoshin but afterward he assumed his family's hereditary name of "Hyoemon." Besides these names, he is widely known by his go of "Gyokudo." For generations his family served Ikeda Takuninokami, a branch of Lord Ikeda of Bizen province. Gyokudo was born in 1745 and was the youngest child of his family. Only he and his eldest sister lived to maturity, and his brother and the other sister died young. In 175l his father died and he, at six years of age, hegan to serve Ikeda Masaka. In 1753, at eight years of age, he started his study and in 1759, at fifteen years of age, learned poetry and koto; the latter was taught by Taki Rankei. In 1767, at twenty-two years of age, he inherited the name "Hyoemon." In 1768, when Gyokudo was twenty-three years old, his beloved master Ikeda Masaka died at twentyeight years of age. Masaka was a wise lord who was fond of leaning. and Gyokudo admired him greatly and had served him faithfully. So his untimely death was surely a great shock to Gyokudo. The fact that he left the provinee later, giving up his service as a samurai to his lord, seems to be more or less caused by this death of his adored master. About 1770 he married. In 1775 (30 years old) he held a party at Okayama to commemorate his mother's seventieth birthday. In 1779 (34 years old) he begot his first son, Sen (later called Shunkin). Also in 1779 he bought an old koto produced by a Chinese Ku Yuan-chao of Ming Dynasty. On the back of this koto there were written four characters of "Gyokudo-seiin" meaning "wonderful and refreshing sound," and after that he gave himself the go "Gyokudo." Through his life he never parted from this koto and took it with him whereever he went: He selected "eighteen favourite treasures" but among them the "Gyokudo koto" was his greatest pet. In 1781 (36 years old) he probably painted the landscape now in the collection of Mr. Hara (reproduced in Kokka XXXV). In 1782 (37 years old) his poem was put in the anthology "Daito Shi-shu" published then in Edo (Tokyo of today). 'Probably this was the first time that his name was introduced in a printed book. In 1786 (40 years old) he had a second son, who was later called Shukin. In 1787 (41 years old) he made a koto by himself, which is now owned by Mr. Makitaro Fuse in Suruga. In the same year he lost his mother. In 1789 (43 years old) he was visited by Shiba Kokan and Haruki Nanko. In 1791 (46 jears old) he composed a piece for the koto and published it. In 1792 (47 years old) his wife Yasu died at forty one years of age. He never married again. In 1793 (48 year old) he sent his collection to the exhibition of old Chinese paintings and calligraphies which was held then at Takamatsu in Shikoku. The catalogue of this exhibition has later published with the title "Choshun Zu Tenkan." Since this was one of the earliest examples of this kind of exhibition in Japan, it was noticeable. In the same year he retired from the service of his lord, Ikeda. In 1794 (49 years old) he left his country of Bizen with his eldest son and two grandchildren and, giving up his rank of samurai, went to Edo. In the same year he published his anthology entitled "Gyokudo Kinshi Shu." In 1795 (50 years old) he went to Aizu, being called by Lord Matsudaira of Aizu province. During his several months, stay, he revived the play of Kagura--music played before the shrine-of Mineyama Shrine and also taught koto to the subjects of the lord. "Gyokudo Kinshi Shu Goshu," the second Gyokudo's anthology, seems to have been published at sometime after 1797, and also the book "Gyokudo Zakki" was issued during these years from 1793 to 1803. From 1797 to 1803 (52-58 years old) his whereabouts were unknown. In 1804 (59 years old) he was in Kansai districts. In 1805.(60 years ohd) he went to Kyushu. In 1806 (61 years old) on his way home from Kyushu to Osaka, he visited Rai Shunsui at Hiroshima and Kan Sazan at Kanbe. He also stayed at Jimyoin Monastery for several months with Chikuden. (Continue in the next number.)
EXPLANATION OF THE PLATES
Pls. I (Colour), II, VIII-XII "Landscape of Four Seasons on Su Tung-p'o's Poems," by Shih-t'ao (Chinese, flourished c. 1660).
Slight colour on paper. Album.
Height: 26.9 cm.; width: 38.8 cm.
Collection of Mr. Kojiro Abe, Hyogo.
The present painter's priest-name was Tao-tsi and his familiar name was Shih-t'ao. Besides, he is known by his hao of Tai Ti-tzu, Ch'ing-siang Lao-jen, K'u-kua Ho-shang, or Hsia Tsun-che. He came from a powerful family of late Ming Dynasty but he lived his liKe in retreat. Because of his uncommonly excellent hand he gained reputation as a leading painter of southern China. In spite of his self-indulgence in painting as is often seen in a born genius, he still had fine modern sensibilities and this is cleverly revealed in his works. He is admired not only in China but also deeply in Japan. The present paintings are achieved on the twelve poems of four seasons compesed by the famous poet. Su Tung-p'o, of Sung Dynasty.
Pl. III "Portrait of Goto Yujo."
Colour on silk. Kakemono.
Height: 82.8 cm.; width: 23.7 cm.
Collection of Mr. Sueo Goto, Tokyo.
(see the article by T. Suganuma.)
Pls. IV & VI "Portrait of Myotokuni."
Colour on silk. Kakemono.
Height: 68.0 cm.; width: 34.3 cm.
Collection of Mr. Sueo Goto, Tokyo.
(see the article by T. Suganuma.)
Pl. V Fragment of wall-paintings of Fukiji Temple.
Colour on panel.
Height: 29.7 cm.; width: 122.7 cm.
Collection of Mr. Yasuzaemon Matsunaga, Tokyo.
Fukiji Temple in Oita pretecture in Kyushu is famous as a remnant of Amitibha temple of the Fujiwara period. Moreover, the wall-paintings on the inside upper wall of the hall in the centre of which stands the sanctuary of Amitibha have high artistic value and are important as examples of the very few remaining paintings of this kind of the Fujiwara period. As mentioned before in the Journal No. LXXV and in the Volume VI of Bijutsu Kenkyu Shiryo "Wall-paintings of Fukiji Temple," the whole painting on the north wall does not remain now in the temple. Only one piece of it about two metros long is left. Fortunately, however, one more piece of the above-mentioned lost wall-bainting has been recently founhd in the collection of Mr. Matsunaga, and it is a great joy to introduce this piece now to our readers.
Until now, the subjects and the compositions of the wall-paintings inside the hall of Amitabha of the temple have been much discussed among scholars, and in the above-mentioned articles the author gave no definite conclusion about these problems, except the following fact: the piece in the collection of the temple is the middle part of the whole set on the north wall, containing the principal image and some other divinities gathered about him. Because of ruin in course of time we can only surmise the principal image as Maitreya.
The present painting which is newly found is about I.2 metres long, and there are eight figures of women and a large drum in it. Judging from the subject, the technique, and the way of presentation, it is doubtlessly a piece of the wall-painting of Fukiji Temple, which is the east part of the north wall. As mentioned once, the painting on the north wall is somewhat different in composition from the others: first, because Brahma, Sukradevanam-indra, Catasrah Maha-rajikah, and four Vidya-raja are painted on the other three walls, it is unnecessary to paint them again on the north wall; secondly, though the divinities are playing music in all of the paintings, these on the north wall are in women's garment which are different from those on the other walls who are represented in form of Bodhisattva.
According to the record, four divinities, are generally placed one for each of the four directions: Bhaisajyaguru in the east Sukhavati (or paradise), Sakya in the south, Amitabha in the west, and Maitreya in the north: and it is clear that the composition of the north Sukhavati with Maitreya is naturally different from the others. Seeing the present piece, we can now almost definitely decide that the painting on the north wall is the painting of Maitreya's Sukhavati. However, besides the two pieces in the temple and in Mr. Matsunaga's collection, one more or some more pieces are expected to be found in future to complete the original whole set of painting on the north wall which is about 7.27 metres long.
Pl. VII (1) "Portrait of Goto Eijo."
Colour on silk. Kademono.
Height: 70.5 cm.; width: 36.2 cm.
Collection of Mr. Sueo Goto, Tokyo.
(2) "Portrait of Goto Sokujo."
Colour on silk. Kakemono.
Height: 64.5 cm.; width: 32.8 cm.
Collection of Mr. Sueo Goto, Tokyo.
(See the article by T. Sugaunuma.)