Gregg Baker Asian Art: 2014 Catalogue

greggbakercover2014_Layout 1 18/09/2014 10:09 Page 1

g r e g g b a k e r asian art 2014

g r e g g

b a k e r

asian art

greggbakercover2014_Layout 1 18/09/2014 10:09 Page 2

greggbakercatalogue2014_Layout 1 18/09/2014 10:02 Page 1

g r e g g

b a k e r

asian art 2014

greggbakercatalogue2014_Layout 1 18/09/2014 10:02 Page 2

greggbakercatalogue2014_Layout 1 18/09/2014 10:02 Page 3

1 . A six-fold paper screen painted in ink and colour on a gold ground with autumn flowers and grasses Seal: Inen Japan 17th century Edo period H. 54½" x W. 109Ÿ" (138 cm x 277 cm)

greggbakercatalogue2014_Layout 1 18/09/2014 10:02 Page 4

2 . A two-fold paper screen

painted in ink and colour on a gold ground with a family of pheasants and butterflies amongst pampas grass Japan 17th century Edo period H. 64" x W. 70½" (162cm x 178.5cm)

greggbakercatalogue2014_Layout 1 18/09/2014 10:02 Page 5

3 . A two-fold paper screen

painted in ink and colour on a gold ground with chrysanthemum and autumn plants behind a grassy knoll Seal: Inen Japan 17th century Edo period H. 64Âź" x W. 70Âź" (163cm x 178cm)

greggbakercatalogue2014_Layout 1 18/09/2014 10:02 Page 6

greggbakercatalogue2014_Layout 1 18/09/2014 10:02 Page 7

4 . A six-fold paper screen painted in ink and colour on a gold ground with numerous great tits and varied tits amongst young Chinese black pine and Japanese pine Inscribed: Taishō mizunoe inu doshi* Signed: Mio saku Japan 20th century Taishō period *1922 H. 37¼" x W. 109¾" (94 cm x 278.5 cm)

greggbakercatalogue2014_Layout 1 18/09/2014 10:02 Page 8

5 . A six-fold paper screen painted in ink on a buff ground with an old plum tree with white blossom Signed: Tenryū Dōjin. Hachi jyū go sai Seals: Tenryū Dōjin, indecipherable, Shoroku Japan 19th century Edo period H.68¾" x W.147" (174 cm x 373 cm)

greggbakercatalogue2014_Layout 1 18/09/2014 10:02 Page 9

6 . A hanging scroll painted in ink on silk

with bamboo and calligraphy Seals: Shikun. Uman’yu. Baisen Japan 19th century Edo period Scroll: H. 82.7" x W. 57.7" (210cm x 146.5cm) Painting: H. 54.7" x W. 52.2" (140cm x 132.5cm)

greggbakercatalogue2014_Layout 1 18/09/2014 10:02 Page 10

greggbakercatalogue2014_Layout 1 18/09/2014 10:02 Page 11

7 . A carved wood figure of a seated Buddha Japan 12th century Heian period H. 21½" x W. 11½" (54 cm x 29 cm)

greggbakercatalogue2014_Layout 1 18/09/2014 10:02 Page 12

greggbakercatalogue2014_Layout 1 18/09/2014 10:02 Page 13

8 . A hanging scroll painted in ink and colour on silk with a portrait of the monk Hōnen Japan 17th century Momoyama/Edo period Scroll: H. 81" x W. 42½" (205.5cm x 107.5cm) Painting: H. 42¾" x W. 33¼" (108cm x 84cm)

greggbakercatalogue2014_Layout 1 18/09/2014 10:02 Page 14

9 . A bronze shakujō finial Inscribed: Dō shin Japan 12th century Kamakura period H. 8¾" x W. 4" (22 cm x 10 cm)

10 . A bronze temple gong Japan 18th/19th century Edo period H. 18¼" x W. 17" (46.5 cm x 43.5 cm)

greggbakercatalogue2014_Layout 1 18/09/2014 10:02 Page 15

9.

10 .

greggbakercatalogue2014_Layout 1 18/09/2014 10:02 Page 16

greggbakercatalogue2014_Layout 1 18/09/2014 10:02 Page 17

11 . A four-fold paper screen painted in lacquer and colour on a silver ground with two gnarled plum trees in full bloom, one with red and the other with white blossom Seal: ShĹ?

Japan 20th century TaishĹ? period Dimensions: H. 74" x W. 146" (187.5 cm x 370.5 cm)

greggbakercatalogue2014_Layout 1 18/09/2014 10:02 Page 18

12 . A two-fold paper screen

painted in ink and colour on a gold ground with four cranes in flight above waves Japan 18th century Edo period H. 65ž" x W. 70½" (166.5 cm x 179 cm)

greggbakercatalogue2014_Layout 1 18/09/2014 10:02 Page 19

13 . A two-fold paper screen

painted in ink and colour on a gold ground with two cranes in flight over a sandbank emerging from cresting waves Japan 18th century Edo period H. 65ž" x W. 70½" (166.5 cm x 179 cm)

greggbakercatalogue2014_Layout 1 18/09/2014 10:02 Page 20

greggbakercatalogue2014_Layout 1 18/09/2014 10:02 Page 21

14 . A pair of six-fold paper screens painted in ink and colour on a gold and silver ground with scattered fans over flowing water of a mountainous coastal landscape School of Tawaraya SĹ?tatsu Japan 17th century Edo period H. 71" x W. 150" (180 cm x 381 cm) each

greggbakercatalogue2014_Layout 1 18/09/2014 10:02 Page 22

15 . A bronze pear shaped flower

vessel, the neck divided to form twin mouths Signed: Kaname saku Japan 20th century Shōwa period H. 17¾" x W. 13" x D. 11½" (45 cm x 32.5 cm x 29 cm)

greggbakercatalogue2014_Layout 1 18/09/2014 10:02 Page 23

16 . A bronze flower vessel of

elongated form with two prongs Signed: Tadahiro Japan 20th century ShĹ?wa period H. 28ž" x D. 3" (72.5 cm x 7 cm)

greggbakercatalogue2014_Layout 1 18/09/2014 10:02 Page 24

17 . A bronze water dropper of an aubergine and two Japanese squash Japan 17th century Edo period H. 3" x W. 4¾" x D. 2" (8 cm x 12 cm x 5 cm)

18 . A bronze incense burner in the form of a Chinese guardian lion China 17th century Ming Dynasty H. 7¼" x W. 8¾" x D. 5" (18 cm x 22.5 cm x 13 cm)

19 . A bronze water dropper of a Japanese tiger prawn Japan 17th century Edo period Dimensions: H. 3½" x W. 7" x D. 1¾" (9cm x 18cm x 5cm)

greggbakercatalogue2014_Layout 1 18/09/2014 10:02 Page 25

17.

18.

19.

greggbakercatalogue2014_Layout 1 18/09/2014 10:02 Page 26

20 . A hanging scroll painted in ink on paper

with an ensō and calligraphy Inscribed: Gokuraku mo kono tōri nari Bon no tsuki Signed: Motsugai daisu Seal: Chishin Japan 19th century Edo period Scroll: H.46½" x W.18¾" (118cm x 47.5cm) Painting: H.16¾" x W.11½" (29cm x 42.5cm)

greggbakercatalogue2014_Layout 1 18/09/2014 10:02 Page 27

21 . A hanging scroll painted in ink on paper

with the character ‘moon’ Signed: Rō Kinei Seals: Upper: Fūkatsu getsurō Lower: Kinei Japan 18th century Edo period Scroll: H. 59" x W.16¾" (149.5 cm x 42 cm) Painting: H.47¾" x W.11¼" (121 cm x 28.5 cm)

greggbakercatalogue2014_Layout 1 18/09/2014 10:02 Page 28

22 . A paper hanging scroll painted in ink with the character ‘one’ Signed: Zen Ryūhō Chūhō sō Seals: Right: Kumo-idete tōchū akiraka-nari Left upper: Chūhō Left lower: Hasui kanjin Japan 19th century Edo period Scroll: H.48½" x W.30¼" (123 cm x 76.5 cm) Painting: H.11" x W.29" (27.5 cm x 73.5 cm)

greggbakercatalogue2014_Layout 1 18/09/2014 10:02 Page 29

23 . A paper hanging scroll painted in ink with Mount Fuji Signed: Etsusō Seals: Etsusō. Katsuro rōtei Japan 19th century Edo period Scroll: H. 41" x W. 22¾" (104 cm x 57.2 cm)

greggbakercatalogue2014_Layout 1 18/09/2014 10:02 Page 30

greggbakercatalogue2014_Layout 1 18/09/2014 10:02 Page 31

24 . A pair of lacquered wood guardian dogs Japan 16th/17th century Muromachi/Momoyama period H. 17ž" x W. 18Ÿ" (45 cm x 46 cm) each

greggbakercatalogue2014_Layout 1 18/09/2014 10:02 Page 32

25 . A dry lacquer gigaku mask of Gojo Signed: Tessai mosu with artist’s monogram Japan 19th/20th century Meiji/Taishō period H. 14¼" x W. 9" x D. 10" (36.2 cm x 22.9 cm x 25.4 cm)

greggbakercatalogue2014_Layout 1 18/09/2014 10:02 Page 33

26 . A wood Kagura mask of a fox with an articulated jaw, the

eyebrows and moustache detailed with horse hair Seal: indecipherable Japan 18th century Edo period H. 8¼" x W. 6¼" x D. 4½" (21 cm x 16cm x 11.5 cm)

greggbakercatalogue2014_Layout 1 18/09/2014 10:02 Page 34

27 . A four-fold paper screen painted in ink and colour on a silver ground with blue and white iris Seal: Ueda Kōho Japan 19th century Taishō/Shōwa period H. 35" x W. 109" (88.5 cm x 276.5 cm)

greggbakercatalogue2014_Layout 1 18/09/2014 10:02 Page 35

28 . A four-fold paper screen painted in ink and colour on a gold ground with a woven bamboo fence and Japanese ivy Seal: Ueda Kōho Japan 20th century Taishō/Shōwa period H. 30¾" x W. 109½" (77.5 cm x 278 cm)

greggbakercatalogue2014_Layout 1 18/09/2014 10:02 Page 36

29 . A two-fold indigo-dyed cotton screen with a

stylized design of a tree root Japan 20th century ShĹ?wa period H. 59Âź" x W. 56" (150 cm x 142 cm)

greggbakercatalogue2014_Layout 1 18/09/2014 10:02 Page 37

30 . A two-fold with a snow

covered Japanese pine and rubella Japan 19th/20th century Meiji period H. 71½" x W. 77½" (181.5 cm x 196.5 cm)

greggbakercatalogue2014_Layout 1 18/09/2014 10:02 Page 38

greggbakercatalogue2014_Layout 1 18/09/2014 10:03 Page 39

31 . A pair of six-fold paper screens painted in ink and colour on a gold ground with bamboo in summer and in winter Japan 18th century Edo period H. 67" x W. 148½" (170.5 cm x 377 cm) each

greggbakercatalogue2014_Layout 1 18/09/2014 10:03 Page 40

glossary

1. A six-fold paper screen painted in ink and colour on a gold ground with autumn flowers and grasses Seal: Inen Japan 17th century Edo period Dimensions: H. 54½" x W. 109¼" (138 cm x 277 cm) The ‘Inen’ seal is regarded as a trademark of the Tawaraya workshop, led by Tawaraya Sōtatsu (died ca.1640), who co-founded the Rimpa school with Hon’ami Kōetsu (1558–1637). Sōtatsu is known to have used the ‘Inen’ seal himself, although only until he was granted the honorary title of Hokkyō in or around 1624. Hokkyō literally ‘Bridge of the Law’, is the third highest honorary title, initially bestowed upon priests and then from the 11th century on Buddhist sculptors. From the 15th century the title was also given to artists. Around 1620 the leading pupil of the Tawaraya workshop was given the “Inen” seal by Sōtatsu and is referred to as the ‘Painter of the Inen seal’.

For a similar pair of screens baring the same seal in the collection of the Art Institute of Chicago see: Beyond Golden Clouds Japanese Screens from the Art Institute of Chicago and the Saint Louis Art Museum, 2009, p.112, pl.7 and for a pair of screens with a similar subject matter by Sōtatsu in the collection of John T.Carpenter exhibited at the Metropolitan Museum of Art, New York see: Designing Nature, the Rinpa Aesthetic in Japanese Art, 2012, p.172, pl.77.

2. A two-fold paper screen painted in ink and colour on a gold ground with chōchō (butterflies) and a family of kiji (pheasants) amongst susuki (Japanese pampas grass) Kanō School Japan 17th century Edo period Dimensions: H. 64" x W. 70½" (162 cm x 178.5 cm) In Chinese tradition pheasants are highly regarded as one of the Twelve Ornaments which were embroidered on the Emperor’s robes over 2,000 years ago and these birds have many positive connotations. The pheasant was also frequently used as a substitute in Chinese art for the Vermilion Bird as an emblem of the south, the sun, beauty and goodness.

The kiji is native to Japan and is widely distributed around the country.

It has long-been credited as being an official messenger in the ‘Age of the Gods’, the period prior to recorded history that is accounted for by myths of the country’s divine creation. The pheasant appeared in Japan’s first poetry anthology, the Manyōshū (Collection of Ten Thousand Leaves) in the Nara period (645–781) and it remains to this day a poetic symbol of spring, when its distinctive mating call is heard.

Chōchō are viewed by Chinese and Japanese alike as the souls of the living and the dead as well as symbols of joy and longevity.

Introduced as a design motif by the Chinese, butterflies have also enjoyed widespread popularity in Japan since the Nara period. In Chinese mythology there is a story of an ancient Taoist philosopher who reportedly said on waking one day that he could not determine whether he had dreamt he was a butterfly or was a butterfly who had dreamt he was a man.

Note: the screen bears a label which reads: Sanraku zenchi Musashino kiji e ni mai ori issō (Sanraku Kanō whole landscape painting of Musashino plains and pheasants. Two-fold screen. One of pair.)

Although this is a Kanō School screen, we do not believe it can be attributed with confidence to Kanō Sanraku.

3. A two-fold paper screen painted in ink and colour on a gold ground with kiku (chrysanthemum) and autumn plants behind a grassy knoll.

The kiku petals are rendered in moriage (raised design), and a mist of sunago (sprinkled gold dust) drifts amongst the flowers Seal: Inen Japan 17th century Edo period Dimensions: H. 64¼" x W. 70¼" (163 cm x 178 cm) The ‘Inen’ seal is regarded as a trademark of the Tawaraya workshop, led by Tawaraya Sōtatsu (died ca.1640), who co-founded the Rimpa school with Hon’ami Kōetsu (1558–1637). Sōtatsu is known to have used the ‘Inen’ seal himself, although only until he was granted the honorary title of Hokkyō in or around 1624. Hokkyō literally ‘Bridge of the Law’, is the third highest honorary title, initially bestowed upon priests and then from the 11th century on Buddhist sculptors. From the 15th century the title was also given to artists. Around 1620 the leading pupil of the Tawaraya workshop was given the “Inen” seal by Sōtatsu and is referred to as the ‘Painter of the Inen seal’.

Early Japanese records suggest that kiku (chrysanthemum) were introduced from China in the pre-Nara period (pre-710), with the focus at that time on the plant’s medicinal uses. Various varieties of the plant are still used today in Asian herbal medicine to detoxify the body and treat fever, liver problems and eye disease.

By the Heian period (794–1185), kiku were cultivated as ornamentals, but the plant’s prophylactic qualities were still celebrated. In the Edo period (1615–1868), the Choyo Festival was made one of the officially recognised seasonal Five Festivals. This autumn festival is held on the ninth day of the ninth month and because this is the season in which kiku flourishes, it is also called the Chrysanthemum Festival. During the Edo period, beginning with each daimyō, people gathered at Edo Castle, held a Choyo ceremony and celebrated it with kiku sake, wine in which kiku petals had been steeped. Court nobles also rubbed their bodies with the night dew of kiku as it was believed to deter evil spirits

and to prolong life.

Kiku viewing was also a pastime for people living in Edo. The Edo period was a time when gardening boomed and from the early Edo period, as enthusiasm for gardening grew, different types of various species were produced and flower shows for new types of kiku called kikuawase (chrysanthemum matching) were also held amongst the people.

Japanese interest in kiku as a theme for poetry developed during the Heian period. At that time, with the evolution of a native artistic sensibility heavily influenced by the passing seasons, the flower gained its place as one of the premier symbols of autumn. In many instances, kiku appear in ensemble motifs with all or some of the Seven Grasses of Autumn, and it is sometimes included in enumerations of this group.

The first use of kiku as a symbol of the Japanese imperial family occurred in the thirteenth century. Later many commoners also used the flower as a family crest, and a Matsuya store catalogue of 1913 included ninety-five crest designs based on kiku.

Published in Rimpa Painting Volume II: Seasonal Flowering Plants and Birds, Kobayashi Tadashi; Shikosha, 1990, pl.289.

4. A six-fold paper screen painted in ink and colour on a gold ground with numerous shijū-kara (great tits) and yama-gara (varied tits) amongst young maki (Chinese black pine) and matsu (Japanese pine) Inscribed: Taishō mizunoe inu doshi (Taishō year of the dog*) Signed: Mio saku (made by Mio) Japan 20th century Taishō period *1922 Dimensions: H. 37¼" x W. 109¾" (94 cm x 278.5 cm) Matsu (Japanese pine) is a motif which holds a prominent role in Japanese art, largely due to its auspicious associations which were originally adopted form Chinese traditions. This evergreen has long been seen as a symbol of longevity, steadfastness and good fortune due to its ability to remain green and fresh even during the fiercest of winters.

Furthermore, in Japan the pine has always been prized for its practical uses, and its attractive appearance lends itself to being creatively represented in both painting and design. Along with the plum and bamboo, the pine is also one of the shōchikubai (three friends of winter), a popular theme in both Japanese and Chinese art.

5. A six-fold paper screen painted in ink on a buff ground with an old ume (plum tree) in full bloom its branches covered with white blossom Signed: Tenryū Dōjin. Hachi jyū go sai. (Tenryū Dōjin at 85yrs old*).

Seals: Left, upper: Tenryū Dōjin Left, lower: undeciphered Right: Shoroku Japan 19th century Edo period *1802 Dimensions: H.68¾" x W.147" (174cm x 373cm) Tenryū Dōjin (1718–1810). Priest name: Tenryū Dōjin. Azana (formal name with Chinese reading): Kōyu. Gō (art name): Ōkin.

Tenryū was born in Nagasaki. He spent the first half of his life with the ambition of trying to revive the Imperial regime, however upon failing to

greggbakercatalogue2014_Layout 1 18/09/2014 10:03 Page 41

glossary

do so, he eventually retired to Lake Suwa in Nagano. Here he became a priest, poet and engraver of seals and essentially took up painting from the age of 54. He specialized in the painting of vines, and wrote an essay on the subject ‘Budō Gasoku’ (Rules for Drawing Grapes). He took the name Tenryū at the age of 74 when he moved to the Tenryū villa near Lake Suwa in Nagano. Prior to this he was known as Kōyu.

Plum blossoms are celebrated as a harbinger of spring in Japan as the tree begins to bloom around the end of January.

Since plum blooms when there is still snow on the ground, it is considered a symbol of strength and overcoming adversity and, along with pine and bamboo, has been known as one of the Shochikubai (Three Friends of Winter) in China since the 13th century. The plum also symbolises longevity as the blossoms continue to reappear on the age-old, gnarled branches of ancient plum trees, and their sweet fragrance improves as the tree ages.

This screen was exhibited in Bokugi (Enchanted Ink Paintings) at the Okayama Prefectural Museum of Art in 2002.

Published in the exhibition catalogue, p.49, pl.049.

Also exhibited at the Masaki Art Museum, Osaka’s Bokubai (plum ink paintings), in January 2013.

6. A kakemono (hanging scroll) painted in ink on silk with bamboo, bamboo shoots, rocks and calligraphy Seals: Lower right: Shikun Upper Right: Uman’yū Lower left: Baisen Calligraphy reading: Painted on silk, and based on Confucian ethics in the autumn of the year Mizunoe-inu, in the Bunkyū period*. Having studied painting with Jiangyue Xin-pu in Nagasaki I have been painting bamboo in ink for the last fifty years, practicing daily and forgetting that my hair has turned white, though my spirit and brush work remain dynamic. This painting is executed by Sakuken the old man Ka at the age of seventy-six.

Japan 19th century Edo period *1862 Dimensions: Scroll: H. 82.7" x W. 57.7" (210 cm x 146.5 cm) Painting: H. 54.7" x W. 52.2" (140 cm x 132.5 cm) Kusaba Baisen (1787–1867) Gō (art names): Sakuken, Ka. Born in Taku,

Hizen Province, (modern Saga Prefecture, Kyushu). From the age of eight, he studied at the Tōgen-shōsha, an elite academy run by the feudal lord of Taku based on Chinese Neo-Confucian Studies.

From the age of eighteen he continued his studies at the Kōdōkan, an elite academy in Mito Province. As a scholar he excelled in studies of Neo-Confucianism, Chinese poetry, and painting, he was also an accomplished practitioner of martial arts. Baisen studied Chinese painting under the Chinese painter Jiang-yue Xin-pu and went on to study the Chinese Southern Song style, eventually becoming noted for his ink paintings of bamboo.

He also studied in Edo (Tokyo) at the Shōheikō, an academy run by the Tokugawa government, and was a student of Koga Seiri (1750–1817), known as one of the three great scholars of the Kansei era (1790–1801). He later returned to his home town of Taku where he taught many students and assisted in matters of politics and the economy for local government.

His friendships reached far and wide, among important and influential people of the time in politics, classical studies, and artistic and cultural domains. He was friends with Rai Sanyō (1780–1832), Tani Bunchō

(1763–1841) and Kan Chazan (1750–1817) to name but few.

In 1835, he was appointed to teach at the Kōdōkan School, in Taku, Hizen Province, and was made professor in 1855. He was also known as a great scholar on Shushi-gaku the most influential Neo-Confucian school which was deployed as a major political, moral, philosophical apparatus to govern people and society in Edo period Japan.

7. A carved wood figure of a seated Buddha Japan 12th century Heian period (794–1185) Dimensions: H. 21½" x W. 11½" (54 cm x 29 cm) For a similar Heian carved wood figure of a Buddha, see: Faith in Form and Figure: Encountering Buddhist Images, Nara National Museum, 2013, p. 82-83, pl. 50.

8. A kakemono (hanging scroll) painted in ink and colour on silk with a portrait of the monk Hōnen Japan 17th century Momoyama/Edo period Dimensions: Scroll: H. 81" x W. 42½" (205.5 cm x 107.5 cm) Painting: H. 42¾" x W. 33¼" (108 cm x 84 cm) Hōnen (1133–1212) is the religious reformer and founder of the first independent branch of Japanese Pure Land Buddhism called Jōdo shū (The Pure Land School). In the related Jōdo Shinshū sect, he is considered the Seventh Patriarch. Following his father’s last wish, Hōnen became a monk of the Tendai sect at an early age, but grew disaffected and sought an approach to Buddhism that anyone could follow. Whilst studying at Mount Hiei he discovered the writings of Shan-tao, the Chinese Pure Land master who first undertook the teaching of rebirth in the Pure Land of Amitabha through nembutsu (reciting Buddha’s name).

‘Only repeat the name of Amitabha with all your heart. Whether walking or standing, sitting or lying, never cease the practice of it even for a moment. This is the very work which unfailingly issues salvation, for it is in accordance with the Original Vow of Buddha.’

This commentary persuaded Hōnen to believe that nembutsu was all one needed to enter Amida Buddha’s Pure land. This new appreciation and understanding prompted him to leave Mount Hiei and the Tendai tradition in 1175.

Hōnen relocated to the district of Ōtani in Kyoto where he started addressing crowds of men and women, establishing a considerable following. He attracted fortune-tellers, ex-robbers, samurai and other elements of society normally excluded from Buddhist practice. Hōnen was a man of recognition in Kyoto and many priests and noblemen allied with him and visited him for spiritual advice. The increasing popularity of his teachings drew criticism from noted contemporaries who argued against Hōnen's sole reliance on nembutsu as a means of rebirth in the Pure Land.

The single practice of nembutsu denied the usefulness of all other Buddhist practices irking other sects. The sole emphasis on Amida Buddha was also coupled with discouraging the traditional worship of the kami (Shinto gods). Furthermore Hōnen placed the lowest lay-person on equal footing with the wisest monk, rendering the entire monastic establishment as useless again raising the ire of other sects. This

greggbakercatalogue2014_Layout 1 18/09/2014 10:03 Page 42

glossary undermining of those in power led the Emperor to exile him and his followers in 1207.

This exile prompted the following quote: ‘I have laboured here in the capital these many years for the spread of nembutsu, and so I have long wished to get away into the country to preach to those on field and plain, but the time never came for the fulfilment of my wish. Now, however, by the august favour of His Majesty, circumstances have combined to enable me to do so.’

While in exile, Hōnen spread the teachings to the people he met including fishermen, prostitutes and the peasantry. In 1211 the nembutsu ban was ultimately lifted and Hōnen was permitted to return to Kyoto where he stayed for a short time before his death.

For a similar portrait of Hōnen in the collection of Konkaikomyo-ji, Kyoto see: The Heibonsha Survey of Japanese Art, Volume 11, Sculpture of the Kamakura period by Hisashi Mori, 1974, p.124, pl.125 and for a standing image in the collection of Jūrin-ji, Hyogo, featured in the special 800th Memorial Exhibition at Nara National Museum and Kanagawa Prefectural Kanazawa-Bunko Museum see: Jōkei, A Monk at the Heart of Kamakura-era Buddhism, 2012, p.93, pl.63.

9. A bronze shakujō (Buddist staff) finial Inscribed: Dō shin (conscience) Japan 12th century Kamakura period Dimensions: H. 8¾" x W. 4" (22 cm x 10 cm) The inscription on the back of this particular shakujō expresses the zeal and determination of the owner to undergo the hardships of the ascetic practices and training. Its primary meaning embodies the idea of deciding one’s correct path after carefully judging right from wrong. A reminder of one’s strong faith in Buddhism this expression was usually used by young monks who entered the practice while still in their early teenage years.

Shakujō (lit. tin cane) is a Buddhist ringed staff used in prayer to make a distinctive sound and originates from the Indian khakkhara (sounding staff) which is made of bronze or iron. In Japan it is usually made of wood topped with a metal finial with two sections each with three rings, these six rings represent the Six States of Existence or the cycle of samsara, suffering and reincarnation (Beings in Hell, Hungry Ghosts, Animals, Asura, Humans and Deva).

The shakujō is one of the many things a pilgrim monk should carry with him including a nenju (rosary), suge kasa (pilgrim’s hat) and a ji-rei (bell). Its metal rings were originally used by the travelling monk to alert small creatures of his passage and to keep them from accidentally being harmed. It was also used to frighten away dangerous snakes or beasts that the priest might have encountered. The shakujō could also serve as a cane to help the priest walk. When begging, he rattled this staff to announce his arrival at the door or gate of a household without breaking the vow of silence.

In the Japanese martial art shōrinji kempō (Japanese equivalent of Shaolin Kungfu) the shakujō is also used as a weapon in a technique called shakujō-den (method of the shakujō).

For two similar examples in the collection of Hasedera Temple, Nara see: Handicrafts 1, Important Cultural Property vol. 24, 1976, p. 94, pl. 279.

10. A bronze umpan (Zen temple gong) Japan 18th/19th century Edo period Dimensions: H. 18¼" x W. 17" (46.5 cm x 43.5 cm) Inscribed: One strike of the gong will break illusions, and the sound will last for ten thousand years, echoing over the great rivers under the moon. Rich sound spreading over the valley in frost, far and near gather and disperse, choosing this place for training in Buddha’s Way. The sound echoes on the day of Buddha’s Attainment of Enlightenment (December 8th), in the year of Shoyo Daikoraku (This is a cyclical date repeating every 60 years i.e. 1713, 1773, 1833, 1893, 1953, etc), written by the old man Tōzan abbot of the Kōkoku Zen Temple, Ryūrōzan, Tsu Province, Awaji Island, a branch of the Myōshinji Temple.

Tsu Province is also known as Settsu Province and is located in modern day Hyogo Prefecture, Osaka. Kōkoku Zen Temple is still a thriving place of worship to this day.

11. A four-fold paper screen painted in lacquer and colour on a silver ground with two gnarled ume (plum trees) trees in full bloom. The foreground is dominated by the larger of the two trees which has red blossom while the smaller tree in the background has white. Both trees sit atop a knoll in a Japanese rock garden rendered in moriage (raised design) Seal: Shō Japan 20th century Taishō period Dimensions: H. 74" x W. 146" (187.5cm x 370.5cm) In Japan plum blossoms is celebrated as a harbinger of spring due to it blooming towards the end of January. The blooms appear when there is still snow on the ground, and are considered a symbol of strength and overcoming adversity. It is also known as one of the shōchikubai (lit. pine-bamboo-plum) or saikansanyū (lit. three friends of winter) since the beginning of the 13th century. The plum also symbolises longevity as the blossoms continue to appear on old gnarled branches of ancient plum trees, their sweet fragrance improving with age.

Paintings of blossoming plum offer artists excellent opportunities to demonstrate the calligraphic flair of their brushwork. Since plum blossoms have multiple connotations in Chinese and Japanese cultures their representation offers numerous possibilities of symbolic expression. As one of the earliest spring-flowering trees, plum symbolises rejuvenation and vitality. Because the tree is hardy and often long lived, its branches also signify endurance and perseverance.

In other contexts, the delicate white blossoms were often associated with purity and feminine gracefulness. With so many possible meanings, paintings of plum blossom could be displayed on many occasions, a versatility that was no doubt part of the genre's longlasting appeal.

It would seem likely that the pairing of red and white as seen in this

iconic imagery has its roots in the Gempei war between the Taira and Minamoto clans at the end of the 12th century, with the victorious Minamoto founding the Kamakura period (1185–1333). This war and its aftermath established red and white, the respective colours of the Taira and Minamoto, as Japan's national colours. Today, this combination of colours can be seen in sumo competitions, various traditional activities and on the national flag of Japan.

Note: the back of the screen bears two exhibition labels which read: Lower label: Ume, Kawasaki Shōzō (Plum, Kawasaki Shōzō) Upper label: Daimei; ume. Meishi; Kawasaki Shōzō. Dai; ni jyūni gō (Title; plum. Name; Kawasaki Shōzō. No. 22).

12. A two-fold paper screen painted in ink and colour on a gold ground with four tsuru (cranes) in flight above waves. Mist hangs over the water, obscuring all but the branch of a matsu (pine tree) on the near shore and the gentle slope of land meeting the water on the far shore Japan 18th century Edo period Dimensions: H. 65¾" x W. 70½" (166.5 cm x 179 cm) One of the cranes depicted on this screen is the white-naped crane, which migrates yearly to its wintering grounds in Southern Japan.

Alongside it are three red-crowned, or Japanese, cranes which are said to live for 1,000 years.

Tsuru (cranes) are among the premier symbols of longevity and good fortune in East Asia. For at least two millennia, the Chinese have viewed them as living to a great age and as being able to navigate between heaven and earth. In turn, these attributes have made them logical companions of sennin, the Taoist Immortals. Ancient Taoist alchemists believed that imbibing beverages made with crane eggs or tortoise shells would increase one’s vital energies.

In Japan, the crane is the animal most frequently seen in the fine and applied arts. Although a common subject of painting, it is most closely associated with the New Year and with marriage ceremonies.

In earlier times, when the Japanese still used circular brass mirrors and presented them on the occasion of a marriage, the crane was a favoured decorative theme due to its association with fidelity. In recent centuries, the crane has appeared on elaborately embroidered wedding kimono and among the mizuhiki (cord made from twisted paper) decorations presented at the time of betrothal.

The matsu (pine tree) holds a prominent role in Japanese art, largely due to its auspicious associations which were originally adopted form Chinese traditions. This evergreen has long been seen as a symbol of longevity, steadfastness and good fortune due to its ability to remain green and fresh even during the fiercest of winters. Furthermore, in Japan the pine has always been prized for its practical uses, and its attractive appearance lends itself to being creatively represented in both painting and design. Along with the plum and bamboo, the pine is also one of the shōchikubai (pine-bamboo-plum) or saikansanyū (three friends of winter) which is a popular theme in Japanese art.

greggbakercatalogue2014_Layout 1 18/09/2014 10:03 Page 43

glossary 13. A two-fold paper screen painted in ink and colour on a gold ground with two tsuru (cranes) in flight over a sandbank emerging from cresting waves. Mist hangs over the water, obscuring the surrounding scenery Japan 18th century Edo period Dimensions: H. 65¾" x W. 70½" (166.5 cm x 179 cm) One of the cranes depicted on this screen is the white-naped crane, which migrates yearly to its wintering grounds in Southern Japan.

Alongside it is the red-crowned, or Japanese, crane which is said to live for 1,000 years.

14. A pair of six-fold semmen nagashi-zu byōbu (screens with fans over flowing water) painted in ink and colour on a gold and silver ground with scattered fans over a mountainous coastal landscape. The clouds and mist are rendered in both gold and silver sunago (gold/silver dust), and the detail of the motifs on several of the fans, as well as the rivet of each fan, is executed in moriage (raised design).

The paintings on the fans display motifs associated with the four seasons. The motifs appearing on the fans of the right-hand screen include tsubaki (camellia), ume (plum blossom), shirayuri (white lily), ajisai (hydrangea), take (bamboo), tessen (Chinese clematis), kikyō (Chinese bellflower), kiku (chrysanthemum), asagao (morning glory), and keshi (poppy).

The seasonal motifs which appear on the fans of the left- hand screen include hagi (bush clover), momiji (maple leaves), botan (peony), budō (grapes), take (bamboo), kiku (chrysanthemum), fuji (wisteria), sakura (cherry blossom), nadeshiko (pinks), tonbo (dragonflies), chōchō (butterflies), chidori (plovers), tsubame (swallows), aranami (surging waves) and a snow-covered Fujisan (Mount Fuji) School of Tawaraya Sōtatsu (died ca.1640) Japan 17th century Edo period Dimensions (each): H. 71" x W. 150" (180 cm x 381 cm) An array of open, closed and partially-open decorated folding fans are scattered over the six panels of each screen, as if being carried on a gentle wind. Some of the fans are torn, with a section of the blades exposed. This is an interesting feature, which can also be seen on the scattered fan screens produced by Sōtatsu and his atelier from the early 1600s, and which would appear not to have been used in examples much later than the end of the 17th century. Sōtatsu was famous for his painted fans and many of them were pasted onto screens in order to best preserve them, although there also exist a number of fan screens painted in the Sōtatsu manner which are decorated not with the fans themselves but rather where fan-shaped outlines are painted directly on the screen and then filled with various motifs, as can be seen on this pair.

The Japanese have decorated paper folding fans with paintings since at least the twelfth century, and the first folding screens to feature scattered fans appeared in the fifteenth century. It became popular around this time to paste or paint fans over a background of flowing water, a type of imagery that may have evolved from the medieval pastime of casting fans into a flowing river for a final appreciation of their beauty as they floated downstream when discarded at the end of summer.

A story that appears in the Ansai zui-hitsu (Essays by Ansai), a collection of essays on miscellaneous subjects by the antiquarian Ise

Sadatake (1717–1784), suggests one explanation for this fashion.

According to this tale, an Ashikaga shogun of the Muromachi period was on his way to the Kyoto temple of Tenrūji when one of his vassals accidentally dropped his master’s fan into the Ōi River from the bridge, Togetsukyō. Taking their cue from the vassal, all the other members of the shogun’s retinue followed suit and tossed their fans into the water.

Screens painted with the fans-and-stream motif were often installed in shogunal residences.

Fans continue to serve not only a functional role for the Japanese, but also provide an intimate surface for painting and poetry and are the epitome of an elegant accessory.

Provenance: previously held in a private collection in Kyushu, Japan, from the late 1990’s, for approximately 15 years.

For similar examples see: Freer Gallery of Art, Smithsonian Institution, Washington DC, Fans and Clouds over Rocks and Water. A pair of six-fold screens with scattered fans over a river on a silver and gold ground of early 17th century.

Rimpa Art from the Idemitsu Collection, Tokyo, by Yūzō Yamane, Masato Naitō and Timothy Clark, British Museum Press, 1998. Colour Plate 2: Screens painted with scattered fans. This pair of six-fold screens with scattered fans over flowing water displays motifs treated in a very similar manner to those in the above pair, including a snowcovered Mt Fuji with sunago (gold dust), and stylized surging waves.

In the Moment: Japanese Art from the Larry Ellison Collection, by Laura Allen, Melissa Rinne, and Emily Sano, Asian Art Museum, San Francisco, p. 72-3, pl.14: Floating Fans, School of Tawaraya Sōtatsu, 17th century. This pair of screens displays a very similar composition to the above pair, with scattered fans and clouds of sunago (gold dust) against a dark silver body of water and jagged mountains in the distance.

Nihon Bijutsu Kaiga Zenshū: 14: Tawaraya Sōtatsu, (The Complete Works of Japanese Fine Artwork: Vol. 14: Tawaraya Sōtatsu), Shueisha, Japan, p.135-136, pl. 48. A pair of 6-fold screens with scattered fans with the Inen seal of the Sōtatsu workshop. Several of the fans on these screens are torn, in a similar manner to that of the above pair.

Masterpieces of the Okada Museum of Art, Okada Museum of Art, 2013, p.130-131, pl.094. A six-fold Scattered Fans Painting Screen, Inen seal. The treatment of the floral motifs rendered in moriage on some of these fans is very similar to those on the above pair of screens.

15. A bronze pear shaped hana-ire (flower vessel), the neck divided to form twin mouths Signed: Kaname saku (made by Kaname) Japan 20th century Shōwa period Dimensions: H. 17¾" x W. 13" x D. 11½" (45 cm x 32.5 cm x 29 cm)

16. A bronze hana-ire (flower vessel) of elongated form with two prongs.

Signed: Tadahiro Japan 20th century Shōwa period 1974* Dimensions: H. 28¾" x D. 3" (72.5cm x 7cm)

Tomobako inscribed: Box lid: seidō hana ire. Tadahiro. (bronze flower vase. Tadahiro) Inside lid: Aioi dai ikkai ten (Aioi first exhibition*) *This vase was exhibited at the first Aioi City Art Exhibition in Hyōgo prefecture, in 1974.

Baba Tadahiro (b.1930) was born in Nagano prefecture.

1953 Graduated from the crafts department of Tokyo University of the Arts.

1954 Exhibited in the 10th Nitten (The Japan Fine Arts Exhibition).

1957 Set up his own design agency.

1983 Received the 11th Kunii Kitarō industrial craft award.

1985 Became director of the Japanese Craft Design Association.

1996 Awarded the Design Achievement Award.

In total, Tadahiro has held over 40 solo exhibitions. He has made monuments for the Toyohira Town Athletic Park and Takefu City, and was also commissioned to make a wedding anniversary gift for Prince and Princess Hitachi.

17. A bronze suiteki (water dropper) of a nasu (aubergine) and two kabocha (Japanese squash) Japan 17th century Edo period Dimensions: H. 3" x W. 4¾" x D. 2" (8 cm x 12 cm x 5 cm) 18. A bronze kōro (incense burner) in the form of a shishi (Chinese guardian lion). The right paw raised showing its claws in a fearsome manner and the detachable head has the character ‘King’ in high relief on the forehead China 17th century Ming Dynasty Dimensions: H. 7¼" x W. 8¾" x D. 5" (18 cm x 22.5 cm x 13 cm) Shishi (Chinese guardian lions, or Imperial guardian lions) have traditionally stood in front of Chinese Imperial palaces, Imperial tombs, government offices, temples, as well as the homes of government officials and the wealthy, since the Han Dynasty (206 BC–AD 220), and were believed to have powerful protective powers. Although not indigenous to China, lions are known to have been imported as gifts to the emperor, and their symbolic representation was introduced later via Buddhism to both China and Japan, portraying them as the defender of the law and protector of sacred buildings.

19. A bronze suiteki (water dropper) in the shape of a kuruma-ebi (Japanese tiger prawn) Japan 17th century Edo period Dimensions: H. 3½" x W. 7" x D. 1¾" (9 cm x 18 cm x 5 cm)

greggbakercatalogue2014_Layout 1 18/09/2014 10:03 Page 44

glossary 20. A kakemono (hanging scroll) painted in ink on paper with an ensō (circle) and calligraphy Inscribed: Gokuraku mo kono tōri nari Bon no tsuki (This is Paradise, the Moon at the Obon Festival).

Signed: Motsugai daisu (inscribed by Motsugai) Seal: Chishin (knowing when to proceed) Japan 19th century Edo period Dimensions: Scroll: H.46½" x W.18¾" (118 cm x 47.5 cm) Painting: H.16¾" x W.11½" (29 cm x 42.5 cm) Takeda Motsugai (1795–1867) Priesthood name: Fusen. Gō (art names): Motsugai, Deibutsuan. He resided at the Saihōji Temple, Onomichi (in modern Hiroshima Prefecture) and was known for his calligraphy, haiku and ikebana flower arrangements.

Motsugai a Soto sect Zen priest was said to keep a pair of straw sandals on a pillar at the temple and was renowned for his love of udon noodles. A keen player of go (Japanese chess) his board reputedly bore a mark of his fist giving him the nickname Genkotsu Oshō (Knuckle Priest). He was a man of great strength who excelled at eighteen different martial arts and was said to have fought with Kondo Isami (1834–1868) the famous swordsman using only his wooden hōhatsu (priest’s begging bowl).

This painting epitomises the inseparable and interchangeable nature of two iconic Zen Images; Ensō and tsuki (moon).

Ensō is a Japanese word meaning circle and a concept strongly associated with Zen. Ensō is one of the most common subjects of Japanese calligraphy even though it is a symbol and not a character. It symbolises the Absolute, enlightenment, strength, elegance, the Universe, and the void; it can also symbolise the Japanese aesthetic itself. As an ‘expression of the moment’ it is often considered a form of minimalist expressionist art.

In Zen Buddhist painting, ensō represents a moment when the mind is free to simply let the body/spirit create. The brushed ink of the circle is usually done on silk or paper in one movement (but sometimes the great Bankei used two strokes) and there is no possibility of modification: it shows the expressive movement of the spirit at that time. Zen Buddhists believe that the character of the artist is fully exposed in how he or she draws an ensō. Only a person who is mentally and spiritually complete can draw a true ensō. Achieving the perfect circle, be it a full moon or an ensō is said to be The moment of enlightenment.

While some artists paint ensō with an opening in the circle, others complete the circle. For the former, the opening may express various ideas, for example that the ensō is not separate, but is part of something greater, or that imperfection is an essential and inherent aspect of existence (the idea of broken symmetry). The principle of controlling the balance of composition through asymmetry and irregularity is an important aspect of the Japanese aesthetic Fukinsei, the denial of perfection.

Obon (Festival of the Dead) occurs annually on or near 15th August.

A Buddhist holiday celebrated nationally it lasts for three days. The Obon period is when the spirits of one’s ancestors return to their former habitats and are welcomed by their living descendants. In modern Japan many people return to their hometowns to tend to the graves of their ancestors and the end of the Obon festival is marked by the ritual practice of lighting lanterns and settling them adrift on rivers enabling the spirits to return to the other side.

21. A kakemono (hanging scroll) painted in ink on paper with the character tsuki (moon) Signed: Rō Kinei (painted in amusement, by Kinei) Seals: Upper: Fūkatsu getsurō (tranquil breeze, bright moon) Lower: Kinei Japan 18th century Edo period Dimensions: Scroll: H. 59" x W.16¾" (149.5 cm x 42 cm) Painting: H.47¾" x W.11¼" (121 cm x 28.5 cm) Seki Kinei (1733–1800). Azana (formal name with Chinese reading): Shiei. Common name: Genzō. Gō (art name): Nanrō.

Seki Kinei was a scholar of the Chinese classics and a notable calligrapher, who also excelled at seal carving and composing Chinese style poetry. His original family name was Ochiai. However he later adopted the name Seki after his marriage to the daughter of Seki Shikyō (1697–1766) a distinguished calligrapher and samurai of the Tsuchiura fief. Like his father-in law, he served at the Tsuchiura fief, Hitachi province, Mito, in modern Ibaragi prefecture.

Works by the artist can be found in the collection of Century Museum, Tokyo.

The right hand seal, fūkatsu getsurō is a Chinese expression celebrating the soothing wind and the bright moon in the late summer.

It may also be understood in a Zen sense, expressing a state of Tranquil Mind and Enlightenment.

This type of calligraphy using the character of the moon is best suited for decorating the tokonoma (alcove) for a tea ceremony during the Moon Festival season in mid-autumn. During the autumnal equinox the full moon (known in English as the harvest moon) appears larger and

brighter than at any other time of year. It is for these reasons that the Japanese developed the custom of o-tsukimi (moon-viewing) in midautumn when the harvest moon is at its peak.

Though the moon’s beauty can be appreciated at any time of year, in Japan doing so is strongly connected with autumn. In haiku poetry the word tsuki (moon) is synonymous with autumn. For the Japanese, whose culture is so connected to the changing of the seasons and the appreciation of natural beauty, viewing the autumn moon came to be one of the most cherished activities of the year. Countless works of art in poetry and painting focus on the moon as their major motif, suggesting not only beauty but continuous change and also revival.

During moon-viewing, the Japanese make offerings to the moon by placing seasonal crops, plants and full-moon shaped round rice dango (dumplings) in a place exposed to the moonlight. Susuki (pampas grass) stalks are also laid out, and these act as antennae which attract the spirit of the moon to the offerings.

22. A paper kakemono (hanging scroll) painted in ink with the character ichi (one) Signed: Zen Ryūhō Chūhō sō (old man Chūhō, formerly of Daitokuji Temple) Seals: Right: kumo-idete tōchū akiraka-nari (when the clouds disperse in the spring, even the inside of the dark cave will be illuminated) Left upper: Chūhō

greggbakercatalogue2014_Layout 1 18/09/2014 10:03 Page 45

glossary Left lower: Hasui kanjin (Hasui lit. ‘broken sleep’ is one of Chūhō’s art names. Kanjin, ‘amongst men’ is a humble reference to himself) Japan 19th century Edo period Dimensions: Scroll: H.48½" x W.30¼" (123 cm x 76.5 cm) Painting: H.11" x W.29" (27.5 cm x 73.5 cm) Chūhō Sōu (1760–1838). Gō (art names): Rakuyōjin, Hasui-kanjin, Shōgetsu-rōjin, Shōgetsu-sō. He was born in Kyoto, and studied Zen Buddhism under Sokudō Sōki, the 406th Abbot of Daitoku-ji, the main temple of the Rinzai sect of Zen Buddhism in Kyoto. Chūhō later became the 418th Abbot of Daitoku-ji. After his abbotship he resided at Tokai-ji and he retired to the Shōgetsu-an (The Studio of Pine and Moon) of the Hōshun-in a sub-temple of Daitoku-ji. He excelled in poetry, calligraphy, pottery, and tea ceremony utensils.

The right hand seal kumo-idete tōchū akiraka-nari is a Zen saying describing the moment of Enlightenment originally coined by Daitō Kokushi (1282–1338), the founder of Daitoku-ji.

Ichi (one) is the origin of all the myriad things. Everything in the universe is born from one and returns to one. This is known as bampo ikki. It is absolute Being, one law that penetrates into millions of Dharma laws. In Buddhism it is known as jisho-shojo-shin or bussho (Buddha Nature).

The concept of painting the character 'one' refers to the term ichi-go ichi-e (lit. one time, one meeting). This idea fits perfectly with Zen Buddhism and its concepts of transience.

Ichi scrolls are particularly associated with the Japanese tea ceremony and are often hung in the tea room as a reminder to the participants that each tea ceremony is unique and can never be repeated. This practice was popularized by the famed tea master Sen no Rikyū (1522–1591).

Close to the Japanese heart the same concept is also much repeated in budō (martial arts). It is sometimes used to admonish students who become careless or frequently stop techniques midway to 'try again’,

rather than moving on with the technique despite the mistake. In a lifeor-death struggle, there is no chance to 'try again'. Even though techniques may be attempted many times in the dōjō (training hall) each attempt should be seen as a singular and decisive event.

23. A kakemono (hanging scroll) painted in ink on paper with Fujisan (Mount Fuji) Signed: Etsusō Seals: Right: Etsusō Left: katsuro rōtei (travelling on a donkey, leisurely wandering about) Inscription on scroll painting: hidari no migi e, hachida sono naka, kore wo mite kyogaku, sekisetsu sakuto. enro kanno. Etsusō heidai.

(Round to the left and round to the right, climbing up and paying homage to the Eight Peaks of Mount Fuji, this is really astounding, snowcapped and icily frozen. A long excursion off-duty. Painted and inscribed

by Etsusō) Inscription on reverse of scroll: Fujisan. Etsusō hitsu. (Mount Fuji.

Painted by Etsusō) Slip of paper enclosed reads: Daitokuji 457 se. Etsusō Myōi. Bunkyū gan rokujyū-kyū sai botsu. (Daitokuji 457th generation. Etsusō Myōi. He died at the age of 69in the first year of the Bunkyū period*) Japan 19th century Edo period Dimensions: Scroll: H. 41" x W. 22¾" (104 cm x 57.2 cm) Painting: H. 5¾" x W. 22" (14 cm x 55.5 cm) Etsusō Myōi (1793–*1861). Gō (art names): Katsuro, Zetsugaku. Etsusō was the 457th Abbot of Daitokuji temple, the headquarters of the Rinzai sect of Zen Buddhism, Kyoto. There is also a compilation of sayings by Etsusō in nine volumes entitled Katsurogan.

Mount Fuji’s crater has many peaks but eight of them are particularly distinct and are known poetically as hachiyo renge or fuyo hachida, both meaning “the eight petals of the Lotus Flower”. These eight peaks symbolise the lotus dais on which the Buddha sits. The particular Buddhist

pilgrimage to Mount Fuji which is the subject matter of this kakemono is known as Ohachi meguri (Pilgrimage of The Eight ) or Fujikō (the Fuji Pilgrims).

24. A pair of lacquered wood komainu (guardian dogs) Japan 16th/17th century Muromachi/Momoyama period Dimensions (each): H. 17¾" x W. 18¼" (45 cm x 46 cm) The literal translation of komainu is ‘Korean dog’. A pair of lion-like guardian figures which are often placed at each side of a shrine or temple entrance in order to ward off evil spirits. Thought to have been brought to Japan from China via Korea, their name is derived from Koma, the Japanese term for the Korean kingdom of Koguryo.

The lions in stone or bronze relief as temple decorations in the Nara period (710–794) belong to a sculptural tradition that can be traced back to the Buddhist art of India and China. Images of the seated Buddha often include lions at his left and right, both to underscore his majesty and to protect him.

In the early Heian period (9th century) the two guardian statues were clearly differentiated. The figure which stood on the right, komainu, resembled a dog with its mouth open (agyou) and sometimes sported a short horn; the figure on the left, shishi, resembled a lion with its mouth closed (ungyou). Gradually the term komainu came to be used for both statues, and their shapes became indistinguishable except for the open and closed mouths (a-un).

These features were perhaps inspired by niō (two kings), Buddhist guardian figures who are often found at either side of a Buddhist temple gate, whose mouths can also be open or closed. 'A' is the sound of the first letter of the Sanskrit alphabet and is pronounced with the mouth open. 'Un' is the sound of the last letter of the Sanskrit alphabet and is pronounced with the mouth closed. 'A' and 'un' represent the beginning and the end of all things, or inhalation and exhalation, respectively.

For a similar pair of komainu held in the collection of Shirayama Jinja Ishikawa prefecture see: KAMAKURA The Renaissance of Japanese Sculpture 1185–1333, pl.34.

Radio Carbon Dating ref: RCD-8160

25. A kanshitsu (dry lacquer) gigakumen (gigaku mask) of Gojo Signed: Tessai mosu (made by Tessai) with kao (artist’s monogram) Japan 19th/20th century Meiji/Taishō period Dimensions: H. 14¼" x W. 9" x D. 10" (36.2 cm x 22.9 cm x 25.4 cm) Tessai began carving Buddhist subjects at the age of 12, and was presumably influenced to a large degree by his father, who was thought to be a netsuke carver himself. At an early age Tessai was sent to study painting and calligraphy at several Buddhist temples, and through this became familiar with the vast collection of masks housed in temples such as Tōdaiji and Horyūji in Nara, which became the inspiration for much of his work. Following the Meiji Restoration in 1868 Tessai left the priesthood and devoted his life to studying artefacts in the temple collections around Japan and the techniques used in their making.

Tessai accompanied Ernest Fenellosa on his survey of temples around Kyoto and Nara in 1880, and was also present at the unveiling of the Kudara Kannon in the Yumedono at Horyūji in 1884.

In 1886 Tessai was appointed by the Minister of Education as a

greggbakercatalogue2014_Layout 1 18/09/2014 10:03 Page 46

glossary member of the committee for the study and research of ancient arts, and in 1890 became a professor in the Department of Sculpture of the newly established Tokyo Art School.

Between this time and 1916 Tessai lived in many places, including Tokyo and Nara, but in 1917 he finally settled in Nara where he devoted his life to carving.

Tessai was an innovator, and was the originator of teppitsu-bori, a technique of engraving images on a flat surface of wood or metal with a steel pen or stylus, this technique culminated particularly in the pipe cases that he produced. Tessai’s greatest achievement, however, was arguably in the field of lacquer and simulated textures and finishes.

He used numerous methods and techniques which are unknown to present-day lacquer artists, and created works with finishes such as simulated old peeling paint for example., Tessai devoted much of his time to the carving of masks, both miniature and full-size. The history of Japanese masks runs parallel to the history of Japanese sculpture, reflecting the artistic styles and techniques of sculpture during the periods in which the masks were made. Mask carvers were also often preservers of styles no longer current in sculpture, and this approach seems to have appealed to Tessai, with his background in studying historical artefacts.

Many of the masks which Tessai carved replicated Gigaku and Bugaku masks, and to a lesser extent, Gyōdō and Nō masks. Gigaku refers to a now-lost ancient masked theatrical performance which was performed at Buddhist temples throughout Japan from the 7th to the 9th century. According to the Nihonshoki (Chronicles of Japan, 720), the art of gigaku was brought to Japan by the Korean dancer Mimashi in 612 following her trip to Wo in Southern China.

As gigaku had already died out by the Kamakura period, details of the art form can only be surmised today through literary records, and extant gigakumen (gigaku masks). It seems that gigaku consisted of masked actors parading in a procession around temple grounds followed by short performances of dances or mimed skits, both religious and humorous, and accompanied by flutes, gongs and drums. The original gigakumen were the largest of Japanese masks, constructed to cover the whole head rather than the face alone, and were stylistically bold and vigourous. The prominent noses and deep set features of many of the faces suggest the origins of the art form might lie in Central Asia, India or Persia.

Gojo (Maid of the country of Wu) is the only female mask in the gigaku repertoire. With her crescent eyebrows and hair done up in two knots, in a known gigaku skit, this beautiful lady is protected by her Buddhist guardian, Rikishi, when the lecherous Kuron attempts to make advances on her.

It is probable that Tessai made his Gojo mask following one of his research visits to Horyūji Temple in Nara, where a similar mask was housed at the time. This is now held in the collection of the Tokyo

National Museum.

Today, the majority of the original gigaku masks are housed at Horyūji, the Horyūji Treasure House at the Tokyo Mational Museum, Tōdaiji in Nara, and in the Shōsōin Repository.

For the Gojo gigakumen which was housed at Horyūji temple and is now at the Tokyo National Museum, see Nihon no Bijutsu (Arts of Japan) Vol. 233, Gigakumen (Gigaku masks), Uehara Shōichi, published by Shibundo, pl.63. Another similar Gojo gigakumen which is still held in the Shōsōin Repository can be seen in the same book, p.33, pl.35.

26. A wood Kagura theatre men (mask) of a kitsune (fox) with an articulated jaw, the eyebrows and moustache detailed with horse hair Seal: indecipherable Japan 18th century Edo period Dimensions: H. 8¼" x W. 6¼" x D. 4½" (21 cm x 16 cm x 11.5 cm) In Japan kitsune (fox) has been a subject of folklore since early historical times and it has been credited with special powers and superior intelligence. Every fox is said to possess infinite vision, an allhearing ear and access to the secrets of everyone’s soul. It has the full knowledge of the universal past and of the universal present.

With the large-scale importation of Chinese culture, the Japanese added to their own conceptions of the fox even more elaborate beliefs regarding its assumed positive and negative characteristics. The animal was regarded as a symbol not only of craftiness and cunning but also of sensuality and eroticism, especially when associated with females.

Chinese traditions also ascribed to the fox supernatural qualities especially the power of transformation based on longevity. The most common form of transformation was associated with women, and foxwomen were said to seduce men and then abandon them.

In terms of sheer numbers, however, most representations of foxes found in Japan relate to Inari, the Shinto deity of rice. Inari is a deity without concrete form who is believed to descend from the mountains each spring to assist in rice cultivation and the Japanese believe that the fox is the deity’s servant and messenger. The entrance to Inari shrines are guarded by a pair of stone foxes (one female and one male) and other representations of foxes appear within the grounds.

Allegedly, they possess the power to ward off evil and they serve as guardian spirits.

Kagura (lit. god entertainment) refers to a specific type of Shinto theatrical dance predating Noh theatre which has gradually evolved over a millennium. Once strictly a ceremonial art derived from kami gakari (oracular divination) and chinkon (spirit pacification) it is still very much a living tradition, with rituals tied to the rhythms of the agricultural calendar thriving primarily in parts of Shimane prefecture, and urban centres such as Hiroshima.

In the ancient texts of Kojiki and Nihonshoki, there is a famous legend describing the origin of Kagura among traditional Japanese dance. This tale refers to the sun goddess Amaterasu, who retreated into a cave and vowed never to show herself again after her brother, the storm god Susanowo-no-Mikoto, left his home on the seas and began to ravage the land.

Without her light the world fell into darkness and devils sprang from their hiding places to roam freely across the earth in its endless night.

Knowing that all life was doomed without Amaterasu, the gods of heaven and earth gathered at the cave's mouth and begged her to reappear but to no avail and all creation seemed doomed.

Finally, Ame-no-Uzume-no-Mikoto, a small goddess with a face creased by age and laughter declared that she would coax Amaterasu from the cave. The mightier gods looked at the old woman and sneered.

Ame-no-Uzume-no-Mikoto smiled back at them, overturned a huge sake barrel, jumped on top of it and began a wild dance.

The loud and frenetic pounding of her feet made a sound unlike any ever heard before. The rhythm was so infectious that soon the other gods began to dance and sing along. Music filled the earth and the celebration became so raucous that Amaterasu filled with curiosity peeked out from her cave and seeing the joyful faces brought her light to the earth again. Thus Amaterasu’s light returned to earth and Susanowo-no-Mikoto was banished.

Kagura is one of a number of rituals and performing arts said to derive from this event.

Originally Kagura began as sacred dances performed at the Imperial court by miko (shrine maidens) said to be descendants of Ame-noUzume. Over time these performances within the sacred and private precincts of the Imperial courts, inspired popular ritual dances practiced in villages all around the country and were adapted into various other folk traditions which developed into a number of different forms.

Kitsune characters also appear in Noh and Kyōgen theatre plays. In Kyōgen a fox mask is used but in Noh the characters are revealed symbolically through the design of the mask or costume, representing something that is not quite human. The kitsune mask is used for the old fox in ‘Fox Trapping’, the highest-ranking Kyōgen play.

In the Noh play called Kokaji (The Swordsmith) Aizuchi Inari appears in the form of a fox and helps the hero forge the sword named Kogitsune-maru. An evil fox spirit transformed into a woman named Lady Tamamo also appears as the heroine of the Noh play Sesshōseki (The Killing Stone).

27. A four-fold paper screen painted in ink and colour on a silver ground with blue and white kakitsubata (iris) Seal: Ueda Kōho Japan 19th century Taishō/Shōwa period Dimensions: H. 35" x W. 109" (88.5 cm x 276.5 cm) Ueda Kōho (1860–1944) was born in Osaka, the son of the Maruyama School painter Ueda Kōchū (1819–1911). Kōho was a follower of the Nanga School and was active throughout the Meiji, Taishō and Shōwa periods.

Kakitsubata (iris) has long been used as a design motif and is praised in Japanese literature for its beauty. In art its appearance can allude to the Tale of Yatsuhashi (lit. Eight Bridges) made famous in episode 9 of

greggbakercatalogue2014_Layout 1 18/09/2014 10:03 Page 47

glossary Ise Monogatari (Tales of Ise). In this scene the hero who is often identified as Ariwara no Narihira (825–880) composes a poem while admiring the blooms.

‘Back then there was this man. Disgusted by his life, he decided not to stay in the Capital but set out instead for the East, to find a province to live in. One or two old friends went with him. None of them knew the way, and they often got lost. They came to a place called Yatsuhashi in the province of Mikawa. The name described the way the river fanned out there, spiderwise, into eight streams with a bridge over each one. Under a tree beside the marsh they dismounted and ate some parched rice. The marsh was full of irises in magnificent bloom. The sight moved a companion to say, “Make a poem about our journey, with one of the five syllables of ka-ki-tsu-ba-ta at the end of each line. So he did: KArakoromo KItsutsu narenishi TSUma shi areba HAru-baru kinuru TAbi wo shi zo omofu

Robe from far Cathay (China) Long and comfortably worn Bound by love to stay I cover these distances Shrouded in melancholy.

At this, they wept onto their parched rice till it got all wet.’ (Tales of Ise, excerpt from episode 9, translated by Joshua Mostow and Royall Tyler).

For other examples of this subject matter in the collection of The Cleveland Museum of Art both with and without bridges see: Unfolding Beauty, p.40, pl.17, and in the collection of The Metropolitan Museum of Art, New York see: Masterpieces of Japanese Screen Painting, p.65, 67, 68, 69 and 70.

28. A four-fold paper screen painted in ink and colour on a gold ground with a takegaki (woven bamboo fence) and tsuta (Japanese ivy). The red leaves of the ivy denote that the season is late autumn Seal: Ueda Kōho Japan 20th century Taishō/Shōwa period Dimensions: H. 30¾" x W. 109½" (77.5 cm x 278 cm) Ueda Kōho (1860–1944) was born in Osaka, the son of the Maruyama School painter Ueda Kōchū (1819–1911). Kōho was a follower of the Nanga School and was active throughout the Meiji, Taishō and Shōwa periods.

Tsuta (Japanese ivy) has long been used as a design motif and is praised in Japanese literature for its beauty. In art

its appearance can allude to the tsuta no hosomichi (lit. narrow road of ivy), made famous in episode 9 of Ise Monogatari (Tales of Ise). In this scene the hero who is often identified as Ariwara no Narihira (825–880) is travelling to Mt Utsu and encounters a narrow passage overgrown by ivy and maple. Here he meets a wandering ascetic headed back towards the capital and entrusts him with a message for a lady there.

‘On and on they went until they reached Suruga Province and came to Mount Utsu. The path across it was very dark and narrow, overgrown with ivy and maples, and they were feeling depressed about their situation when they met an ascetic. “What are you doing here, on a path like this?” he asked. The man recognised him. He wrote a letter for the ascetic to take to his loved one in the Capital: Suruga naru Utsu no yamabe no utsutsu ni mo yume ni mo hito ni awanu narikeri

Where in Suruga rise the flanks of Mount Utsu, neither the senses nor dreams ever gladden me with the presence of my love’

(Tales of Ise, excerpt from episode 9, translated by Joshua Mostow and Royall Tyler) The poem above plays on the name of Mt. Utsu, since it resembles the word utsutsu meaning ‘consciousness’. It was a popular belief that your lover would appear in your dreams when they thought of you.

Therefore, with this poem the hero is in fact noting his insecurity and fear that he may no longer be in the thoughts of his lover left behind in the capital.

29. A two-fold aizome (indigo-dyed) cotton screen with a stylized design of a jukon (tree root), created using the wax-resist dyeing technique Japan 20th century Shōwa period *1966 Dimensions: H. 59¼" x W. 56" (150 cm x 142 cm) On the back of the screen is an exhibition label which reads: Jukon.

Shōwa 41, Kyoto-ten shuppin.

Teraishi Shosaku (Tree root.

Exhibited at the Kyoto-ten in Shōwa 41*. Teraishi Shosaku) Teraishi Shosaku (1921–2000).

Shosaku graduated from the Kyoto Shiritsu Kaiga Senmon Gakkō (Kyoto Municipal Special School of Painting). He was a member of the Nitten (Japan Fine Arts Exhibition), and later became a judge of the Nitten. He was also a member and judge of the Kyoto-ten (Kyoto Exhibition).

Works by the artist can be found in the collections of: The National Museum of Modern Art, Kyoto; MOMAT (The National Museum of Modern Art, Tokyo).

Other examples of similar two-fold cotton screens employing the waxresist dyeing technique by the artist were exhibited at the 1st, 2nd and 3rd Seiryuten Dye Works Exhibitions, held in 1991, 1992 and 1993 respectively, at the Kyoto Municipal Museum.

30. A two-fold paper screen painted in ink and colour with a snow covered matsu (Japanese pine) and miyamashikimi-zoku (skimmia japonica rubella) Japan 19th/20th century Meiji period Dimensions: H. 71½" x W. 77½" (181.5 cm x 196.5 cm) Matsu (Japanese pine) is a motif which holds a prominent role in Japanese art, largely due to its auspicious associations which were originally adopted form Chinese traditions. This evergreen has long been seen as a symbol of longevity, steadfastness and good fortune due to its ability to remain green and fresh even during the fiercest of winters.

Furthermore, in Japan the pine has always been prized for its practical uses, and its attractive appearance lends itself to being creatively represented in both painting and design. Along with the plum and bamboo, the pine is also one of the shōchikubai (three friends of winter), a popular theme in both Japanese and Chinese Japanese art.

31. A pair of six-fold paper screens painted in ink and colour on a gold ground with take (bamboo). The right hand screen represents summer with new bamboo shoots growing amongst the tall bamboo stalks, and the left hand screen with a dusting of snow on the leaves of the bamboo and on the ground portrays winter. A body of deep blue water can be glimpsed between the two bamboo groves, where the clouds have p arted Japan 18th century Edo period Dimensions (each): H. 67" x W. 148½" (170.5 cm x 377 cm) Take (bamboo) represents strength, vitality and survival through adversity due to its delicate structure that bends in the wind, but never breaks. It is also known as one of the Three Friends of Winter along with the plum and the pine, each symbolizing perseverance and integrity as they survive the winter without withering. By analysing the strength, dependability and flexibility of the bamboo, the ancient Chinese scholar took these characteristics as his ultimate goals. The painting of bamboo also employs all the calligraphic brush strokes. For these reasons it has come to symbolize the gentleman scholar.

Haiku by Otagaki Rengetsu (1791–1875) on bamboo: This gentleman Grows and grows Most auspiciously Learn from him and You, too, will flourish forever.

For a similar pair of six-fold screens attributed to Tōsa Mitsunobu held in the collection of the Metropolitan Museum of Art, New York, see: Japanese Design in Art (Nihon no ishou) no.7, pl.39.

greggbakercatalogue2014_Layout 1 18/09/2014 10:03 Page 48

1 4 2 k e n s i n g t o n c h u r c h s tr e e t l o n d o n W8 4 B N

t : +44 (0)20 7221 3533

f : +44 (0)20 7221 4410

e : info@japanesescreens.com

w : w w w. j a p a n e s e s c r e e n s . c o m

greggbakercover2014_Layout 1 18/09/2014 10:09 Page 2

greggbakercover2014_Layout 1 18/09/2014 10:09 Page 1

g r e g g b a k e r asian art 2014

g r e g g

b a k e r

asian art