The History of Japanese Art and Buddhist Statues

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The History of Japanese Art and Buddhist Statues

Japanese art has a rich cultural heritage that has developed its own unique aesthetics and expression, and has been expressed in a variety of genres and styles from ancient times to the present. They are particularly strongly associated with religions such as Buddhism and Shintoism, and works that fuse religion and art, such as Buddhist art and shrine and temple architecture, have been actively produced. In this article, I would like to trace the history of art in Japan and focus on Buddhist statues, which have a large weight in Buddhist art.

Jomon Clay Figure

As mentioned in the article “On the Road: The Okhotsk Highway, the Story of the Moyoro Site” clay figurines are a representative artifact of the Jomon culture.

Clay figures have been made since the pioneer days of the Jomon period. At that time, they were about the size of a thumb, had no head, and their gender was uncertain. It was not until the middle Jomon period (55 million to 44 million years ago) that the “kaonashi” clay figurines became larger and more varied in size and shape. Furthermore, most of the clay figurines found have been destroyed, and fragments have been found in various places, suggesting that they were used for some kind of matsuri.

Most of these clay figurines are found in eastern Japan, and this is thought to be due in part to the devastation of the region from southern Kyushu to Shikoku caused by the massive eruption of the Kikai caldera off the southern coast of Kagoshima Prefecture about 7,300 years ago.

Shakogu Dogu (clay figurines) appeared in the Late Jomon Period (3200-2400 years ago). The name “Shakogu-dogu” is derived from the fact that the eyes of the figure resemble the snow goggles worn by the Inuit and Eskimo during snow activities (it is thought to be an exaggeration of the eyes, rather than a representation of the figure wearing the goggles).

It is said that the actual facial expression is deformed, and the large buttocks, breasts, and thighs are said to resemble those of a woman. The body is often decorated with patterns and traces of coloring in vermilion and other colors.

Haniwa Terra-cotta Tomb Figures of the Yayoi and Kofun Periods

The late Jomon period (4400-3300 years ago) saw the cultivation of rice by slash-and-burn agriculture, and the subsequent global cooling of the climate and the establishment of civilizations on the continent (c. 2000 B.C.) triggered a widespread population movement, which led to the development of rice paddy cultivation techniques, iron and bronze tools, and the construction of moats and settlements. People moved from the peninsula to western Japan, and this new culture slowly spread throughout the Japanese archipelago, coexisting and merging with the remnants of the Jomon period. In the archipelago, which was divided into small states, a federation centering on the Yamataikoku was formed in the early 3rd century A.D., which was the late Yayoi Period (1000 B.C. – 3rd century A.D.). Incidentally, this was the period of the “Three Kingdoms” in China, and the history textbooks mention Himiko in “Wei Zhi Wajinden” (Biographies of the Three Kingdoms).

In the latter half of the 3rd century, large mounds were built to demonstrate the authority of the powerful chiefs who could procure iron from the peninsula and China, and as described in “On the Road to Geibi“, large tribal unions were formed in Hiroshima and Shimane, which were close to the peninsula and had an iron culture, and which were the predecessors of the Yamato Imperial Court. In the Nara Basin, where the Yamato Imperial Court was already established, huge posterior circular mounds were built, and this period is called the Kofun period (3rd to 7th centuries A.D.).

The burial objects in the tomb mound were mirrors, ornate gold and silver ornaments, armor, harnesses, swords, cut glass, and other items from the continent that had once adorned the bodies of the deceased. The mound protecting the sleep was filled with earth and protected by thatched stones on the slope, and various haniwa (clay figurines) were placed around it.

The designs of this period are similar to those of Yayoi earthenware, which no longer have the energetic patterns of the Jomon period and emphasize simplicity, sophistication, and practicality.

Buddhist Sculptures of the Asuka and Nara Periods

As described in “Buddhism, Scriptures, and Mahayana Sects” Buddhism, which originated in India between the 6th and 5th centuries B.C., did not initially have images of Buddha. The Buddhist images were successively introduced to China during the Later Han Dynasty via the Silk Road and to the Korean Peninsula from the 4th to the first half of the 6th century.

Around that time, among the powerful clans that had constituted the confederated states, the one who had won the position of leader by force was designated as “Okimi,” and the Yamato regime, which was formed around this Okimi, became a monarchy in which power was passed down from generation to generation. (See “On the Road: The Takeuchi Kaido and Ancient Japan.)

In the mid-6th century, a vajra image of the Sakyamuni Buddha was brought from the country of Baekje. The Chronicles of Japan states that Emperor Kinmei of that time, upon seeing the statue, commented, “The Buddha’s appearance is very severe.

The Bodhisattva Bodhisattva half-lotus is a form of Buddha statue that depicts Maitreya Bodhisattva seated on a pedestal with his left leg lowered, right foot resting on his left thigh (half-lotus), right elbow resting on his bent right kneecap, and right hand lightly touching his right cheek (contemplative pose).

The statue is highly regarded by international art historians as a typical example of the rare “classical smile” (archaic smile), and has been called one of the “world’s three smiling statues” along with the Egyptian Sphinx and the Mona Lisa by Leonardo da Vinci.

In terms of design, it is distinctly different from the designs of subsequent generations of Buddhist statues, being a Silk Road-like oriental design.

Buddhist statues from the Heian period

The Heian period (794-1185) is a period of Japanese history. This period is known as the early medieval period in Japan, when Heian-kyo (present-day Kyoto) flourished as the capital and culture and arts flourished.

In the early Heian period, the centralized Ritsuryo government from the previous era (Nara period) was basically inherited, with partial modifications, but as a result of the expansion of manors by the Fujiwara clan, the gap between the Ritsuryo system and reality grew larger. Around the end of the 9th century to the beginning of the 10th century, the government changed its policy to a system of taxation on land instead of a system of rule by person, which was the basis of the Ritsuryo system. This policy shift was to establish a new system of rule by delegating authority to influential private citizens and having the head national governor (ryokushi), who was appointed locally, oversee this delegation, which is called the dynastic state system.

With the establishment of the dynastic state system, the Imperial Court virtually abandoned local governance, and as a result of Emperor Kanmu’s abolition of the military, the regions became insecure and anarchic, and by the 16th century (the era of the Edo shogunate), wars were frequent in the Japanese archipelago.

In addition to the “Nankai Trough Earthquake,” the “Jogan Tsunami” that hit the Tohoku region, the “Mt. Fuji Eruption” as described in the “History and Mountain Climbing Race of Mt. The “peace” was in contrast to the “uneasiness” of the time.

Buddhism was sought as a means of providing relief from such “anxiety,” and the teachings of salvation by Amitabha Nyorai, as described in “Pure Land Buddhism and the Power of Amitabha” and “The Internet and Vairochanabha – The Kegon Sutra and Esoteric Buddhism” spread.

The term “nyorai” means a Buddha who has attained truth or enlightenment, and a bodhisattva is a Buddha who is practicing to become a nyorai. There are various types of Nyorai, but Dainichi Nyorai is the Buddha who is believed to be the central Buddha that forms the basis of the universe in Esoteric Buddhism, which was spread by Kukai.

Generally speaking, the image of a tutelary deity is represented by a bowl-shaped head, hair in a row of protrusions, and a thin, refreshing robe,

Only Dainichi Nyorai is represented with a high headdress, crown, and ornaments on the chest and arms. This is the usual attire for Bodhisattvas.　The unique pose of the figure, with the left and right elbows bent in front of the chest, the index fingers of the left hand held up, and the right hand wrapped in a fist, as well as the bodhisattva attire, indicate that this is a Dainichi Nyorai. The overall appearance is slender, with little intonation and a gentle expression, characteristics that were popular in Japanese sculpture during the 11th and 12th centuries.

Kamakura Period Buddhist Statue

At the end of the Heian period, Taira no Kiyomori assumed the position of Grand Minister of State, monopolizing power and establishing a new warrior class. These temples were burnt down by order of Taira no Kiyomori in 1180, five years before the battle of Dannoura.

With the downfall of the Taira clan and the subsequent establishment of the Kamakura shogunate, as described in “Kaido yuku Miura Peninsula Ki” a project to restore these burnt-down temples was undertaken. The new style of Buddhist statues by Unkei, Kaikei, and others were dynamic, austere, and powerful in expression, with variously varied garment patterns and a powerful physique with a rich sense of volume.

Standing statues of the Twelve Divine Generals by Unkei and others

Jizo (Ksitigarbha) Bodhisattva by Kaikei

Buddhist statues of the Kamakura period are characterized by stronger and more powerful expressions than those of the Heian period. In contrast, Buddhist statues in the Kamakura period were generally made of copper or metal. This was due to the development of Buddhist art in the Kamakura period and the introduction of new production techniques and materials, with the aforementioned Unkei and Kaikei also working in groups.

Muromachi Art

With the advent of Kamakura Buddhism, as described in “History of Zen, Temples, and Kamakura (Rinzai Zen and Kamakura Gozan)” the teaching of Buddhism itself spread from the aristocracy to the samurai and common people. However, Buddhist statues and paintings ceased to develop after this period because the new Buddhism mainly consisted of chanting Buddhist titles and titles, and did not emphasize the importance of Buddhist statues and paintings, which cost money and time, and because Zen Buddhism’s interest turned to the inner life of human beings, and Buddhist statues and paintings were no longer needed.

Therefore, Buddhist statues and paintings of the Muromachi period did not differ greatly from those of the Kamakura period and became more elaborate.

In place of them, ink paintings made their presence felt,

Although ink and wash paintings were originally created in China during the Tang Dynasty, they were introduced to Japan from the Five Dynasties to the Northern Song Dynasty, when they reached their golden age, but their magnificent landscape paintings did not have much influence on Japanese painting, perhaps because they did not suit the Japanese sensibility. They influenced Japanese painting during the Southern Song, Yuan, and Ming dynasties, along with celadon porcelain, which was imported at that time. The shoguns who were in power at that time built banquet rooms, called kaisho, to display their power, where they collected and displayed these various works of art.

The meeting place and various works of art

He was in charge of managing the Shogun’s collection, compiling manuals on how to arrange and display items in a tasteful manner, selecting new pieces to be purchased, and determining the prices of items at the request of other families. They became Noami, Geami, and Aami.

This way of being in the Shogun’s family shaped the values and attitudes toward art that have continued to the present day, such as the awareness of taste and taste when displaying paintings and crafts, as well as the weighing of the value of artworks by “price.

Art of the Azuchi-Momoyama Period

In the Azuchi-Momoyama period that followed, as described in “Kaido yuku Sakai-Kishu Kaido” the focus of art shifted to wealthy merchants, who produced glittering paintings and crafts.

In addition, as the Age of Exploration began, the city was also influenced by European culture and Christianity, as described in “The Road of the Southern Barbarians (1): Xavier and the Basques“.

Art and Buddhist Statues in the Edo Period

During the Edo period, the main bearers of culture, which had been the court nobles and samurai throughout history, became the townspeople, creating a variety of art in Edo that was more varied than at any other time in its history. Ukiyo-e and new prints are representative of the art of the Edo period, as described in “Ukiyo-e and New Prints – A New Wisdom in the World of Art.

Edo was a newly developed city that was packed with local warriors who came to work in Edo on shift duty alone, businessmen who came to Edo from Kamigata (Kyoto), and a motley assortment of people who had come to Edo to make a name for themselves. The paintings were called “Ukiyo-e” because they depicted the current customs and manners of the Ukiyo period (the present era).

In addition, since the Edo period (1603-1867), the construction and repair of temples were mainly undertaken by danka, the merchant class, which led to an increase in the number of statues being created. This led to the emergence of Enku, a Buddhist monk who was deeply involved with the people, and the number of Buddhist statues carved by him increased to as many as 5,000.

Enku made a vow to carve 120,000 Buddhist statues while walking through various countries, and for 30 years he traveled throughout Japan, visiting small villages where there were no temples or Buddhist statues, and carving Buddhist statues from locally available wood in order to “save those in need.

Enku’s carving style is far removed from ordinary Buddhist statue carving. When making a Buddhist statue, there are usually rules that define what it should have and what it should look like, but Enku ignored these rules and expressed his work in an abstract manner. It is also an approach of looking at the wood, finding the Buddha in it, and carving away the parts that are not needed, resulting in a different way of expression at different times. No other Buddhist sculptor has appeared later or later than Enku who carved in such a sensuous manner.

Art since Meiji era

In the Meiji era (1868-1912), Japan rapidly promoted Western-style modernization. The study of Western art led to the incorporation of realist techniques as part of the “art” of realism. Koun Takamura, a descendant of Edo period Buddhist sculptors, earned acclaim for his wood carvings of birds and animals, which added realism to traditional wood carving techniques.

Art since the Meiji period will be discussed in “Art of the Meiji Period: Fenollosa, Okakura Tenshin, and Tea Books.