ART TREASURESFROM

JAPAN

A Special Loan Exhibitionin Commemoration of the Signing ofthe Peace Treaty in San Francisco

September 1951

M. H. DE YOUNG MEMORIALMUSEUM

The Exhibition is held jointly by the

Cultural Properties Protection Commission

of Japan and the

M, H. de Young Memorial Museum

of San Francisco

FOHEWOHI)Tlie opening of this great exhibition of Japanese art means the fulfilhiient of a desire our

museum has had for a good many years: to demonstrate to San Franciscans and in a

larger sense to the American people the richness and greatness of the ancient arts of

Japan.

Americans know relatively little about Japanese art. It is only a matter of decades

since tlie Western world began to devote a serious interest to the arts of the Far East, and

tlien attention was largely centered on Chinese art. Thus, the fact was overlooked thai

for many centuries the Japanese people have produced a magnificent art quite of their own,

at times derived from or influenced by foreign patterns, but altogether as indigenous and

original as that of most European countries in relation to each other.

There is one more reason for the West's scant knowledge of Japanese art and its

significance: the genuine and almost jealous love of the Japanese people for their own

creations. No other nation in the world has so diligently cared for its artistic heritage

and guarded against the exportation of its outstanding treasures. Hence, in order to be-

come truly aware of the particular greatness of Japanese art, it was almost necessary to

travel all the way to the far-off islands.

It is for this very reason that the present exhibition assumes a singular importance.

In view of the special occasion of the Treaty Conference in San Francisco, and in the en-

deavor to make this exhibition a fitting symbol of the resumption of cultural co-operation

between our two countries, the Japanese Government has consented to release an excep-

tionally large number of great national treasures for their first showing outside of Japan.

Nearly half the works have the distinction of being "Registered Important Art Objects,"

normally not allowed to leave the country for any purpose whatever.

While the few former displays of ancient art from Japan held abroad were prin-

cipally devoted to painting and sculpture, the present exhibition is more encompassing

since it also covers various other fields of the arts. The inclusion of choice examples of

wood-block prints, metalwork, lacquer, ceramics and textiles can only help to deepen

the understanding of the American public for the creative invention, tlie refined taste

and the inimitable skill of the Japanese artists.

The idea of this important exhibition having been born but a few short weeks ago,

the efforts of the Japanese authorities to organize and assemble it and to bring it over on

time must have been enormous, and we here in America have every reason to he deeply

grateful to them. Our special thanks are owing to the Japanese Government for its ready

consent to our plan ; to the Cultural Properties Protection Commission which is in charge

of the exhibition jointly with the M. H. de Young Memorial Museum, and in particular to

Dr. Seiichiro Takahashi, Chairman of the Commission and to Mr. Takashi Morita, Chief

of the Secretariat; to the National Museum of Tokyo, its Director Mr. Nagatake Asano

and its staff members, upon whom fell the formidable task of selecting, collecting, and

packing the exhibits; to the numerous lenderswhich, among famous temples, shrines,

museums, and private collectors, include His Majesty the Emperor for the generous

contribution of their treasures ; to many officials and other persons unknown to me who,

no doubt, worked hard to further this undertaking. Finally, I wish to take this opportunity

to express my own special gratitude to Dr. Jiro Harada of the National Museum without

whose quick initiative and untiring efforts the exhibition could not have materialized.

Walter Heil, Director

M. H. de Young Memorial Museum

PREFACE

It was a great pleasure for us to accept a proposal from Dr. Walter Heil, Director of the

M. H. de Young Memorial Museum, San Francisco, to hold an exhibition of Japanese

art in commemoration of the Peace Treaty Conference. We had been hoping for an op-

portunity to show the art of Japan in the United States, in way of expressing our gratitude

for the goodwill towards us as well as of affording a better understanding of the ideals and

achievements of our people.

It was only a few weeks ago that we received the request. The opening day of the

Peace Treaty Conference had been fixed, and we had so short a time left to make satis-

factory arrangements. During this time, however, we did our best, and were encouraged

throughout by the full support of the Japanese people. This is the first time we have ever

had such an extensive exhibition of representative examples of Japanese art abroad,

and we believe it will give a comprehensive survey of our art history. We should like to

learn which portions of the exhibits interest you most, and your frank comments will be

helpful in promoting mutual understanding.

Our best thanks are due to the City of San Francisco, to the Board of Trustees of

the M. H. de Young Memorial Museum and to Dr. Walter Heil. whose zeal alone could

make the present exhibition possible in such a short period of preparation. Our apprecia-

tion is extended to our museums, organizations and persons who were good enough to

lend their collections for this event of international significance.

Seiichiro Takahashi, Chairman

Cultural Properties Protection Commission of Japan

Tokyo, August, 1951

LENDERS'Vhv Imperial Household, 15,40.

The (ailtural I'roperties Proleetioii Coniniissioii.Tokyo, 13,46, 125.

The National Museum, Tokyo, 4, 5, 6, 10, 14, 18, 19,21, 23. 25, 31. 33, 34, 37, 39, 50, 51, 52, 55( 1-51 I

,

65. 66. 6H. 80, 83, 84, 85, 86, 87, 92, 93. 96, 99,

100. 102. 122, 124, 126, 127, 131, 132, 133, 134,

148, 150, 158. 161, 162, 163, 164, 165, 166, 167,

168, 169, 170, 171, 173, 177.

The Tokyo University of Arts, 28, 53.The Homnia Museum, Yamagata, 130.The Nagao Museum, Kanagawa, 42, 74,

147, 153. 154.

The Nezu Museum, Tokyo, 121, 137, 149.The Daihiko Institute of Textile Art Research,

Tokyo, 155, 156, 157, 159, 160.

The Dolls and Toys Society, Tokyo, 172, 175, 178.The Seikado Foundation, Tokyo, 43.

BUDDHIST TEMPLESBujoji, Tottori, 3.Daigoji, Kyoto, 8.Horyuji, Nara, 59, 70.Jinshoji, Shiga, 89.Kanchi-in, Kyoto, 2.

Kawai-dera, Osaka, 76.

Kodai-in, Kyoto, 7.

Kodaiji, Kyoto, 128, 129.Kofukuji, Nara, 1.Kongoji, Kyoto, 41.Kongobuji, Wakayama, 77.Konjiki-do Iwate, 88.Myoho-in, Kyoto, 78.Myoshinji, Kyoto, 27.Reiun-in, Kyoto, 24.

Saidaiji, Nara, 73.Saikokuji, Hiroshima, 56.Saikyoji, Shiga, 60.Todaiji, Nara, 81.Toshodaiji, Nara, 71, 72.Yakushiji, Nara, 75.Yohoji, Kyoto, 94.

SHINTO SHRINESAtsuta Jingu, Aithi, .58.

Hyozu Jinja, Shiga, 151.Kasuga Taisha, Nara, 82.

Mitake Jinja, Tokyo, 97.Nibutsuhime Jinja, Wakayama, 101.

COLLECTORSMr. Kunisuke Akashi, Kyoto, 1.52.

Mr. Shigesue Akita, Tokyo, 98.

Mr. Kyubei Ando, Fukushima. 44.

Mr. Kokichi Aoyama, Tokyo, 103.

Mr. Nagatake Asano, Kanagawa. 123.

Mr. Ino Dan, Tokyo, 9.

Mr. Yorizumi Furukawa, Tokvo, 1 15, 120.Mr. Kango Furuta, Tokyo, 47.Mr. Keita Goto, Tokyo, 57, 61.

Mr. Minoru Ishii, Tokyo, 1 1

.

Mrs. Sue Hara, Kanagawa. 35, 54.

Mr. Moritatsu Hosokawa, Tokyo, 16, 30, 106,109. 111.

Mr. Ryoichi Hosomi. Osaka, 90, 91, 95.Mr. Junji Hozaka. Kanagawa, 38.Mr. Goro Katakura, Nagano, 48.

Mr. Masataka Kato, Kanagawa, 62.

Mr. Torasaburo Kawase, Nara, 105.

Mr. Tokutaro Kimura, Tokyo, 104.Mr. Masahito Kiyota, Kyoto, 112.

Mr. Ataru Kobayashi, Tokyo, 29.

Mr. Junzo Kosaka. Tokyo, 49.

Mr. Masanari Matsubara. Tokyo, 67, 69.

Mr. Tomijiro Miyazaki, Kanagawa, 113, 114. 116,117, 118,119.

Mr. Munehiro Mizoguchi. Tokyo. 20. 22.Mr. Eiichi Mori. Kanagawa, 110.

Mr. Kan-ichiro Morikawa, Aichi, 136. 138.

Mr. Kinta Muto, Hyogo, 45.

Mr. Nobutoshi Naito, Tokyo, 108.

Mr. Yozo Nakajima, Tokyo, 135.Mr. Gakuryo Nakamura, Kanagawa, 36.

Mr. Tsuneichiro Nakamura, Tokyo, 79.

Mr. Kunio Nakao, Nagasaki, 142.

Mr. Shinzo Noguchi, Tokyo, 174. 176.

Mr. Taromatsu Okano, Tokyo, 107.

Mr. Masatoshi Okochi, Tokyo, 139, 140.

Mr. Kishichiro Okura, Tokyo, 12.

Mr. Saneharu Sanjo, Tokyo, 17.

Mr. Matasaku Shiobara, Tokyo. 145.

Mr. Tsusai Sugawara, Kanagawa, 64.

Mr. Hirosuke Uehimoto, Fukuoka, 141.

Mr. Hikotaro llmezawa, Tokyo, 63.

Mr. Giichi Umezawa, Tokyo, 143, 144, 146.

Mr. Zenjuro Watanabe, Tokyo, 32.

JNTHODLICTION

In those islands of the Far East called Japan, there are found many rare sorts of flowers.

It is interesting to see that the species which landed there from the West and the South

have borne unexpectedly beautiful flowers.

The Japanese were comparatively isolated from other peoples in the Stone Age, i)ul

came to have contact with the Chinese to a considerable degree in the Bronze Age which

followed. Still, peculiarly Japanese pieces of art were produced, such as the Dotaku (bell-

shaped bronzes) and the Haniwa (terra-cotta grave figures)works expressive of the

character of the ancient Japanese people.

However, it was after the introduction of Buddhism from the Continent in A.D. 552

that Japanese art developed rapidly in architecture, sculpture, painting and applied arts.

In the 7th and 8th Centuries in particular Japan's communication with the Continent be-

came intimate and frequent. This fact, along with the national adoption of Buddhism, led

to a golden age of Buddhist art in Japan. It is in this period that we find such large-scale

works of art as the Grand Buddha of the Todaiji Temple in Nara, the largest bronze statue

in the world (about fifty-five feet high). Dating from this period also are such unique

pieces of applied art as those still preserved in the Imperial repository, Shoso-in, Nara.

This famous treasure-house contains art objects associated with the Emperor Shomu, the

great Imperial patron of Buddhism in the 8th Century. It was the time when the Chinese

T'ang Dynasty prospered on the Continent in close contact with western countries. Nat-

urally Japanese art was influenced by the Chinese art of the day, which had in turn been

influenced in some measure by Greece, Persia and India.

An excessive prosperity is likely to be accompanied by abuses. The golden age of

Japanese Buddhist art was no exception. Various forms of reaction against these excesses

occurred late in the 8th Century. One of these was the transfer of the capital of the routitry

from Nara to Heian, present Kyoto. Art turned from splendor to spiritual vigor.

One aspect of the reaction was a decrease in the intercourse with the Continent from

the 9th through the 12th Centuries. At the same time, the Imperial control over the coun-

try gradually declined and was replaced by the power of the nobles. There developed

aristocratic arts of purely Japanese taste, .lapanese architecture, painting, sculpture and

applied arts

products of close harmony between the nature of Japan and the sensitivity

of the Japanese peopleare distinctive among the arts of the world.

From the 13th to the 15th Century the nobles lost power to the samurai or warrior

class. Communication with the Continent was resumed, and Japanese art once more came

under the influence of Continental art. The leaders of Japanese culture in this period were

priests of Zen Buddhism, a sect which was more of a philosophy than a religion in its search

for profound spirituality through simple, contemplative living. People of the time culti-

vated such quiet and sober enjoyments as are found in the cha-no-yu or tea ceremony. In

this atmosphere was born the art of suiboku, or black-and-white painting, which conveyed

acute expression with a few brief strokes of the brush.

Late in the 16th Century, the nation-wide social disturbances incurred by warring

nobles and traditional clans were settled by dictators of bold and progressive personality.

Art became gorgeous and grand in scale in this period under the new heroic leaders. It

was in this period that brilliant, ornate screen paintings were made in large number. It

was also in this period that art, which had been devoted to religion, came to serve the mun-

dane interests of man's life a new phase of Japanese art that brought it closer to the

modern view.

From this period through the 19th Century the common people exerted an influence

upon art related to an improvement of their economic condition. Profoundly spiritual art

went out of fashion, and instead there arose arts and crafts of a more entertaining char-

acter which were frank expressions of popular enjoyments. Beautiful woodcut prints, cos-

tumes and pottery reflect the interests of the people at that time.

If our earth is round, if the border of the East is the beginning of the West, is it not pos-

sible that this foreign art from Japan may give rise to a new species of flower in Western art ?

PERIODS IN THE ART HISTORY OF JAPAN

PRE-BUDDHISTIC PERIOD: (. . . - 551 A.D.

Sculpture, 66, 67, 68, 69.

Metal Work, 85, 86.

ASUKA PERIOD: (552-644).

Sculpture, 70, 80.

NARA PERIOD: (645-781).

Painting, 11.

Calligraphy, 56.

Sculpture, 71, 81.

Textiles, 150.

HEIAN PERIOD: (782-1185).

Painting, 1, 2, 3, 4, 5, 6.

Calligraphy, 57, 58, 59, 60, 61, 62, 63, 64.

Sculpture, 72, 73, 74, 75, 76, 82.

Metal Work, 87, 88.

Sword Furniture, 100.

Lacquer, 123.

KAMAKURA PERIOD: (1186-1333).

Painting, 7, 8, 9, 10, 12, 13, 14, 15, 16, 17.

Sculpture, 77, 78, 79.

Metal Work, 89, 90.

Armor, 97, 98.

Sword Furniture, 101, 102.

Lacquer, 122, 124.

Ceramics, 134, 135.

Textiles, 151.

MUROMACHI PERIOD: (1334-1572).

Painting, 18, 1 9, 20, 21, 22, 23, 24, 25.

Sculpture, 83, 84.

Metal Work, 91, 93, 94, 95.

Sword Furniture, 103.

Lacquer, 125, 126.

MOMOYAMA PERIOD: (1573-1602).

Painting, 26, 27, 28, 65.

Calligraphy, 65.

Sculpture, 83, 84.

Metal Work, 92, 96.

Armor, 99.

Sword Furniture, 104, 109.

Lacquer, 127, 128, 129, 133.

Ceramics, 136, 137, 138.

Textiles, 152, 153, 154.

EDO PERIOD: (1603-1867).

Painting, 29, 30, 31, 32, 33, 34, 35, 36, 37, 38,

39, 40, 41, 42, 43, 44, 45, 46, 47, 48, 49, 50,

51,52,53,54,55.

Sword Furniture, 105, 106, 107, 110, 111, 112,113, 114, 115, 116, 117, 118, 119, 120, 121.

Lacquer, 130, 131,133.

Ceramics, 139, 140, 141, 142, 143, 144, 145,

146,147,148,149.

Textiles, 155, 156, 157, 158, 159, 160, 161, 162,

163, 164, 165, 166, 167.

Dolls, 168, 169 .. . 178.

PAINTING

III the early days of Japanese painting sul^ject matter was exclusively religious. From the 6th to

the 15th Century the artist devoutly painted images of Buddhist divinities. In this exhihition there

are specimens of the Heian period (12th Century), the Kamakura period (13th and 14th Centu-

ries), some images of the founders of Japanese Buddhist sects (e.g.. Image of Priest Jion and Illus-

tration of the Life of Sakyamuni: Eight Aspects of Buddha's Life) and such iconographical draw-

ing as Shinkai's Bishamon-ten from the Daigoji collection.

* Registered Important Art Object

1 Priest Jion Daishi.* 12th Century.

Color on silk. Kakemono. H. 95% in., W. 49y8 in.Kofukuji (temple), Nara.

2 Emma-ten (Buddhist King of Hell,* Sanskrit: Yama).

Middle of 12th Century.Color on silk. Framed. H. 44 Ms in., W. 25 in.Kanchi-in ( temple I , Kyoto.

3 Fugen Bosatsu (Buddhist divinity,* Sanskrit: Samantabhadra).

Middle of 12th Century.Color on silk. Framed. H. 40M> in., W. 20 Vi- in.Bujoji (temple), Tottori.

4 Arhats (Two of the sixteen images of* Buddhist sages).

Middle of 12th Century.Color on silk. Kakemono. H. 37% in., W. 20 V-' in. each.National Museum, Tokyo.

5 Nirvana.* Late 12th Century.

Color on silk. Kakemono. H. 61 in., W. 79% in.National Museum, Tokyo.

6 Ichiji Konrin (Buddhist divinity,* Sanskrit: Vairocana).

Middle of 13th Century.Color on silk. Kakemono. H. i-lVs in., W. 33 y2 in.National Museum, Tokyo.

7 Manjusri Crossing Over the Ocean.* End of 12th Century.

Color on silk. Framed. H. 56% in., W. 41% in.Kodai-in (temple), Kyoto.

8 Bishamon-ten (Buddhist demi-god,* Sanskrit: Vaisravana).

By Shinkai. Late 13th Century.Ink on paper. Kakemono. H. 51V4 in., W. 22% in.Daigoji (temple), Kyoto.

9 Eight Aspects of Buddha's Life.* Late 13th Century.

Color on silk. 4 Kakemonos.H. 43% in. each., W. 12% in. each.Mr. Ino Dan, Tokyo.

10 Jizo Bosatsu (Buddhist divinity,Sanskrit: Ksitigarbha).Early 14th Century.Color on silk. Kakemono. H. 44 in., W. 15% in.National Museum, Tokyo.

1 1 Fragment of the Illustrated Inga-kyo Sutra.8th Century.Color on silk. Kakemono. H. 10% in., W. 10% in.Mr. Minora Ishii, Tokyo.

Scroll paintinga kind of illustrated story is a combination of literature and painting invented

in ancient China. Introduced to Japan, this form greatly interested artists and writers. Among ex-

isting works are seven specimens of illustrated Buddhist scriptures of the 8th Century. Exhibited

here are masterpieces of the Kamakura period (13th and 14th Centuries) when excellent artists

painted scrolls in great number.

1 2 Court-guards in Equestrian Training.* Ascrihed to p'ujiwara Nobuzane.

Middle of 13th Century.Slight color on paper. Scroll. W. llVi in., L. 93 in.Mr. Kishichiro C)kura, Tokyo.

13 Scroll Illustrating Seats of Courtiers* in the Order of Ranks.

Believed to have been executed by an artistof Nobuzane School. Late 13th (!cnlury.Cultural Properties Protection Cnunuission, Tokyo

14 Scroll of Long-nosed Goblins.Late 13lli Century.Color on paper. .Scroll. W. ll-'i in., L. 421% in.National Museum, Tokyo.

16 Scroll of the Story of Haseo.* Early lltli Century.

Color on paper. Scroll. W. ll-'/s in., L. 423 in.Mr. Morilalsu Ilosokawa, Tokyo.

15 Scroll of the Life of an Artist.Late 13tli Century.Color on paper. Scroll. W. 11% in., L. 310% in.Imperial collection.

17 Scroll of the Horse-race in the Royal Palace.* Early 14lh Century.

Color on paper. .Scroll. W. 11% in., L. 1.53 V4 in.Mr. .Saneliaru Sanjo, Tokyo.

Suiboku or black and white painting is an ancient oriental art form. With the introduction of the

Buddhist sect known as Zen this kind of painting became popular in Japan, flourishing especially

in the 14th Century and the Muromachi period (1334-1572). Most of the artists of these times

were priests of the sect, and their paintings were usually based upon subjects related to the teach-

ings of Zen. Kao, Shubun and Sesshu are representative. Later in the 15th and 16th Centuries

secular artists such as Noami and Motonobu became famous for their paintings of landscape,

flowers and birds. This exhibition contains examples of Suiboku painting by the artists mentioned.

18 Priest Kensu.ByKao-Ryozen (1317-1345).Ink on paper. Kakemono. H. 34% in., W. 13% in.National Museum, Tokyo.

19 Landscape.Ascribed to Shubun (died 1470)

.

Slight color on paper. Kakemono. H. 29% in., W. 13% in.National Museum, Tokyo.

20 Landscape.Ascribed to Shubun (died 1470 )

.

Ink on paper. Kakemono. H. 35% in., W. 12% in.Mr. Muneliiro Mizoguchi, Tokyo.

21 Kanzan and Juttoku, the Two* Legendary Chinese Priests.

Middle of 15th Century.Ink on paper. Kakemono. H. 39VL> in., W. 14% in.National Museum, Tokyo.

22 Kannon Bosatsu (Buddhist divinity,Sanskrit: Avalokitesvara).By No-ami (1397-1471).Ink on silk. Kakemono. H. 30% in., W. 151/2 in.Mr. Munehiro Mizoguchi, Tokyo.

23 Spring and Summer Landscapes.* By Sesshu (1420-1506).

Slight color on silk. 2 Kakemonos.H. 58V2 in.. W. 29% in. each.National Museum, Tokyo.

24 Landscape with Flowers and Birds.* Ascribed to Kano Motonobu ( 1476-1559)

.

Slight color on paper. 2 Kakemonos.H. 70 in., W. 46K' in. each.Ryoun-in (temple) , Kyoto.

25 Rei-sho-jo, Chinese Girl of the T'ang Dynasty.By Kei Shitsusai. Middle of 16th Century.Slight color on paper. Kakemono. H. 35VL> in., W. 15':; in.National Museum, Tokyo.

Folding screens are often used in Japanese rooms as temporary partitions. Their large area pro-

vides a fine field for painting and calligraphy. In the exhibition there are ten painted folding

screens dating from the middle of the 16th to the 18th Century. Subjects for such screens varied

from flowers and birds to landscape and genre and even included scenes of Europeans enjoying

their visit to Japan and playing their Western musical instruments.

26 Hawks.* By.Sesson (1504-1589).

Ink on paper. Pair of six-leaf folding screens.H. 62% in., W. 135% in. each screen.National Museum, Tokyo.

27 Peony and Plum Blossoms.* By Kaihoku Yusho (1533-1615).

Color on paper. Pair of six-leaf folding screens.H. 70% in., W. 137% in. each screen.Myoshinji (temple) , Kyoto. Illustrated in color.

28 Eagles and Pines.By artist of the Kano school. Early 17th Century.Color on gold-foiled paper.Pair of six-leaf folding screens.H. 6^% in., W. 143% in. each screen.Tokyo University of Arts.

29 Westerners in Japan.* Early 17th Century.

Color on paper. Pair of six-leaf folding screens.

H. 60% in., W. 143% in. each screen.Mr. Ataru Kobayashi, Tokyo.

30 Westerners Playing Their Music.* Early 18th Century.

Color on paper. Pair of six-leaf folding screens.H. 40V4 in., W. 119 in. each screen.Mr. Moritatsu Hosokawa, Tokyo.

31 Scenes on and Back of the Stage.Ascribed to Hishikawa Moronobu (died c. 1694)

.

Color on paper. Pair of six-leaf folding screens.H. 1571/2 in., W. 400 in. each screen.National Museum, Tokyo.

32 Autumn Grasses.* By Ogata Korin (1655-1716).

Color on paper. Pair of two-leaf folding screens.H. 60% in., W. 68 in. each screen.Mr. Zenjuro Watanabe, Tokyo.

3.^ Landscape at Lake Hsi and OverlookingTides of Ch'ien-t'ang River.By Ikeno Taiga (1723-1776).Color on paper. Pair of six-leaf folding screens.H. 65 in., W. 144 in. each screen.National Museum, Tokyo.

34 Rainy and Snowy Landscapes.By Matsumura Goshun (1752-1811).Slight color on paper. Pair of six-leaf folding screens.H. 49% in., W. 113% in. each screen.National Museum, Tokyo.

35 Autumn Grasses and QuaiL* By SakaiHoitsu (1761-1828).

Color on paper. Two-leaf folding screen.H. 57 in., W. 561/2 in.Mrs. Sue Hara, Kanagawa.

The Edo period (17th-19th Centuries) is marked with the rise of a number of schools and able

artists, namely:

1. Sotatsu-Korin School Works of the school, established by Sotatsu (flourished in the begin-

ning of the 17th Century) and Korin (1658-1716), are highly decorative, presenting landscapes

and figures in ornate style. Such artists as Sosetsu, Koho, Korin, and Hoitsu belong to this school.

2. Tosa-Sumiyoshi School The school is loyal to the traditional style of classic Japanese

painting developed in the Heian period, as is represented by the work of Sumiyoshi Gukei among

the works exhibited.

3. Maruyama-Shijo School Works of Okyo, Goshun, Rosetsu and Soken who belong to this

school are popular because of their realistic style and elaborate workmanship.

4. Literati School Hyakusen, Taiga, Buson, Mokubei, Kyosho and Kazan are among masters

of this literati school. They are artists who represented nature symbolically through flowing lines

and a remarkable use of space.

5. Ukiyo-e School Artists of this school, noted also for their beautiful wood-block prints,

were genre painters who painted for the common people. Moronol)!!, Kaigetsiido, Choshun,

Masanobu, Shunsho and Utamaro were famous masters of this school.

36 Poppies.By Kitagawa Sosetsu. Middle of 17th Century.Color on paper. Kakemono. H. 43 in., W. 16% in.Mr. C.akuryo Nakamura, Kanagawa.

37 Wistaria, Maple and Peonies.By Honnami Koho (1601-1682).Color on paper. Kakemono. H. 43 in., W. 15 in.National Museum, Tokyo.

38 Yuima (Indian sage, Sanskrit: Vimalakirti).* By Ogata Korin (1655-1716).

Ink on paper. Kakemono. H. 14% in., W. 21 '2 in.Mr. Junji Hozaka, Kanagawa.

39 In and Around Kyoto.By Sumiyoshi Gukei (1631-1705).Color on paper. Scroll. W. 16i,s in., L. 467''v( in.National ^luseum, Tokyo.

40 Birds and Fishes.By Ilo Jakuchu (1716-1800).Color on silk. Kakemono. H. 56 5/16 in., W. 31% in.Imperial (Collection.

48 Portrait of Ichikawa Beian.* By Watanahe Kazan (1793-1841).

Color on silk. Kakemono. H. 49 in., W. 23 '/li inMr. (Joro Katakura, Nagano.

41 Waves.* By MaruyamaOkyo (1733-1795).

.Slight color on paper. 12 Kakemonos.H. 68% in., W. 36

'/s in. each.Kongoji (temple) , Kyoto.

42 Landscape in Moonlight.* By Nagasawa Rosetsu ( 1755-1799)

.

Ink on silk. Kakemono. H. 38% in., W. 14 in.Nagao Museum, Kanagawa.

43 Peacock.* By Yamaguchi Soken ( 1759-1818)

.

Color on silk. Kakemono. H. 63 in., W. 25V^ in.Seikado Foundation, Tokyo.

44 Lotus Flowers.By Sakaki Hyakusen (1698-1753).Color on paper. Kakemono. H. 39 in., W. 10% in.Mr. Kyubei Ando, Fukushima.

45 Landscape in Snow.By Yosano Buson ( 1716-1783)

.

Ink on paper. Kakemono. H. 10% in., W. 51 in.Mr. Kinta Muto, Hyogo.

46 Sunny Morning at Uji.* By AokiMokubei (1767-1833).

Color on paper. Kakemono. H. 19% in., W. 23% in.Cultural Properties Protection Commission, Tokyo.

49 Album of Insects and Fishes.* By Watanabe Kazan. Has inscription dated 1837.

Color on silk. Album. H. 11% in., W. 9% in.Mr. Jimzo Kosaka, Tokyo.

50 Young Woman.By Kaigetsudo Ando. Late 17th Onliiry.Color on paper. Kakemono. H. 37^/4 in., W. 16% in.National Museum, Tokyo.

51 Woman Flying on a Crane.By Miyagawa Choshun (1682-17.52).Color on paper. Kakemono. H. 37 in., W. 1414 in.National Museum, Tokyo.

52 Villa at the Foot of Ogurayama Hill.By Okumura Masanobu (1690-1768).Color on paper. Kakemono. H. 12% in., W. 19 in.National Museum, Tokyo.

53 Young Women.By Katsukawa Shunsho (1726-1792).Color on silk. Kakemono. H. 37% in., W. 13% in.Tokyo University of Arts.

54 Woman Changing Dress.* By Kitagawa Utamaro (1754-1806).

Color on silk. Kakemono. H. 46% in., W. 21 1/16 in.Mrs. Sue Hara, Kanagawa.

47 Crapes.By Tachihara Kyosho (1785-1840).Color on paper. Kakemono.H. 35'/, in., W. 15% in.Mr. Kango Furuta, Tokyo.

UKIYO-E (Wood-Block Prints)Remarks: 1. The largest paper size is 29% in. x 20Vi in.The large size is 15 in. x lOMi in.

The medium size is IOV2 in. x 8 in.

The narrow size is 15 in. x 3% in.2. Ages of Ukiyo-e prints: First period c. 1661-1688. Black line print called Sumizuri-e. Repre-

sentative artists: Hishikawa Moronohu, Torii Kiyonohu and Kaigetsudo Ando.Second period: c. 1689-1715. Black line print and vermilion applied with hrush, called

Tan-e. Representative artists: Hishikawa Moronohu, Torii Kiyomasu, Kaigetsudo Ando and ToriiKiyonohu.

Third period: c. 1716-1744. Black line print with red, green and yellow in hrushwork, called

Beni-e. With the addition of glossy black by the use of a sort of glue, it is called Urushi-e, meaning

lacquer-black picture. Representative artists: Torii Kiyonobu II, Torii Kiyomasu II, Nishimura

Shigenaga, Okumura Masanobu and Okumura Toshinobu.

Fourth period: c. 1745-1764. Primitive polychrome print, called Benizuri-e, at first red and

green alone, later with the addition of yellow and purple. Representative artists: IshikawaToyonobu

and Torii Kiyomitsu.

Fifth period: c. 1765-1867. Elaborate polychrome print, called Nishiki-e, done in more than

ten colors. Intermediate colors such as gray and indigo came to be produced by double printing.

The most elaborate in color-printing was Utagawa Toyokuni III, who used over forty colors in his

depiction of actors. Representative artists: Suzuki Harunobu, Torii Kiyonaga, Kitagawa Utamaro,

Toshusai Sharaku, Ando Hiroshige and Katsushika Hokusai.

3. The exhibits listed below are from the National Museum collections.

551 Scenes at Yoshiwara (gay quarters in Edo).6 pictures. Large size Sumizuri-e.By Hishikawa Moronobu.To be exhibited throughout exhibition.

559 Okiku and Kosuke (heroine and hero ofa Kabuki play).Large size Benizuri-e.By Ishikawa Toyonobu.To be exhibited in the third week.

552 Young Woman Holding a Poem Card.Largest size Sumizuri-e.By Kaigetsudo Dohan.To be exhibited throughout exhibition.

55-10 Young Woman Playing a Lute.Medium size Nishiki-e.By Suzuki Harunobu.To be exhibited in the first week.

553 Shoki (demon killer).Largest size Tan-e.By Torii Kiyomasu.To be exhibited throughout exhibition.

5511 Couple at the Verandah.Medium size Nishiki-e.By Suzuki Harunobu.To be exhibited in the second week.

554 Fan Dealer.Narrow size Urushi-e.By Okumura Toshinobu.To be exhibited in the first week.

555 Beautiful Girl of Osaka.Narrow size Urushi-e.By Okumura Toshinobu.To be exhibited in the second week.

5512 Young Woman on the Verandah.Medium size Nishiki-e.By Suzuki Harunobu.To be exhibited in the third week.

5513 Sei Shonagon (historical court ladyin full dress).Large size Nishiki-e.By Torii Kiyonaga.To be exhibited in the first week.

556 Beautiful Girl of Kyoto.Narrow size Urushi-e.By Okumura Toshinobu.To be exhibited in the third week.

557 Two Women in Disguise as Travelling Monks.Large size Benizuri-e.By Ishikawa Toyonobu.To be exhibited in the first week.

5514 Taking Shelter from Shower.Large size Nishiki-e.By Torii Kiyonaga.To be exhibited in the second week.

5515 Enjoying Evening Cool on theRiverside at Shijo.Large size Nishiki-e.By Torii Kiyonaga.To be exhibited in the third week.

558 Two Women in Travesty of Kanzan andJuttoku (Chinese hermits).Large size Benizuri-e.By Ishikawa Toyonobu.To be exhibited in the second week.

5516 A Coquettish Type:From the series "Ten Physiognomic Types of Women.'Large size Nishiki-e.By Kitagawa Utamaro.To be exhibited in the first week.

5517 Young Woman Reading a Letter:From the series "Ten Physiofinomic Types of Women."Large size !\ishiki-e.By Kitagawa Ulamaro.To l)e exliil)ite(i in the second week.

55-27 Somenosuke of the Matsubaya (a brothel) ;From the series "Beauty Contest of (Jirlsof (iay Quarters."Large size Nishiki-e.By Ichirakutei Eisui.To he exhihited in the third week.

55-18 Love in Middle Age:

From the series depicting women in travestyfrom a group of famous poets of the Heian Period.Large size l\ishiki-e.By Kilagawa LItamaro.To he exhihited in tile third week.

55-28 Koraiya:

From the series "Portraits of Actors on the .Stage.'Large size Nishiki-e.By LJtagawa Toyokuni.To he exhihited in ttie first week.

5519 Actor Irhikawa Koniazo as Shiga Daishichi.

Large size Nishiki-e.By Toshusai Sharaku.To he exhihited in the first week.

5529 Yamato-ya:

From the series "Portraits of Actors on the .Stage.'Large size Nishiki-e.By Utagawa Toyokuni.To be exhibited in the second week.

5520 Actor Bando Mitsugoro as Ishii Cenzo.Large size Nishiki-e.By Toshusai .Sharaku.To be exhibited in the second week.

5521 Actor Arashi Ryuzo as the money lenderIshibe Kinkichi.

Large size Nishiki-e.By Toshusai Sharaku.To be exhibited in the third week.

5522 Suma:

A satirical depiction of the scene of Sumafrom the classic novel. Tales of Genji.Large size Nishiki-e.By Hosoda Eishi.To be exhihited in the first week.

5530 Otowa-ya:

From the series "Portraits of Actors on the Stage.'Large size Nishiki-e.By Utagawa Toyokuni.To be exhibited in the third week.

55-31 Red Fuji:

From the series "Thirty-six Views of Mt. Fuji.''Large size Nishiki-e.By Katsushika Hokusai.To be exhibited in the first week.

5532 Enoshima:

From the series "Thirty-six Views of Mt. Fuji.Large size Nishiki-e.By Katsushika Hokusai.To be exhibited in the second week.

5523 Itsuhana:

From the series "Beauty Contest ofGeisha Girls at Yoshiwara."Large size Nishiki-e.By Hosoda Eishi.To be exhibited in the second week.

55-33 Mt. Fuji Reflected on Lake Misaka:From the series "Thirty-six Views of Mt. FujiLarge size Nishiki-e.By Katsushika Hokusai.To be exhibited in the third week.

55-24 Ohane and Ofuku:

From the series "Beauty Contest ofGeisha Girls at Yoshiwara."Large size Nishiki-e.By Hosoda Eishi.To be exhibited in the third week.

5534 Yoshitsune Uma-arai no Taki (waterfallwhere the warrior Yoshitsune washed his horse) :

From the series "Famous Waterfalls Throughout Japan.Large size Nishiki-e.By Katsushika Hokusai.To be exhibited in the first week.

5525 Young Woman and Wind-bell.Large size Nishiki-e.By Eishosai Choki.To be exhibited in the first week.

55-35 Ono Waterfall:

From the series "Famous Waterfalls Throughout Japan.Large size Nishiki-e.By Katsushika Hokusai.To be exhibited in the second week.

5526 Kascn of the Ogi-ya (a brothel);

From the series "Beauty Contest of Girlsof Gay Quarters."Large size Nishiki-e.By Chokosai Eisho.To be exhihited in the second week.

55-36 Yoro Waterfall:

From the series "Famous Waterfalls Throughout Japan.Large size Nishiki-e.By Katsushika Hokusai.To be exhibited in the third week.

5537 Enkvo Bridge.Large size Nishiki-e.By Ando Hiroshige.To be exhibited in the first week.

5538 Kambara:From tlie series "Fifty-three Stages onthe Tokaido Higliway."Large size Nishiki-e.By Ando Hiroshige.To be exhibited in the second week.

5539 Snow Landscape at River Fuji.Largest size Nishiki-e.By Ando Hiroshige.To be exhibited in the third week.

5540 Snow on River Sumida :From the series "Famous Places in Edo in Four Seasons.'Narrow size Nishiki-e.By Ando Hiroshige.To be exhibited in the first week.

5541 Camellia and Bird.Narrow size Nishiki-e.By Ando Hiroshige.To be exhibited in the second week.

5542 Peony and Peacock.Narrow size Nishiki-e.By Ando Hiroshige.To be exhibited in the third week.

5543 Night Scene at Saruwaka-cho:From the series "Hundred Famous Places in Edo."Large size Nishiki-e.By Ando Hiroshige.To be exhibited in the first week.

5545 Sensoji Temple at Aisakusa:From the series "Hundred Famous Places in Edo."Large size Nishiki-e.By Ando Hiroshige.To be exhibited in the third week.

5546 "Fox Fire" (Sort of Jack-o-Lantorn) at Oji:From the series "Hundred Famous Places in Edo."Large size Nishiki-e.By Ando Hiroshige.To be exhibited in the first week.

5547 Lumber-yard at Fukagawa :From the series "Hundred Famous Places in Edo.'Large size Nishiki-e.By Ando Hiroshige.To be exhibited in the second week.

5548 Tsukuda-jima Across Eilai Bridge:From the series "Hundred Famous Places in Edo.'Large size Nishiki-e.By Ando Hiroshige.To be exhibited in the third week.

5549 Jumantsubo at Susaki, Fukagawa:From the series "Hundred Famous Places in Edo.Large size Nishiki-e.By Ando Hiroshige.To be exhibited in the first week.

55-50 Yabukoji at the Foot of Atago Hill:From the series "Hundred Famous Places in Edo.Large size Nishiki-e.By Ando Hiroshige.To be exhibited in the second week.

5544 Hikifune at Yotsugi:From the series "Hundred Famous Places in Edo.Large size Nishiki-e.By Ando Hiroshige.To be exhibited in the second week.

5551 Shower at Ohashi Bridge:From the series "Hundred Famous Places in Edo.Large size Nishiki-e.By Ando Hiroshige.To be exhibited in the third week.

CALLIGRAPHYThese works are mostly specimens of Kana (Japanese syllabic characters) written or copied upon

decorative papers. Some are of decorated scripture.

56 Konkomyo-saishoo-kvo* (Buddhist Scripture) Vol. 8.

Middle of 8th Century.Written in gold ink upon purple paper.Scroll. W. 9% in.. Total L. 27 ft. 2 in.Saikokuji (temple), Hiroshima.

57 Hoke-kyo (Buddhist Lotus Sutra,known as Kunoji-gyo).Middle of 12th Century.Scroll. W. 10 '/4 in.. Total L. 132 in.Mr. Keita Goto, Tokyo.

58 Hoke-kyo (Buddhist Lotus Sutra).* Late 12th Century.

Scroll. W. lOVi in.. Total L. 152 in..Atsuta Jingu (shrine), Aichi.

59 Fan-shaped Hoke-kyo Sutra.* Late 12th Century.

H.93/I6in., W. 19'/^ in. (top),8i4 in. (boiium).Horyuji (templet, Nara.

60 Fan-shaped Hoke-kyo Sutra.* Late 12th Century.

H.9-'H in., W. 19'-.. in. (top),?",;, in. (bottom).Saikyoji ( temple I , Shiga.

61 Fragment of Wakan Roei-shu Anthology.(Known as Ota-gire).11th Centurv.11.9':; in., Vi. ll's in.Mr. Keita Goto, Tokyo.

62 Fragment of Kokin-shu Anthology.* (Ascribed to Minamoto Toshiyori).

Early 12lh Century.II. 8% in., W. 15% in.Mr. Masataka Kato, Kanagawa.

63 Fragment of Sanju-rokunin-shu(Anthology of Selections from Thirty-six Poets,known as Ishiyama-gire).Early 12th Century.H. 8 in., W. 121/2 in.Mr. Hikotaro Umezawa, Tokyo.

64 Fragment of Sanju-rokunin-shu(Anthology of Selections from Thirty-six Poets,known as Ishiyama-gire).Early 12th (-entury.H. 7'/in., W.eViin.Mr. Tsusai Sugawara, Kanagawa.

65 Poem Written Upon Decorated Paper.17th Century.Calligraph by Koetsu, Painting by Sotatsu.H. 13'/in., W.27yin.National Museum, Tokyo.

SCULPTUREThe clay figures (Haniwa) exhibited here are representative of the indigenous Japanese sculp-

ture made as grave figures in the ancient burial mound age (c. 3rd to 5th Centuries). They are

primitive, simple in representation and eloquently expressive. Some critics regret that this type of

native art was replaced by the Chinese sculpture style which was introduced into Japan with Bud-

dhism in the 6th Century.

During the Asuka and Hakuho periods (6th and 7th Centuries) many excellent Chinese works

must have been brought to Japan either directly from China or possibly by way of Korea. Others

were made by Chinese artists in Japan. Japan is thus an excellent repository of Chinese sculpture

of these centuries.

During the 9th to 12th Centuries a characteristic Japanese style of sculpture was developed.

Almost all of the existing works are of wood, often lacquered or colored. Prior to the 13th Century,

Japanese art in general reflected a court civilization centering around the two old capitals of Kyoto

and Nara. Highly organized sculptors' guilds were constantly at work in these two cities. Temples

were built and divinities were represented in painting and sculpture at the wish of persons of high

court rank for the repose of their dead mothers, fathers, husbands. To facilitate the increased pro-

duction, statues which in the early Heian period (782-897) would have been carved from a single

block of wood were now made of a number of separately carved parts.

Late in the 12th Century a powerful group known as the shogunate seized control of the gov-

ernment. Although temples in Nara were damaged during the civil war these were later restored by

the new samurai regime early in the Kamakura period ( 1186-1333) . A realistic and expressive style

was created to serve the taste of the samurai class. This new style, side by side with the graceful rep-

resentation of the preceding court civilization, was continued through the next period, the Muro-

machi (1334-1572). This was the period of great progress in Japanese sculpture.

The exhibits here include four specimens of the Haniwa clay figures, one specimen of the

Asuka style, three works of the late Nara period, three others of the Heian period, and four statues

dating from the Kamakura period.

66 Tcrra-cotta Grave Figure (Man).Ancient Burial Mound Age.H.29y8in.National Museum, Tokyo.

67 Terra-cotta Grave Figure (Head of a Girl).Ancient Burial Mound Age.H.6liin.Mr. Masanari Matsubara, Tokyo.

68 Terra-cotla Grave Figure (Horse).Ancient Burial Mound Age.H. 24ys in.National Museum, Tokyo.

69 Terra-cotta Grave Figure (Hen).Ancient Burial Mound Age.H. 5% in.Mr. Masanari Matsubara, Tokyo.

70 Kannon Bosatsu (Buddhist divinity,* Sanskrit: Avalokitesvara).

7th Century.( One of the two attendants of Amida Nyoraiof the Golden Hall.)Bronze, gilded. H. 24 in.Horyuji (temple) , Nara.

71 Head of a Bosatsu (Bodhisattva).* Late 8th Century.

Wood, dry-lacquered. H. 30 in.Toshodaiji (temple), Nara.

72 Torso of Buddha.Late 8th Century.Wood. H. TO'/a in.Toshodaiji (temple), Nara.

73 Hosho Nyorai (Buddhist divinity,* Sanskrit: Ratnasambhava).

Late 8th Century.Wood, lacquered. H. 29% in.Saidaiji (temple) , Nara.

74 Yakushi Nyorai (Buddhist divinity,* Sanskrit: Bhaisajyaguru).

9th Century.Wood. H. 19% in.. Total H. 38 M- in.Nagao Museum, Kanagawa.

75 Eleven-headed Kannon.* Early 10th Century.

Wood, colored. H. 66Mi in.Yakushiji (temple), Nara.

76 Tamon-ten (Buddhist demigod,* Sanskrit: Vaisravana).

12th Century.Wood, colored. H. 51 in.Kawai-dera (temple), Osaka.

77 Seitaka (Cetaka, Oneof the* Eight Attendants of Fudo Myo-o) .

12th Century.Wood, colored. H. 40% in.. Total H. 47 in.Kongobuji (temple), Wakayama.

78 Kongo Rikishi (Buddhist Guardian Gods,* Sanskrit: Yajirapani).

Middle of 13th Century.Wood, colored. H. 65Vi in. (each).Myoho-in (temple), Kyoto.

79 Juni Shinsho (One of the Twelve* Escorts of Yakushi Nyorai) .

Middle of 13th Century.Wood, colored. H. 27% in.Mr. Tsuneichiro Nakamura, Tokyo.

MASKSGigaku was originally a Chinese dance performed to music. Dancers wore colored wooden masks.

This dance was often performed in the Japanese court during and after the Nara period (7th and

8th Centuries). A number of excellent masks date from this time. Two of the masks in this exhibi-tion were formerly in Horyuji, oldest of Japanese temples located in Nara. These were later trans-

ferred to the Imperial collection and then to the National Museum where they are now treasured.

The three other Gigaku masks come from Todaiji, the monastery in Nara famous for the Grand

Bronze Buddha.

The dance known as Bugaku was also introduced from China. In origin it combines music and

dance of India and Chinese Turkestan with that of China. Japanese court nobles were familiar with

Bugaku as early as the Nara period. The earliest existing masks for this dance, however, date only

from the 12th Century.

The Japanese Noh play has its origin in the Gigaku dance but is more like the modern drama.

It is not only a musical performance but also tells a story. The actors wear masks and assume the

roles of liiimaii characters. The earliest masks come from the Muromachi period (1334-1572).

They represent sculpture by the best masters of the period, as religious sculpture was from this

time onward in decline.

80 Two Gigakii Masks.6th-7lli Centuries.Wood, colored1 Daikofu : L. 12% in., W. 778 in.2 Riivishi: L. 15% in., W. 8V2 in.National Museum, Tokyo.

81 Three Gigaku Masks.* 8th Century.

Wood, colored.a Suiko-o: L. IT'/k in., W. 9% in.b Konron: L. 151/4 in., W. 11 in.c Baramon: L. 11 in., W. 8Vi in.Todaiji ( temple) , Nara.

82 Four Bugaku Masks.* 12tli-13th Centuries.

Wood, colored.a Chikyu: L. 8% in., W. 61/4 in.b Sanju : L. IQiA in., W. 81/4 in.c Shin Toriso: L. 8% in., W. 6V- in.d Nasori: L. 7% in., W. 6% in.Kasuga Taisha (shrine ), Nara.

83 Four Noh Masks.16th-17th Centuries.Wood, colored.1 Ko-omote: L. 8% in., W. 5 7/16 in.2 Hannya: L. 9% in., W. 7 in.:i Heita: L. 8 in., W. SV^ in.4 Myoga Aku Jo: L. 8% in., W. 6 'A in.National Museum, Tokyo.

84 Two Masks for Kyogen.16th-17th Centuries.1 Buaku: L. 6% in., W. 5% in.2 Usobuki : L. 7% in., W. 5% in.National Museum, Tokyo.

METAL WORKDotaku (bell-shaped bronzes) are the most ancient objects in the exhibition. They are believed to

have been made about or even prior to the 1st Century. Other bronzes exhibited are mostly Bud-

dhist ceremonial implements and mirrorstypical Japanese metal works. There are also exhibited

iron kettles for the Japanese tea ceremony.

85 Dotaku (bell-shaped bronze).About 1st Century B. C.Excavated at Kojin-yama, Tsuri-mura,Nishi Hamana-mura, Shizuoka-ken.H. 291/8 in., W. 15% in.National Museum, Tokyo.

86 Dolaku.About 1st Century B. C.Excavated at Muko-yama, Ibaraki, HigashiUchihara-mura, Hidaka-gun, Wakayama-ken.H. 32% in., W. UVh in.National Museum, Tokyo.

87 Mirrors. 12 Pieces.llth-12th Centuries.Bronze. D. 4'/:. in., SVa in.Discovered in Mitarashi Pond in the precinct ofHaguro Jinja (shrine), Haguroyama, Yamagata-ken.National Museum, Tokyo.

88 Keman (Pendent Ornament in* Buddhist Temple).

12th Century.Bronze, gilded. H. 11 Vi in., W. 12i/s in.From the ornament inside the Main Hall of theChusonji (temple), Iwate.

89 Keko (Two Trays Used in Flower-Sprinkling* Ceremony in Buddhist temple).

13th Century.Bronze, gilded, with design in openwork andplated with gold and silver.D. (a) llVs in., (b) 111/4 in.Jinshoji (temple) , Shiga.

90 Mirror.* 13th Century.

Bronze. D. 9 in.Design of chrysanthenumis and a pair of sparrows.Mr. Ryoichi Hosomi, Osaka.

91 Ashiya:* Type of kettle of a shape known as Shin ( formal )

.

15th Century.Iron. H. 914 in., D. of body: IOI/4 in.Design of raised spots, maple trees and deer.Mr. Ryoichi Hosomi, Osaka.

92 Ashiya:Kettle of shin shape, used in tea ceremony.16th Century.Iron. H. 7V4 in., D. of body : 914 in.Design of pine and plum trees.National Museum, Tokyo.

93 Hanging l^antcrn.Inscription dated 28 July, 1550.Bronze. H. 9 in., D. between opposite sides: l.'iVi in.Design of plum branches and bamboos in openwork.National Museum, Tokyo.

95 Mirror.* I.ate 16th Century.

Bronze. D. 9 in.Design of paulownia, bamboo and phoenix.Mr. Ryoichi Hosomi, Osaka.

94 Sutra Box.* Inscription dated 28 May, 1555.

Bronze, gilded. L. ll's in., W. 7% in.. H. 4Vk in.Design of lotus scroll in openwork.Yohoji (temple) , Kyoto.

96 Kettle of "Flat Spider" Type.Iron.

Late 17th Century.H.3'/sin., D.of body: 12Mi in., D. of mouth : 7 1/16 in.National Museum, Tokyo.

A RM O HThe three suits of armor made especially for generals are good examples of 13th, 14th, 15th, 16th

and 1 7th Century craftsmanship.

97 Armor with Gradated Purple Lacing,* with Helmet and Shoulder-pieces.

ISthCentury. H.c. 32I2 in.Mitake Jinja (shrine), Tokyo.

98 Cuirass with Lacing of Jay-bird's Feather Color,* with Helmet and Shoulder-pieces.

Late 14th Century. H. 42 in.Mr. .Shigesue Akila, Tokyo.

99 Dark-Blue Laced Armor with Two-piece Cuirass.(Used by Kobori Enshu).Middle of 16th Century.H.38in.National Museum, Tokyo.

SWORD MOUNTINGSThe sword mountings and sword cases are varied in shape and style according to the periods in

which they were made. Examples of ceremonial swords from each period are present in this exhi-

bition, the earliest being of 12th Century design and craftsmanship.

100 Sword Mounting of Tachi Type.10th Century.Gilded, with designs in openwork, nacre inlayand gokl lacquer ( niaki-e ) . L. 40% in.National Museum, Tokyo.

101 Sword Mounting of Hyogo-Gusari-no-* Tachi Type.

13lh O'ntury.(;ii(led, with design of lions and peoniesin openwork and relief. L. 38 in.Nibutsuhime Jinja (shrine), Wakayama.

102 Sword Mounting of Koshigalana Type.14th Century.Cilded silver, with design of peonies in relief.L. IS'/s in.National Museum, Tokyo.

of pure gold, with design of lions and peoniesin relief. L. 44V2 in.Mr. Kokichi Aoyama, Tokyo.

104 Sword Mounting of Itoniaki-iio-Tachi Type.* 16th Century.

Scabbard of wood, aventurine-lacquered, withdesign of chrysanthemums in nacre inlay andmaki-e. Metal accessories of pure gold withdesign of chrysanthemums. L. 39'/4 in.Mr. Tokutaro Kimura, Tokyo.

105 Sword Mounting of Vchigatana Type.Nth Century..Scabbard of wood, cinnabar lacquered, with designof wistaria sprays in inlay of nacre and sheet gold.Hilt wrapped with dark blue braid. Accessories.cloisonne. L. 37'''>( in.Mr. Torasaburo Kawase, Nara.

103 Sword Mounting of (Jchigatana Type.* Late 15th Century.

.Scabbar

107 Sword Mounting of Katana Type.* Early 19th Century.

Scabbard of wood, black-lacquered, with floral designin gold lacquer and inlay of nacre and sheet gold. Hiltwrapped with dark blue braid. Metal accessories ofshakudo (gold and copper alloy), with design offlowers and birds in overlay of metals of differentcolors. L. 38% in.Mr. Taromatsu Okano, Tokyo.

108 Sword Mounting of Koshigatana Type.19th Century.Scabbard of wood, with design of wistaria sprays ingold lacquer and inlay of nacre and sheet gold. Metalaccessories of pure gold, made by Goto Ichijo, withdesign of wistaria flowers in relief. L. 22% in.Mr. Nobutoshi Naito, Tokyo.

SWORD FURNITURESword furniture is the decorative ornamentation for sword cases. It was produced in the late

Muromachi period (mid-16th Century) and later by the master metal workers of each province.

Just as Noh masks represent the best of Japanese sculpture from the 16th Century onward, so does

sword furniture represent the masterpieces of metal work during this same time. Works in the exhi-

bition are representative of the most famous masters of various schools.

109 Guard. 114 Guard.Late 15th Century.Iron. Fist-shaped, with design of Bishamon-ten(Buddhist demigod) in relief and overlay of goldand silver. Longer D. 3 in., shorter D. 2% in.Inscription: Made by Kaneie, inhabitant ofFushimi, Yamashiro Province.Mr. Moritatsu Hosokawa, Tokyo.

110 Guard.Early 17th Century.Brass. Melon-shaped, with design of grapeyard.Inscription: Umetada Myoju.Longer D. 3 in., shorter D. 2% in.Mr. Eiichi Mori, Kanagawa.

Ill Guard.

Early 17th Century.Iron. Flower-shaped, with design of nine luminariesand cherry blossoms in openwork and inlay.Inscription in gold inlay: Matashichi.D. 3% in.Mr. Moritatsu Hosokawa, Tokyo.

112 Guard.Early 18th Century.Iron. Square-shaped, with design of Omori Hikoshichi(warrior) in relief and inlay of gold, silver andshakudo. 3 in. square.Inscription: Toshinaga.Mr. Masahito Kiyota, Kyoto.

Late 18th Century.Iron. Oval-shaped, with design of plovers in reliefand overlay of metals of different colors.Inscription: Yasuchika.Longer D. 3 in., shorter D. 2% in.Mr. Tomijiro Miyazaki, Kanagawa.

115 Guard.* Late 18th Century.

Iron. Octagonal-shaped, with design of water and dragonin relief and overlay of metals of different colors.Inscription: Yasuchika.Longer D. 3% in., shorter D. 3^/^ in.Mr. Yorizumi Furukawa, Tokyo.

116 Guard.* Late 18th Century.

Copper. Oval-shaped, with design of afishing-net and plovers in openwork.Inscription: To-u.Longer D. 3% in., shorter D. 3% in.Mr. Tomijiro Miyasaki, Kanagawa.

117 Kozuka (knife-sheath worn in scabbard).* Early 18th Century.

Shakudo (gold and copper alloy), with design illustrat-ing heroes of the History of the Three Kingdoms, China.Inscription: Somin. L. 3% in.Mr. Tomijiro Miyazaki, Kanagawa.

118 Kozuka.* Early 18th Century.

Shakudo, with design of peony spray.Inscription: Somin. L. 3% in.Mr. Tomijiro Miyazaki, Kanagawa.

113 Guard.18th Century.Brass. Square-shaped with rounded corners, withdesign of a man collecting scouring-rush in reliefand overlay of metals of different colors.Longer side 3V2 in., shorter side 2% in.Mr. Tomijiro Miyazaki, Kanagawa.

119 Kozuka and Menuki* (ornamental rivet-head covers).

Early 18th Century.Rogin (silver and tin alloy), with design of tigers.Inscription: Somin.L. Kozuka, 3 13/16 in.; Menuki, I'/g in.Mr. Tomijiro Miyazaki, Kanagawa.

120 Sel of Sword Furniture:

* With design of cherry blossoms at Yoshino andmaple leaves at Tatsuta. Early 19th Century.

1. Oval guards. 2 pieces.

(a) Yoshino. Longer D. 3'/:! in., shorter D. 3 1/16 in.(b) Tatsuta. Longer D. 3 in., shorter D. 2% in.2. Kozuka. 2 pieces.

(a) Yoshino. L. 3% in.(b) Tatsuta. L. 3% in.3. Kogai (pins for trimming hair). 2 pieces.(a) Yoshino. L. W\ in.(b) Tatsuta. L. 81/4 in.

4. Menuki.(a) Yoshino. L. 1% in.(b) Tatsuta. L. \V-2 in.

All made by Goto Ichijo. Shakudo, with designof cherry and maple trees in relief and overlayof metals of different colors.Mr. Yorizumi Furukawa, Tokyo.

121 Guard.Late 19th Century.Iron. Oval-shaped, with design of a peony.By Kano Natsuo.Longer D. 2% in., shorter 1). 21/4 in.Nezu Museum, Tokyo.

LACQUER ARTLacquer art in the Orient has an exceedingly long history. Among Japanese works of lacquer art

maki-e ware, or gold lacquer, is the most beautiful and representative. The technique of maki-e was

already highly developed in the Heian period and became extremely elaborate in the following

Kamakura period. The technique has been applied ever since on a variety of objects, such as boxes,

cabinets, shelves, saddles, chairs, drums, etc.

Nacre inlay for ornamentation of lacquer ware had a remarkable development in the Kama-

kura period in particular, as we see in the elaborate pieces exhibited.

122 Box with Design of Plovers in Maki-e(gold lacquer).13th Century.L. lOy* in., W. 13% in., H. IV^ in.National Museum, Tokyo.

126 Desk with Design of Lotus andPeony Flowers in Openwork.16th Century.L. 281/4 in., W. 14M. in., H. 10% in.National Museum, Tokyo.

123 Saddle with Design of Cherry Blossoms* in nacre inlay.

12th Century.Front pommel: H. 13 in., W. 15 in.Rear pommel: H. 15 in., W. 19 in.Mr. Nagatake Asano, Kanagawa.

127 Saddle and Stirrups withDesign of Reeds in Maki-e.

17th Century.Saddle: H. 10% in., W. 16 Vs in.

- Stirrups: W. 5% in., H. 10% in.National Museum, Tokyo.

124 Box with Design of Fans in Maki-e.* 1.5th Century.

L. 9 1/16 in., W. 11% in., H.5% in.National Museum, Tokyo.

128 Cabinet with Design of Au'.umn (>rasses* and Bamboo Grove in Maki-e.

Late 16th Century.F"rom a set of lacquered furniture.L. 19% in., W. 12V4 in., H. 8% in.Kodaiji (temple), Kyoto.

12.S Box with Design of Pine and (>ainellia Trees.* 16th Onlury.

Formerly one of the sacred treasures ofAsuka Jinja (shrine).L. 10% in., W. 13% in., H. 9% in.Cultural Properties Protection Commission, Tokyo.

129 Chair with Design of Chrysanthemums in Maki-e.* Late 16th Century.

From a set of lacquered furniture.H. 30 in., W. 281/4 in.Kodaiji (temple I , Kyoto.

ISO Sword l{x willi I)i{;n of (Ihr.vsanthemiim.sand i'aiilowniu FIowts in Maki-

144 Bowl.18tli Ontiiry.01(1 Imari ware. Design of Dutch ships inoverglaze fiolil and enamel colors.H. 4 in., D. of moulh: 13''i in., D. of base: 6% in.Mr. Giichi Umezawa, Tokyo.

145 Octagonal Dish.Late 17th Century.01(1 Kutani ware. Design of peonies inoverglaze enamel colors.11. 2',s in., D. between opposite sides: l.'5'j in.Mr. Matasaku .^hiobara. Tokyo.

146 Large Dish.Late 17lh Century.Old Kutani ware. Design of a kingfisher inoverglaze enamel colors.H. 2V-' in., D. of mouth : 13 in.. D. of base: 7~s in.Mr. Giichi Umezawa, Tokyo.

147 Large Shallow Bowl.Late 17th Century.Blue Kutani ware. Design of a tree inoverglaze enamel colors.II. 41/4 in., D. 17 in., D. of base: 7 in.Nagao Museum, Kanagawa.

148 Porcelain Tea Jar.* 17th Ontury.

By Nononuira Ninsei. Design of moon andplum tree in overglaze enamel colors.II. liy, in., D. of body: lO-'^ in.National Museum, Tokyo.

149 Dishes with Different Designs.Late 17th to early 18th Centuries.By Kenzan. D. 6% in.-6V-! in.Nezu Museum, Tokyo.

5 Pieces.

TEXTILESThe eight pieces of textile fragments from the Shoso-in Repository date from the 7th or 8th Century.

They are part of the ail ohjects deposited in the National Museum from the Shoso-in, formerly an

Imperial repository of national treasures and now belonging to the Government. They are enough

to show the highly developed techniques of textile art in that old period.

Shown here, besides these ancient fragments, are representative pieces of costumes of different

periods and of all sorts of textile techniques: weaving, dyeing, embroidery and gold-leaf im[)rint.

150 Textile Fragments (8 pieces) from theShoso-in Imperial Repository.Asuka and Nara periods (7th-8th Centuries).Framed. Size of frame: 23% in. x 18 in.Deposited in the National Museum, Tokyo.

151 Ban (pendants used in Buddhist ceremony).* 14th Century.

2 Pieces. -Silk, with design of sanimaya-gyo(symbols of Buddhist divinities) in embroidery.(a) Total length: 731/4 in., W. 12% in.(b) Length I tails missing) : 34V-! in., W. 11% in.llyozu Jinja < shrine ), Shiga.

152 Priest's Robe.Late 16th Century.Hemp, with design in tsiijigalidna-zonieItied-dyeing and brushwork ) . 11. 48 in., W. 47 in.Mr. Kiinisuke Akashi. Kyoto.

153 Jimbaori (coat worn over armor).Late 16th Century.Hemp, with design in tsujifidluinii-zoitie.H. 50 in., W. 61 in.Nagao Museum, Kanagawa.

1.54 Kosode (kimono with short hanging sleeves).Late 16th Century.Figured silk dyed in large color zones, with design offlowers and birds of the four seasons in end)roi(leryand gold-leaf imprint. H. .S9 in.. W. 48 in.Nagao Museum, Kanagawa.

155 Kosode.18th Century.White silk crepe, with design of screens andhawks in yuzen dyeing ( resist dyework )

.

H. 66V-.. in., W. 50 in.Daihiko Institute of Textile Art Research, Tokyo.

156 Kosode.18th Century.Light blue silk, with design of Fight .Scenic \'iewsin Onii in yuzen dyeing. H. 66' ;> in.. \\ . 55 in.Daihiko Institute of Textile .Art Research, Tokyo.

157 Furisode (kimono with long hanging sleeves).19th Century.While figured silk, with design of autumn grassesin yuzen dyeing. H. 71 in.. W. 49 in.Daihiko Institute of Textile Art Research, Tokyo.

158 Uchikake (lady's overgarment).19th Century.White figured silk.II. 71 'j in., W. 491/+ in.National Museum, Tokyo.

1.59 Katabira (summer coslunu-).18th Century.While hetiip, with design of flowers, cottages anilcurtains in rhuyii-zome dyeing. H. 73'l> in.. W. 51 'j in.Daihiko Institute of Textile Art Research. Tokyo.

160 Katabira.19tli Onliiry.White hemp, willi design of streams andmandarin oranges. H. 68 in., W. 51 in.Dailiiko Institute of Textile Art Research, Tokyo.

161 Koshimaki (ladyV summer dress).19th Century.Black silk, with design of symbols of riches.H. 69% in., W. 49% in.National Museum, Tokyo.

162 IVoh Robe of Kara-ori Type.17th Century.Ked silk twill, with design of diagonal s(|uares.H. 661/2 in., W. 59M! in.National Museum, Tokyo.

163 Noh Robe of Kara-ori Type.18th Century.Silk twill in stripes of scarlet, light blue and black,with design of flowers and conventionalized wavespattern. H. 67^! in., W. 56 in.National Museum, Tokyo.

164 Noh Robe of Nui-haku Type.18th Century.Silk covered with gold leaf, with design ofautumn grasses in embroidery.H. 63 in., W. .52^! in.National Museum, Tokyo.

165 Noh Robe of Nui-haku Type.18th Century.While silk, with design of autumn gra>ses ingold-leaf imprint and embroidery.H. 611/j in., W. 51 in.National Museum, Tokyo.

166 Obi (sash).18th Century.Scarlet velvet, with design of flowering grassesand puppies. L. 153 in., W. 10V-> in.National Museum, Tokyo.

167 Obi.19th Century.Purple silk, with design of diagonal squares andchrysanthemums in embroidery. L. 173 in., W. ll'Yt in.National Museum, Tokyo.

DOLLSThere are many kinds of Japanese dolls: Gosho Ningyo, figures of lovely children; Saga Ningyo,

wooden dolls carved and colored; Nara Ningyo, wooden dolls made in Nara, distinguished by their

special beauty of carving; Isho Ningyo, dolls to be dressed; Kimekomi Ningyo, wooden dolls with

clothing attached; and Mitsuori Ningyo, dolls with movable limbs. The exhibition contains fine ex-

amples of these types.

168 Draping Doll (Woman).Late 17th Century.H. 12in.National Museum, Tokyo.

169 Cosho Ningyo (royal-gift doll).Middle of 19th Century."Ushiwaka and Kumasaka."H.: Ushiwaka, 30 in.; Kumasaka, 31 in.National Museum, Tokyo.

170 Gosho Ningyo.Middle of 19th Century."Spirits of crane and tortoise" (symbols of longevity)

.

H. 2414 in.National Museum, Tokyo.

171 Gosho Ningyo.Middle of 19th Century."Young piper." H. 9 in.National Museum, Tokyo.

172 Mitsuori Ningyo (dolls with movable limbs).Middle of 19th Century.H.: man, M'/o in.; woman, 12% in.Dolls and Toys Society, Tokyo.

173 Saga Doll.Late 17th Century."Beauty." H. 9 7/16 in.National Museum, Tokyo.

174 Kimekomi Ningyo (wooden dollwith attached clothing).19th Century."Dandy of the Temmei era." H. 2% in.Ascribed to Daihachiro.Mr. Shinzo Noguchi, Tokyo.

175 Kimekomi Ningyo.19th Century."Figures of the Sambaso dance." II. 3V-;Dolls and Toys Society, Tokyo.

176 Kimekomi Ningyo.Late 18th Century."Bird catcher." H. 6V in.Mr. Shinzo Noguchi, Tokyo.

177 Nara Ningyo (wooden dolls made in Nara City).Late 19th Century."Ushiwaka and Kumasaka." By Morikawa Toen.H.: Ushiwaka, 6V-2 in.; Kumasaka, 11 in.National Museum, Tokyo.

178 Dolls for the Girls' Festival in March.Middle of 19th Century.H.: man, 14% in.; woman, 12 in.Dolls and Toys Society, Tokyo.

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PAINTING

2 EMMA-TEN (YamaJ 12th Century

3 Fl GEN BOSATSU (Samanlabhadra) 12th Century

6 ICHIJI KONRIN (Vairocana) 12th Century

4 ARUATS 12tli Century

10 JIZO BOSATSU (Ksitigarbha) \M\ Cenlury^i!^'

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8 BISHAMONTEN CFfliVato/iaj 13th Century

7 MANJUSRI CROSSING OVER THE OCEAN 13th Century

9 EIGHT ASPECTS OF BUDDHA'S LIFE 13th Century

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I12 COURT GUARDS IN EQUESTRIAN TRAINING 13th Ceniury

14 SCROLL OF L()\(-\()>K1) (.()]!l.l\ l.llli CcnliiiN

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15 SCROLL OF THE LIFE OF AN ARTLST 13th Century

16 SCROLL OF THE STORY OF HASEO 14th Century

17 SCROLL OF THE HORSE RACE IN THE ROYAL PALACE 14th Century

18 PRIEST KENSUBy Kao Ryozen 14th Century

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20 LANDSCAPEAltrilnilfd to Sliiihim lolli OiUiirv

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24 LAND.SCAPK VVnil H.OVVEHS AMU BIRDSAtlriliuted to Kano Motonobu 16th Century

2S SUMMER LAN 1 1-1 W\.BySesshu 15th Century

22 k\\ \\,\()\ I!()>\T>1 iAvuloLitv.suint)By No-Ami 15th Century

21 KANZAN AND JITTOKL loth Ontury

25 REISHO-JO OF THE T'ANG DYNASTYBy Kei Sliilsusai 16tli (ientiiry

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26 llAWkS B) Se>M,n 16th Century

28 EAGLES AND PINES Attributed to Kano Eitoku 17th Century

26 HAWKS BySesson 16th(.,niiir>

28 EAGLKS AND PINES Atirihut.a to kaim i;ii,,ku ITih Ccutun

30 WESTERNERS PLAYING THEIR MUSIC I8th Cciiuii>

35 AUTUMN GRASS AND QUAIL By Sakai Hoitsu 19ih Century

29 WESTERNERS IN JAPAN 17th Century

32 AUTUMN CRASS By Ogata Korin 17th Century

3;^ I \M)--( \l'i; \T l,\Ki: IISI and overlooking tides of CH'IEN-TANG rivekB> Ike Taiga 18th Century

31 SCENES ON AND BA (K ol- I'HE STAGE ViimImh,-,! m lli^lnk.iua M.u .1mi I7i1i (..ni

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34 SNOWY LANDSCAPE By Matsumura Goshun 18th Century

.31 SCENES ON AND BACK OF THE STAGE Aiirihiiua i.. lli-lnkaua M.unnoLu i:il, < .miui)

41 WAVES By Maniyama Okyo 18th Centun

41 WAVES By Mariiyama Okyo 18th Century

65 POEM WRITTEN UPON DECORATED PAPER Calligraph by KoetsiiPainting by Sotatsii 17th Century

38 YVIMA (Vimalakirti) By Ogata Korin 18tli Ceiitur\

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37 WISTAKIA IN BLOOMBy Honnami Koho 17th Century

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By Kitagawa Sosetsu 17th Century

47 GRAPESBy Tachihara Kyosho 19th Century

44 LOTUS FLOWERSBy Sakai Hyakusen 18th Century

49 ALBUM OF INSECTS AND FISHESBy Watanabe Kazan 19th Century

U> Sl'NNY MORNING IN UJI By A-.ki M..lsMl)ci lyih Cfiiiiiry

45 LANDSCAPE IN SNOW By Yosa-no Buson I81I1 C.-ntiiry

40 GROUP OF COCKS By Ito Jakuchu 18th Century

43 PEACOCKBy Yamaguchi Soken 18th Century

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48 PORTRAIT OF ICHIKAWA BEIANBy Watanabe Kazan 19th Century

42 LANDSCAPE IN MOONLICHTBy Nagasawa Rost-Isu I81I1 Ccniiiry

39 IN AND AROUND KYOTO By Siiniiyo>lii dikt-i 17th Century

52 VILLA AT THE FOOT OF OGLRAYAALV HILLBy Okumura Masanobu 18th Century

54 WOMAN CHANCING HER DRESSBy Kitagawa Utamaro 18th Century

55-1 SCENE OE YOSHIWARABy Hishikawa Moronobii 18th Century

55-2 YOUNG WOMAN HOLDING A POEM CARDBy Kaigetsiido Dolian 18th Century

53-11 COUPLE TALKING AT THE VERANDAHBy Suzuki Harunobu 18th Century

55-16 A COQUETTISH TYPEBy Kitagawa Utamaro 19lli Century

55-21 ACTOR AKASUl RYUZO AS A MONEY-LENDERBy Toshii.sai Sharaku 19th Century

35-35 ONO WATERFALLBy Katsushika Hokusai 19th Century

55-51 SlIOWKK AT OMASIll BKII)(;KAndo Hiroshige 19tli Century

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63 FRAGMENT OF SANJUROKUNINSHU ANTHOLOGY 12th Century

62 FRAGMENT OF KOKINSHU ANTHOLOGY Aiiributed to Minamoto-no Toshiyori 12th Century

69 TERRACOTTA GRAVE FIGURE (Hen)

SCULPTURE

66 TERRACOTTA GRAVE FIGURE (Man)4lh-5th Century

67 TERRA-COTTA GRAVE FKU'RE ( Hcid oj a nirl)4th-Sth Century

70 KWANNON BOSATSU(Avalokitesvara) 7th Century

72 TORSO OF A BUDDHA 8th Century

71 HEAD OF A BU>Ai>l( Bodhisattva) 8th Century

74 YAKUSni NYORAI (BaisajyaguruJ 9ili Cciiiury

76 TAMON-TEN (VaisravanaJ 12th Century

77 SEITAKA DOJl (Cetaka) 13tli Ontury

78 KOW.O R\K\S\\l (I ajirapani) 13th O-nlury

80 GIGAKU MASK 7th Century 81 GIGAKU MASK 8th Century

GIGAKU MASKS

81 (;IGAKU MASK 8th Century

80 GIGAKU MASK 7th Century

BUGAKU MASKS

83 NOH MASK Ko-Omoie16th-17lh Century

82 BUGAKU MASK Shin Toriso 82 BUGAKU MASK Chikyii12th Century 12th Century

NOH and KYOGENMASKS

83 NOH MASK Myoga Akujo16th-17th Century

83 NOIl MASK I Limn;16th-17th Century

84 KYOGEN MASK Buaku16th-17th Century

84 KYOGEN MASK Us

METAL WORK

85 DOTAKU (Bell-shaped bronze) First Century B.C.

88 KEMAN 12th Century

94 SUTRA BOX 16ih Century

87 MIRRORS FROM HAGURO SHRINEllth-12th Century

91 ASHIYA KETTLEFOR TEA CEREMONY15th Century

96 FLAT KETTLE FOR TEA CEREMONY 17th Century

97 ARMOR WITH HELMET (Purple lacing) 13th Century

ARMORS

98 ARMOR WITH HELMET(Jay-bird feather color)14th Century

99 CUIRASS (Dark-blue lacing)16th Century

SWORD FURNITURE

I I

t100 SWORD MOUNTED FOR CEREMONIAL USE JOth Century

101 SWORD MOUNTED WITH CHAINS 13th Century

W j105 SWORD MOUNTING (Uchigatana type) 17th Century

108 SWORD MOUNTINC; ( Koshigatana ly,>e) 19ih Century

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106 SWORD MOUNTING (Wakizashi type) 19th Century

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107 SWORD MOINTING (Katana type) 19th Century

115 SWORD (UIARD By YasuchikaI81I1 Ontiiry

113 SWORD GUARDBy Yasuchika18th Century

110 SWORD GUARDBy Umetada Myoju17th Century

119 KOZUKA AND MENUKI By Yokoya Somin 18th Centuiy

110 SWORD (;UARD By Umetada Myoju17th Century

121 SWORD GUARD By Kano Natsuo19th Century

114 SWORD GUARD By Yasuchika18th Century

120 SWORD GUARDCarved by Goto Ichijo I'Jth Century

120 SWORD (;UARDCarved by (Joto Icliijo I9tli (!enlury

LACQUERART

123 LACQUERED SADDLE WITH DESIGN OF CHERRY BLOSSOMS12th Century

127 LACQUERED SADDLEAND STIRRUPS17th Century

122 LACQUERED BOX WITH DESIGN OF PLOVERS 13th Century

124 LACQUERED BOX WITH DESIGN OF FANS 16th Century

125 LACQUERED BOX WITH DESIGN OF PINE AND CAMELLIAContaining a set of toilet articles 16th Century

128 LACQUERED CABINET WITH DESIGN OF AUTUMN GRASS 16th Century

129 LACQUERED CHAIRWITH DESIGNOF CHRYSANTHEMUMS16lh Century

148 PORCELAIN TEA JAR By Nonomiya Ninsei 17th Century

CERAMIC ART

135 BROWN GLAZED POT (Old Seto ware)14th Century

134 M;1.I.()\\ (,I,\/,|;|) pot i old Seto ivarej14tli Century

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138 SMALL GREEN BOWL (Oribe ware)17th Century

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137 SQUARE BOWL f Oribe ware)17th Century

136 OBLONG GRAY BOWL (Shino ware) 17th Century

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139 CEREMONIAL TEA BOWL I Black Raku ware)By Do-nyu 17th Century

140 CEREMONIAL TEA BOWL(Red Raku ware) By Do-nyu17th Century

141 JAR WITH THREE EARS (YcGaralsu ware) 17th Century

144 PORCELAIN BOWL (Old Imari ware) 18th Century

149 DISHES WITH DIFFERENT DESIGNS By Kenzan 17th Century

146 LARGE PORCELAIN DISH (Old Kutani ware) 17tli Century

149 DISHES WITH UIFFERLNT DESIGNS By Kenzan 17tli Century

143 LARGE PORCELAIN DISH (Nabeshima ware) 18tli Century

142 PORCELAIN BOWL (Kakiyemon ware) 18th Century

150 TEXTILE FABRICS FROM THE IMPERIAL REPOSITORY SHOSOIN 7th-8th Century

TEXTILES

154 KOSODE SILK KIMONO 16th Century

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162 NOH KOBE OFKARAOKl TYPE17th Century

166 SCARLET VELVET OBI (Sash) 18th Century

171 GOSHO NINGYO "YOUNG PIPER" 19tli Century

PRINTED IN U. S. A. BY H. S. CROCKER CO., INC. WITH BLACK AND WHITE ENGRAVINGS BY WALTER J. MANN CO., SAN FRANCISCO

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