Japan Jomon and Yayoi Periods ca. 10500 BCE – 300 CE Kofun Period ca. 300 – 552 Asuka and Nara Periods 552-784 Heian Period 794 – 1185 Kamakura Period 1185 - 1332

Jomon Period (ca. 10,500 BCE – 300 BCE) 10,000 years before the birth of Buddha Jomon (“cord markings”)- refers to technique that Japanese potters of this era use to decorate earthenware vessels. They were hunter-gatherers, but not nomadic Villages consisted of pit dwellings– shallow round excavations with raised earthen rims and thatched roofs Developed distinct ceramic technology before development of agriculture

Mid-Jomon Pottery (2500-1500 BCE) Pottery surfaces  rope markings, incised lines, and applied coils of clay Dwelled in mountainous inland region Modeled ceramic ornament favored over painted ceramic ornament Vessels used for many purposes, ranging from cooking to bone burial. Most elaborately decorated vessels used in ceremonial functions

From Miyanomae Characteristic, intricately modeled surface and partially sculpted rim Japans vessels are thick and heavy compared to the Neolithic Chinese vessels that are harder, lighter, thinner, and painted

Yayoi Period (ca. 300 BCE – 300 CE) Named after the Yayoi district of Tokyo, where the first post-Jomon civilization was discovered. The culture actually emerged in Kyushu (southernmost part of the main Japanese islands) and spread north. Increased interaction and trade with China and Korea and Korean immigration caused dramatic social and technological transformations Still lived in pit dwellings, but villages became larger and had more fortifications which indicates a need for defense In the 3rd century, Japan had walled towns, many small kingdoms, and a highly stratified social structure Wet-rice agriculture provided social and economic foundations for these developments Yayoi pottery was less sculptural than Jomon ceramics and sometimes polychrome, and they developed bronze casting and loom weaving

Dotaku Yayoi artists created dotaku, or bells Resemble Han Chinese bell form, but the Yayoi didn’t use dotaku as musical instruments They were treasured ceremonial bronzes and were usually put into graves. Cast in clay molds, featuring raised geometric decoration presented in bands or clocks Many consist of simple line drawings of people and animals– their meaning still is not understood Earliest examples of pictorial art in Japan

Kofun Period (ca. 300-552) Named after the enormous earthen burial mounds, or tumuli (ko means “old” and fun means “tomb”) These mounds arose in the third century and grew dramatically in number and scale in the fourth century

Tomb of Nintoku The largest tumulus in Japan is the tomb of Nintoku at Sakai Scholars believe it postdates his death in 399 Central mound, “keyhole” form, is approx. 1600 ft long and rises to about 90 ft. Surrounded by 3 moats, covers 458 acres Many important, symbolic items and imperial regalia (mirrors, swords, and comma-shaped jewels) were place with coffin in summit of the mound to assist in the deceased’s transition to the next life. Bronze mirrors from China, but burial mound forms and comma-shaped jewels suggests strong connection with Korea (similar jewels found on Korean Silla crowns)

Haniwa Haniwa= unglazed ceramic sculptures (hani means “clay” and wa means “circle”) Placed on and around Kofun tumuli These sculptures, usually several feet high, are distinctly Japanese; compared to the Chinese terracotta soldiers and horses, these statues appear deceptively whimsical as variations on cylindrical theme. Subjects range from abstract shapes to objects, animals, and human figures. The variety of figures suggest they functioned as spiritual barriers to protect living and dead from contamination Set in curvin grows around tumulus and in groups around tumulus in haniwa house directly over dead’s burial chamber Number of haniwa reflect the stature of the dead person

Shrine of Amaterasu Religious system = Shinto Japanese imperial clan traces origins to the sun goddess Amaterasu Her shrine at Ise is most important Shinto religious center Characteristics of Shinto: sacred space, ritual renewal, and purification Unique because design could not be copied because of its connection to the Japanese imperial family. Original source for form: graneries Thatched roof, metallic decorations, but made mostly of wood. Wood fitted by mortise-and-tenon system (builders slip wallboards into slots in pillars) 2 massive freestanding posts (cypress trunks), 1 at each end of the main sanctuary, support most of weight of ridgepole, beam at crest of roof. Golden-hued cypress columns and planks contrast in color with white gravel Decorative elements enhance roofline, include chigi, extensions of rafters at each end of roof, and katsuogi, wooden logs placed at right angles across ridgepole to hold thatch of roof in place. Amaterasu shrine highlight connection between nature and spirit

Shinto Shinto- “Way of the Gods” Formal scriptures do not exist Developed in conjunction with advent of agriculture during Yayoi period Focused on needs of agrarian society and included agricultural surrounding planting and harvesting Villagers venerated and prayed to kami, multitude of gods or spirits that existed in features of nature, charismatic people and where they dwelled Each clan had its own protector kami Priests made grain and fruit offerings; ritual divination, water purification, and ceremonial purifucations took place at shrines Purity was critical aspect of religion If negative events (poor harvest) that suggested spiritual defilement occurred, people would abandon buildings or whole villages

Buddhist Japan 552- Korean ruler of Paekche sent Japan’s ruler a gilded broze statue of the Buddha along with sutras (Buddhist scriptures) translated into Chinese  marked beginning of Asuka period, where japan embraced many elements of the continental Asia. These elements included Chinese writing, Confucianism, and Buddhism 645- series of reforms led to establishment of a centralized government  marked beginning of Nara period, when Japanese ruling court adopted many components of the Chinese ruling court 710- establishment of intended permanent capital at Heijo (present-day Nara); planners laid out capital on symmetrical grid closely modeled after plan on Chinese capital Chang’an For half a century after 552, Buddhism opposed, but after, it was established firmly in Japan Older beliefs and practices continued to have significance, especially as agricultural rituals and imperial court rites

Asuka and Nara Periods Arts associated with Buddhists practices were modeled closely after Chinese and Korean prototypes So closely resembled mainland architecture, it helped with reconstruction later

Tori Busshi Earliest example of Japanese Buddhist sculptures is a bronze Buddhist triad (Buddha flanked by 2 bodhisattvas) Empress Suiko commissioned the work as votive offering when Prince Shotuku fell ill in 621. When he died, she dedicated it to the prince’s well-being in his next life and rebirth in paradise. Central figure is Shaka ( Indian/Chinese Sakyamuni), historical Buddha, seated with right hand raised in abhaya mudra Behind Shaka is flaming mandorla (lotus-petal shaped nimbus) incorporating small figures of other Buddhas Sculptor: Tori Busshi (busshi means “maker of Buddhist images”) was a descendant of a Chinese immigrant Similar to style of early to mid-6th century in China and Korea and is characterized by elongated heads and elegantly stylized drapery folds that form gravity-defying swirls

Yakushi Triad In the Yakushiji temple of the late 7th cent in Nara, the scultor favored grater anatomical definiteion and shape-revealing drapery over the dramatic sylizations of Tori Busshi’s triad The statues of the attendant bodhisattvas Nikko and Gakko reveal the long stylistic trail back through China to the sensuous fleshiness and outthrust-hip poses of Indian sculpture.

Horyuji Kondo

Main pillars decrease in diameter from bottom to top Tapering provides an effective transition between the more delicate brackets above and the columns’ stout forms Harmonious reduction in scale from first to second story is masked by added porch a bit Like the other 3, Amida, the Buddha of immeasurable light and infinite life, ruler of the Western Pure Land, sits enthroned in his paradisiacal land, attended b y bodhisattvas Exclusive worship of Amida later became a major trend in Japanese Buddhism Painting here is simple and iconic Technique similar to fresco, such as transferring designs from paper to wall by piercing holes in paper and pushing colored powder through holes. Mature Tang style, with echoes of Indian sensuality, surfaces in this work. Smooth brush lines, called iron-wire lines, because they are thin and of unvarying width with a suggestion of tensile strength Lines are red, not black

Daibutsuden, Todaiji Administrative center of a network of branch temples built in every province Dissemination of a common religion contributed to the eventual disruption of the clan system and the unification of disparate political groups So important was the erection of the building and the Daibutsu that court and government officials as well as Buddhist dignitaries from China and India were present at the opening ceremonies in 752 Today the building is significantly smaller than the original (original had 11 bays, currently has 7 bays) Still the largest wooden building in the world Kondo known as the Daibutsuden, or Great Buddha Hall Houses 53-ft bronze image of the Cosmic Buddha, Roshana (Vairocana), inspired by similar Chinese colossal stone statues Commissioned b yEmporer Shomu in 743 to try to unify and strengthen the country by using religious authority to reinforce imperial power

Heian Period (794-1185) In 784, possibly to escape power of Buddhist priests in Nara, the imperial house moved its capital to Heiankyo (“capital of peace and tranquility”), known to day as Kyoto Early in the period, Japan and China remained fairly close, but by the middle of the ninth century, contact between the two deteriorated extremely quickly. It became more self-directed than it had been in the preceding few centuries

Esoteric Buddhism Named so because of the secret transmission of tis teachings 2 Esoteric sects made their appearance in Japan at the beginning of the Heian period: Tendai in 805 and Shingon in 806 Teachings of Tendai based on the Lotus Sutra, one of the Buddhist scriptural narratives, and Shingon (True Word) teachings on two other sutras Both teachings believe that all individual possess buddha nature and can achieve enlightenment through meditation rituals and careful living To aid focus during meditation, Shingon disciples use special hand gestures (mudras) and recite particular words or syllables (shingon). Shingon became the primary form of Buddhism in Japan through the mid-10th century

Taizokai Mandara Art provided followers with visualizations of specific Buddhist deities and allowed them to contemplate the transcendental concepts central to the religion Mandara= diagram of the cosmic universe Womb World (Taizokai) is one of the most famous mandaras, usually hung on wall of a Shingon kondo Composed of 12 zones, each representing one of the variou dimensions of buddha nature Many figures hold lightning bolts, symbolizing the power of the mind to destroy human passion Womb World and Diamond World (Kongokai) are pair paintings Central motif of Womb World is the lotus of compassion, in Diamond World it is the diamond scepter of wisdom

Phoenix Hall, Uji

Most important surviving monument in Japan related to Pure Land beliefs Fujiwara Yorimichi built the temple in memory of his father, Michinaga, on the grounds of Michinaga’s summer villa at Uji Houses a wooden statue of Amida carved from multiple joined blocks, the predominant wooden sculpture technique of this time Elaborate winged form evokes images of the Buddha’s palace in his Pure Land By placing only light pillars on the exterior, elevating wings, and situating the whole on a reflective pond, a floating weightlessness is suggested Building’s name is derived from its overall birdlike shape and from two bronze phoenixes decorating the ridgepole ends

Tale of Genji Japan’s most admired literary classic, written around 1000 by Murasaki Shikubu (aka Lady Murasaki), a lady-in-waiting in the court Recounts lives and loves of Prince Genji and his descendants Gives view of the Heian court culture Originally consisted of 10 handscrolls produced by 5 teams of artisans Primarily hiragana, a sound-based writing system developed in Japan from Chinese characters Hiragana originally served the needs of women who were not taught Chinese and became the primary script for Japanese court poetry Alternating segments of text and pictures

In this scene, Genji meets with his greatest love near the time of her death Bush-clover in the garden identifies the season as autumn, associated with the fading of life and love Radically upturned ground plane and strong diagonal lines suggest 3 dimensional space Omitted roofs and ceilings allow privileged view of the interior Unusual angles are metaphors for the emotions of the characters depicted Flat fields of unshaded color emphasize the painting’s 2 dimensional character Rich patterns in the textiles and architectural ornament five a feeling of sumptuousness Human figures appear to be made of stiff layers of clothing, with generalized faces (lack of individualization may suggest societal restrictions on looking directly at exalted individuals) Features of Genji illustrations– native subjects, bright mineral pigments, lack of emphasis on strong brushwork, and general flatness– considered typical of native-style painting, yamato-e

Legends of Mount Shigi Painted during the late 12th century Belong to a genre of pious Buddhist tales devoted to miraculous events involving virtuous individuals Several scenes presented in a long, unbroken stretch Illustrate 3 miracles associated with a Buddhist monk and his mountaintop temple The first relates the story of the flying storehouse and depicts Myoren’s begging bowl lifting the rice-filled granary of a greedy farmer and carrying it off to the monk’s hut in the mountains (above) Astonished landowner, his attendants, and several onlookers are all depicted in various poses Artist exaggerated each feature of the painted figures, but still depicted the actors and architecture

Kamakura Period (1185-1332) In late 12th century, series of civil wars ended the Japanese imperial court as a major political and social force Victors, Minamoto family, established a shogunate (military government) at Kamakura in eastern Japan First shogun was Minamoto Yoritomo, bestowed his title in 1185 This period named for the locale Increased contact with China was translated into Japanese culture, ranging from new architectural styles to Zen Buddhism

Shunjobo Chogen Leading figure in planning and directing the reconstruction efforts was the priest Shunjobo Chogen Made various trips to China and oversaw the rebuilding of Todaji, among other projects, with plenty of money from Minamoto His portrait statue reflects the high level of naturalism present in the Kamakura Period The finely painted details, powerful rendering of the signs of aging, and the inclusion of such personal attributes as prayer beads, this statue exhibits the carving style and skill of the Kei School of sculptors Kei School displays fine Heian carving techniques combined with an increased concern for natural volume and detail To enhance the quality of Japanese statues is the use of inlaid rock crystals for the eyes

Attack on Sanjo Palace Striking example of handscroll painting Dates to the 13th cent and illustrates historical narrative Depicts some of the battles in the civil wars at the end of the Heian Period Picture above shows the attack on Sanjo Palace in the middle of the night in which the retired emperor Goshirakawa was taken prisoner and his palace burned Swirling flames and billowing clouds dominate the picture Soldiers are battling on horse and foot at the bottom Building seen from above at a sharp angle Noteworthy staccato brushwork and vivid flashes of color that capture the drama of the event

Amida Descending In this picture, a gigantic Amida rises from behind the mountains against the backdrop of a dark sky His 2 main attendant bodhisattvas, Kannon and Seishi, have already descended and are depicted as is directly addressing the deceased 2 boys point to the approaching divinities, contrasting with Amida’s still and frontal figure Particularly striking is the way his halo (nimbus)resembles a rising moon

Muromachi The Kamakura period ended the same way it begin: in civil war After several years of conflict, one shogun emerged supreme and he governed Japan from his headquarters in the Muramachi district of Kyoto