Shitennoji Temple in Osaka, Japan (Modern Reconstruction)
Founded by Prince Shotoku in 593 C.E., Shitennoji is dedicated to the Shitenno, or the four heavenly kings. Although the current structure is a modern reconstruction, the original building was built at the end of lengthy war that took place in the sixth century between the pro-Buddhist Soga clan (with whom Shotoku took sides) and the anti-buddhist Mononobe clan. During this war Shotoku Taishi made a promise to his allies that he would build a temple of the Mononobe clan was defeated; upon the demise of the clan in 587 C.E., constructed was started.
This temple serves as an example of the profound influence rulers had on Japan's cultural output. By constructing a Buddhist temple with non-traditional stylistic features, Shotoku Taishi set the standard for future projects and shaped the architecture of later generations.
http://oldphotosjapan.com/photos/9/osaka-1880s-shitennoji-temple
Yoroi Armor
From the beginning of their rule, the shogunate promoted a culture that combined aspects of samurai culture and the arts of the imperial court, with the balance between the two shifting in accordance with the interests of the individual shogunate and their advisers.
This armor was laced in white silk and had diagonal bands of multicolored lacing at the edges os the skirt and the now missing sode (shoulder guards). The colored lacings symbolized the rainbow, a token of good fortune and fleeting beauty. The breastplate is stenciled leather that bears an ornate depiction of teh powerful Buddhist deity Fudo Myo-o, whose fierce appearance and attributes of calmness and inner strength were highly prized and sought to be emulated by samurai.
Late kamakura period (1185-1333), early 14th century.
Lacquered iron and leather, silk, stenciled leather, copper-gilt.
Yoroi Armor with Red-Leather Lacing
The rise of the samurai in the late Heian period gave way to a new era of military devoted class that would drastically change art and the way craftsmen would evolve their skills. The martial skills and daily life of the samurai, their governing lords, the daimyo, and the ruling shoguns would also be evoked through the stylized armor and weaponry that would be produced until the samurai were abolished in 1868.
This particular early work is made from a tanned deerskin, dyed red to symbolize the intensity of the passion behind a warriors devotion to combat. All of the materials are closely related to nature and the spirit of the individual warrior.
Armor was normally preserved in temples to honor the deceased warriors who died honorably in battle, but some, such as this one, were passed down through a samurai's family as a token of their ancestors courage.
Metropolitan Museum of Art
Heian period, 12th century
Illustrated Tale of Genji - The 44th quire Takekawa, 12th Century
The aerial view depicted in the 44th chapter is a great compositional device rarely seen in China but greatly utilized by Japanese artists.
http://www.tokugawa-art-museum.jp/english/index.html
Japanese
Illustrated Tale of Genji - The 49th quire Yadorigi, 12th Century
Yamato-e is traditionally conceived as a Tang-Dynasty stylistic device, but through the popularization of hand-scroll narratives within the imperial court, Japanese painters were able to refine this decorative technique into something stylistically their own. The tree depicted in the bottom right hand corner is reflective of this Japanese style attention to detail depicting every branch as a graceful extension from its base, showing the beauty of nature.
Picture Scroll of the Tale of Genji - Scene from the Chapter of Hashihime and Yadorigi II, 12th Century
A characteristic of the Late Heian style is the close attention to detail and can be seen in the delicately gold crafted Japanese screens in the middle ground of the image, and also in the sumptuous fabrics of the aristocrats.
With the patronage from the court, artists were able to experiment and broaden technique styles utilizing sumptuous colors such as purple, red, orange, deep blues, yellows, and traditional black ink. Among other materials used under the courtly influence were cut-gold patterning and sprinkled gold.
http://www.tokugawa-art-museum.jp/english/index.html
Shōsōin
During the reign of Emperor Shomu (701-756 C.E), Japan endured a period of great cultural output brought about by state patronage. Throughout his life, Shomu devoted large sums of money for the creation of elaborate Buddhist temples and artifacts throughout the country. Having proclaimed himself a "servant of the Three Treasures" (the Buddha, the Buddhist law, and the monastic community), the emperor was responsible for turning Japan into one of the largest producers of Buddhist art and architecture in the East. One of the first temples founded is Shōsōin in Tōdai-ji, Nara from around 756 C.E.
Constructed in the "azekura" log-cabin style, Shōsōin features a raised floor and is the oldest surviving building of this type. It serves as a treasure house of over 600 objects spanning several centuries.
Hōryū-ji
Temple complex of Hōryū-ji in Nara, Japan.
Horyu-ji is a Buddhist temple complex in Japan and contains some of the oldest wooden structures in the world. Located in Ikaruga, Horyu-ji was first built around 607 C.E. but most of the existing buildings come from around 670 C.E. The individual buildings of Horyu-ji show an influence of Chinese architecture, from the use of the multi-tiered pagoda form, stepped eaves, tile roofs, and elaborate, bracketed internal support structure.
The "kondo," or golden hall, aligns with the four cardinal points - a feature that is commonly seen in Buddhist temples from India and China - and holds various sacred objects and wall paintings. The pagoda, likewise, is a foreign form that was introduced into Japan. Based upon the shape of the Indian stupa (a rounded mound), the pagoda is stands as a symbolic Buddhist monument and is often used to house sacred relics and writings. The pagoda form became popular in Japan once rulers like prince Shotoku set out to spread Buddhist relics and ideas throughout the land.
Secular Handscroll: Ban Dainagon Ekotoba
Ban Dainagon Ekotoba. Section of the 1st handscroll; ink and color on paper. Late 12th century. Tokyo National Museum. Attributed to Tokiwa Mitsunaga.
In response to the large fire in 866 at Kyoto, historically known as the Ōtenmon conspiracy, the retired Emperor Go-Shirakawa commissioned a set of emaki in 1177 to please the angry spirit of Tomo no Yoshio, the great counselor of the state, who is believed to have set fire to the Gates.
A brilliant display of artistry is employed to make the narrative effective to viewer and justly satisfy Tomo no Yoshio; stylistically the lithe calligraphic lines define the characters form and the application of the thick bright spots of color relate it to the technique original developed and utilized in the Tale of Genji scrolls.
Religious Handscroll: The Flying Storehouse
The Flying Storehouse. Section of the hand-scroll <span style="font-style:italic;">Shigisan Engi Emaki;<span style="font-style:normal;"> ink and slight color on paper, </span></span>Late 12th century
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<div><em> Shigisan engi</em> <em>emaki</em> (<em>Legends of Mt. Shigi</em> scroll) shows the respect for monks, myth, and magic depicting the famous story of the miraculous alms bowl that attached itself to the frugal farmer's grain house and brought it back to the monastery.</div>
<div> With the high elevated view and attention to detail, this <span style="font-style:italic;">emaki <span style="font-style:normal;">is a prime example of Heian court painting 'yamato-e,' a classical Japanese technique, which </span></span>exhibits the link between court patronage and Buddhist temples.</div>
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