News Release Celebrating the Arts of Japan: the Mary Griggs Burke

Home , Bosatsu, Budai, Echizen ware, Ike no Taiga, Itsukushima Shrine, Kaikei

News Release The Metropolitan Museum of Art Communications Department 1000 Fifth Avenue, New York, NY 10028-0198 tel (212) 570-3951 fax (212) 472-2764 [email protected]

Contact: Elyse Topalian Naomi Takafuchi

Celebrating the Arts of Japan: The Mary Griggs Burke Collection October 20, 2015–July 31, 2016

EXHIBITION CHECKLIST WITH LABELS

Gallery 223, Case 01 1. 男神坐像・女神坐像 Male and Female Shinto Deities Japan, Heian period (ca. 900–1185), 10th century Japanese cypress with traces of color H. 20 5/8 in. (52.4 cm) Mary Griggs Burke Collection, Gift of the Mary and Jackson Burke Foundation, 2015 2015.300.256a, b

This pair of Shinto deities is represented in human form, wearing Heian court dress to suggest sacred and secular authority. These figures were likely produced in connection with the ancient court practice of honoring the spirit ancestors of aristocratic families as a reward for their political and cultural contributions. The square faces, stout bodies, and deeply carved robes resemble the stylized rendering of early Heian-period Buddhist sculpture.

10/16/2015 1 Gallery 223, Case 01 2. 狛犬像 Guardian Lion-Dogs Japan, Kamakura period (1185–1333), mid-13th century Japanese cypress with lacquer, gold leaf, and color a: H. 16 3/4 in. (42.5 cm); b: H. 18 in. (45.7 cm) Mary Griggs Burke Collection, Gift of the Mary and Jackson Burke Foundation, 2015 2015.300.257a, b

Pairs of lion-dogs (komainu), featuring leonine heads on canine bodies, are traditionally placed before the entrance of Shinto shrines to ward off evil. The figure on the right is distinguished by its open mouth (a gyō), while the figure on the left bears a closed mouth (un gyō). These features may echo the open- and closed-mouth iconography of niō, the pair of guardian deities who protect Buddhist temples.

Gallery 223, Vitrine A1 3. 埴輪巫女 Haniwa (Clay Sculpture) of a Female Shrine Attendant Japan, Kofun period (ca. 3rd–7th century), 6th century Earthenware with traces of color H. 12 3/8 in. (31.5 cm) Mary Griggs Burke Collection, Gift of the Mary and Jackson Burke Foundation, 2015 2015.300.255

10/16/2015 2 Gallery 223, Case 02 4. Illustrated Legends of the Origins of the Kumano Shrines (Kumano engi emaki) Japan, Momoyama period (1573–1615), late 16th–early 17th century Set of three handscrolls; ink and color on paper Image (a): 9 1/2 in. × 33 ft. 5 5/8 in. (24.1 × 1020.2 cm) Image (b): 9 1/2 in. × 20 ft. 2 5/16 in. (24.1 × 615.5 cm) Image (c): 9 1/2 in. × 13 ft. 9 3/4 in. (24.1 × 421 cm) Mary Griggs Burke Collection, Gift of the Mary and Jackson Burke Foundation, 2015 2015.300.18a–c

Section of scroll to change for Rotation 2.

These handscrolls are part of a set of three (2015.300.18a–c), narrating the miraculous origins of the shrines at Kumano, one of Japan’s most sacred locales. A fantastical account of the Indian origins and ultimate enshrinement of Kumano’s three deities, the story is told through a mix of text and image presented in a linear format, conveying progression through time and space.

The first two scrolls depict the story of an unnamed consort—one among a thousand—of an Indian maharaja who gives birth to the maharaja’s only son but is immediately beheaded at the hands of the other 999 consorts, who are bitterly jealous. The king, his consort, and the prince are eventually enshrined as the deities of Kumano, whose sacred sites are introduced in the final scroll.

10/16/2015 3 Gallery 223, Plexi Wall Case A 5. 春日宮曼荼羅 Mandala of Kasuga Shrine Japan, Kamakura period (1185–1333), early 14th century Hanging scroll; ink, color, and gold on silk Image: 39 7/16 × 15 5/8 in. (100.2 × 39.7 cm) Overall with mounting: 72 1/4 × 21 5/8 in. (183.5 × 55 cm) Overall with knobs: 72 1/4 × 23 11/16 in. (183.5 × 60.2 cm) Mary Griggs Burke Collection, Gift of the Mary and Jackson Burke Foundation, 2015 2015.300.12

Combining the conceptual framework of the Buddhist mandala with elements of traditional Japanese painting, artists produced representations of shrine precincts in this unique genre of painting known as “shrine mandala” (miya mandara). This example of a Kasuga Shrine mandala depicts the sprawling complex at the foot of Mount Mikasa from a bird’s-eye perspective, inviting the viewer to embark on a virtual pilgrimage to the site and thereby gain the favor of Kasuga’s deities. The Buddhist avatars of the five Kasuga deities appear at the top of the scroll. From right to left they are: Eleven-headed Kannon (Jūichimen Kannon), Kannon of the Unfailing Noose (Fukūkensaku Kannon), the Medicine Buddha (Yakushi), the bodhisattva Jizō, and another Eleven-headed Kannon.

10/16/2015 4 Gallery 223, Case 03 6. 春日鹿曼荼羅 Deer Mandala of the Kasuga Shrine (Kasuga shika mandara) Japan, Nanbokuchō period (1336–92), late 14th century Hanging scroll; color on silk Image: 33 15/16 × 13 7/8 in. (86.2 × 35.2 cm) Overall with mounting: 66 15/16 × 20 15/16 in. (170 × 53.2 cm) Overall with knobs: 66 15/16 × 22 15/16 in. (170 × 58.2 cm) Mary Griggs Burke Collection, Gift of the Mary and Jackson Burke Foundation, 2015 2015.300.11

10/16/2015 5 Gallery 223, Case 03 7. 春日若宮曼荼羅 Mandala of Wakamiya of Kasuga Shrine (Kasuga wakamiya mandara) Japan, Nanbokuchō period (1336–92), early 14th century Hanging scroll; ink, color, gold, and cut gold on silk Image: 29 3/4 in. × 15 in. (75.6 × 38.1 cm) Overall with mounting: 62 1/2 x 20 1/2 in. (158.8 x 52.1 cm) Overall with knobs: 62 1/2 x 22 1/2 in. (158.8 x 57.2 cm) Purchase, Lila Acheson Wallace Gift, 1997, and Gift of the Mary and Jackson Burke Foundation, 2015 1997.113

Seated on a pink and white lotus blossom and enclosed in a golden disc, Ame no oshikumone, the deity of Wakamiya Shrine at Kasuga, floats ethereally through space. Placed within the visual framework of a Buddhist deity and attired in the clothing of a noble youth, he holds a sword with his right hand, an allusion to his Buddhist counterpart Monju (Sanskrit: Manjusri), the bodhisattva of wisdom, whose attributes include a sword with which to cut through the illusions of the unenlightened mind. Monju is often depicted as a youthful figure, a visual reflection of his purified wisdom.

A wakamiya, or “young shrine,” is a type of subsidiary shrine usually dedicated to the child of a deity venerated in the shrine’s principal sanctuary and symbolizes youthfulness and rejuvenation.

10/16/2015 6 Gallery 223, Case 03 8. 丹生明神像 Niu Myōjin Japan, Kamakura period (1185–1333), early 14th century Hanging scroll; ink, color, and gold on silk Image: 32 5/8 × 14 7/16 in. (82.9 × 36.7 cm) Overall with mounting: 66 9/16 × 20 in. (169 × 50.8 cm) Overall with knobs: 66 9/16 × 21 3/4 in. (169 × 55.3 cm) Mary Griggs Burke Collection, Gift of the Mary and Jackson Burke Foundation, 2015 2015.300.14

The female Shinto deity of Mount Kōya, Niu Myōjin, is believed to have given Kūkai (Kōbō Daishi, 774–835) permission to build his monastery for Esoteric Buddhist training at Mount Kōya in 816.

Here she is shown seated on a tatami mat wearing elaborately layered robes and with the long, flowing hair of a court lady. In the disk at the top of the painting, the deity is represented again by the seed syllable (a sacred Sanskrit character) referring to her original Buddhist form (honji) as Dainichi Nyorai (Sanskrit: Mahāvairocana), the central Buddha of the Esoteric Buddhist cosmos. A painting of Niu Myōjin such as this is usually paired with one of Kariba Myōjin, the male deity of Mount Kōya.

10/16/2015 7 Gallery 223, Case 03 9. 高野四所明神像 The Four Deities of Mount Kōya Japan, Muromachi period (1392–1573), 16th century Hanging scroll; ink, color and gold on silk Image: 40 3/16 × 19 1/2 in. (102 × 49.5 cm) Overall with mounting: 65 15/16 × 25 7/16 in. (167.5 × 64.6 cm) Overall with knobs: 65 15/16 × 27 5/8 in. (167.5 × 70.2 cm) Mary Griggs Burke Collection, Gift of the Mary and Jackson Burke Foundation, 2015 2015.300.15

The four deities of Mount Kōya sit on elaborately decorated platforms before tripartite screens inside a Shinto shrine. Mount Kōya is the headquarters of the Shingon sect of Esoteric Buddhism, established in the ninth century by Kūkai (Kōbō Daishi, 774–835). The two figures at the top are the female deity Niu Myōjin and her male counterpart Kariba Myōjin, local deities of the mountain who are said to have welcomed Kūkai as he searched for a site to build a monastery. The two deities at the bottom are Kehi, on the right, and Itsukushima Myōjin, on the left, who were brought to Kōya in the thirteenth century by the wife of the first Kamakura shogun, Minamoto Yoritomo (1147–1199). The three female deities are dressed in the fashion of Chinese court ladies of the Song dynasty, while Kariba appears as a Japanese courtier.

10/16/2015 8 Gallery 223, Vitrine B 10. 兜跋毘沙門天立像 Tobatsu Bishamonten Japan, Heian period (794–1185), late 10th–early 11th century Zelkova wood with traces of color H. 49 1/4 in. (125.1 cm) Mary Griggs Burke Collection, Gift of the Mary and Jackson Burke Foundation, 2015 2015.300.253a, b

Tobatsu Bishamonten is one of the manifestations of Bishamonten, the Guardian King of the North, who is usually included in a group of Four Guardian Kings (Shitennō), protectors of the four directions. However, in the manifestation of Tobatsu Bishamonten (as captured by this sculpture), the deity is always shown independently and typically stands on a mount supported by the female earth deity, Jiten, and two dwarf demons, Niranba and Biranba. Wearing an angry expression and dressed in the armor of a Chinese warrior, he holds in his left hand a miniature stupa, which symbolizes the Buddha’s teachings and relics; his right hand most likely held a weapon to subjugate evil and suppress the enemies of Buddhism.

10/16/2015 9 Gallery 223, Center 11. 不動明王坐像 Kaikei, Japanese, active 1183–1223 Fudō Myōō Japan, Kamakura period (1185–1333), early 13th century Lacquered Japanese cypress, color, gold, cut gold (kirikane), and inlaid crystal eyes H. 21 in. (53.3 cm); H. to top of sword 21 1/2 in. (54.6 cm); W. 16 3/4 in. (42.5 cm); D. 15 in. (38.1 cm) Mary Griggs Burke Collection, Gift of the Mary and Jackson Burke Foundation, 2015 2015.300.252

On view until January, to be replaced by 1975.268.163

Fudō Myōō (Sanskrit: Acala-vidyaraja), the chief of the Five Wisdom Kings (Godai myōō), is the wrathful avatar of Dainichi Buddha and the tenacious protector of Buddhist law. His iconography, drawn from the Dainichi Sutra, describes his body as black or blue, with bulging eyes, protruding fangs that bite his lower lip, and hair that hangs down his left shoulder. He carries in his left hand a lasso to catch and bind demons (obstacles to awakening) and in his right hand a sword to decapitate them (cut through ignorance).

The present example, from the workshop of Kaikei, one of the leading sculptors of his day, adheres to this iconography. Traces of colored pigments and strips of cut gold (kirikane) are visible in the deity’s robes, and his eyes are inlaid with crystal, intensifying his ferocious expression.

10/16/2015 10 Gallery 223, Center 12. 不動明王像 Fudō Myōō (Achala-vidyārāja) Japan, Heian period (794–1185), 12th century Joined-woodblock construction with traces of color and cut-gold H. 63 3/4 in. (162 cm) The Harry G. C. Packard Collection of Asian Art, Gift of Harry G. C. Packard, and Purchase, Fletcher, Rogers, Harris Brisbane Dick, and Louis V. Bell Funds, Joseph Pulitzer Bequest, and The Annenberg Fund Inc. Gift, 1975 1975.268.163

On view in Gallery 224 until January; moving to Gallery 223 to replace 2015.300.252.

Fudō Myōō is the most widely represented of the Buddhist deities known as Myōō, or Kings of Brightness. A fierce protector of the Buddhist Law, he is a direct emanation of the Buddha Dainichi Nyorai, the principal Buddha of Esoteric Buddhism. The first sculptures of Fudō made in Japan were seated, but standing sculptures like this one were carved beginning in the eleventh century. Fudō uses his sword to cut through ignorance and his lasso to reign in those who would block the path to enlightenment. The heavy weight of the shoulders and back is planted firmly on the stiffened legs, appropriate for a deity whose name means the “Immovable.”

This statue, originally composed of six hollowed-out pieces of wood, was formerly the central icon of the Kuhonji Gomadō in Funasaka, twenty miles northwest of Kyoto.

10/16/2015 11 Gallery 223, Case 04 13. 古筆切の手鏡『藻鏡』 Kojima Sōshin, Japanese, 1580–ca. 1656 A Mirror of Gathered Seaweed (Mokagami) Calligraphy Album Japan, Nara (710–794)–Edo (1615–1868) period Album of 298 calligraphy fragments; mostly ink on paper, some on dyed or decorated paper Album: 15 3/4 × 13 3/8 × 6 5/16 in. (40 × 34 × 16 cm) Mary Griggs Burke Collection, Gift of the Mary and Jackson Burke Foundation, 2015 2015.300.229

Page to be turned for Rotation 2.

Albums of exemplary calligraphy specimens, referred to as tekagami, or “mirrors of the hand,” demonstrate the high esteem in which the art of brush writing has been held in Japan, as in East Asia more generally. Such albums, which bring together fragments cut from handscrolls or bound booklets, also served as models of different brush-writing styles for students of calligraphy. The practice of creating such compendia became popular in the sixteenth and seventeenth centuries, with connoisseurs of calligraphy pasting labels attempting to identify the calligrapher alongside a fragment.

Here the examples by the noted poet Fujiwara no Shunzei (1114–1204) and his even more famous son, Teika (1162–1241)—the most famous literary commentator of early medieval times—reflect their distinctive brush-writing styles.

10/16/2015 12 Gallery 223, Case 04 14. 『住吉物語』絵巻断簡 The Tale of Sumiyoshi (Sumiyoshi monogatari) Japan, Kamakura period (1185–1333), late 13th century Fragments of a handscroll mounted as two hanging scrolls; ink and color on paper Image (a): 11 3/4 × 28 1/16 in. (29.8 × 71.3 cm) Overall with mounting (a): 47 13/16 × 33 7/16 in. (121.5 × 85 cm) Overall with knobs (a): 47 13/16 × 35 9/16 in. (121.5 × 90.3 cm) Image (b): 11 15/16 × 3 1/4 in. (30.3 × 8.2 cm) Overall with mounting (b): 49 7/16 × 10 7/16 in. (125.5 × 26.5 cm) Overall with knobs (b): 49 7/16 × 35 9/16 in. (125.5 × 90.3 cm) Mary Griggs Burke Collection, Gift of the Mary and Jackson Burke Foundation, 2015 2015.300.19a, b

On view for Rotation 1 only; to be replaced by 2015.300.235, 2015.300.236, and 2015.300.237 for Rotation 2.

Anonymously authored in the mid-tenth century, The Tale of Sumiyoshi is one of Japan’s earliest romantic novels, predating The Tale of Genji by a half century. This story of two lovers who, after a long separation, are reunited at Sumiyoshi, a fishing village near present-day Osaka, represents a genre of “Cinderella” stories popular in the Heian and Kamakura periods that features a maiden with an evil stepmother.

Only a few sections of the original handscroll have been preserved. Sequentially, these text and image fragments come directly after the section in the collection of the Tokyo National Museum, which illustrates the seaside wedding of the courtier Shōshō and the princess, who are celebrated by the villagers of Sumiyoshi. In the scene shown here, the couple sets off for Kyoto in a carriage through an autumnal forest shrouded in hovering mist.

10/16/2015 13 Gallery 223, Case 04 15. 『三宝絵詞』断簡（東大寺切） Calligraphy attributed to Minamoto no Toshiyori, Japanese, 1055–1129 Page from Illustrations and Explanations of the Three Jewels (Sanbō e-kotoba), one of the “Tōdaiji Fragments” (Tōdaiji-gire) Japan, Heian period (794–1185), 1120 Page from a book; ink on decorated paper Image: 9 1/4 × 5 7/8 in. (23.5 × 15 cm) Overall with mounting: 49 3/16 × 13 3/8 in. (125 × 34 cm) Overall with knobs: 49 3/16 × 15 3/8 in. (125 × 39 cm) Mary Griggs Burke Collection, Gift of the Mary and Jackson Burke Foundation, 2015 2015.300.235

On view for Rotation 2 only; replacing 2015.300.19a, b.

Illustrations and Explanations of the Three Jewels was originally compiled in 984 by the courtier-poet Minamoto no Tamenori as an introductory guide to Buddhism. The “Three Jewels” of Buddhism comprise the Buddha, the Teachings, and the Clergy, and the book was correspondingly created in three volumes. It was commissioned for the imperial princess Sonshi Naishinnō, who had recently taken vows as a Buddhist nun.

Since it was compiled specifically for a young woman, Tamenori wrote it in vernacular Japanese (using mostly kana, the Japanese syllabary) and had illustrations commissioned, which are now long lost. Inscribed on deluxe mica-printed decorated paper, the calligraphy shows how kana can be elegantly melded in flowing columns in the so-called wayō, or Japanese-style, calligraphy.

10/16/2015 14 Gallery 223, Case 04 16. 『続古今和歌集』断簡 Nun Abutsu, Japanese, died 1283 Two Poems from the Collection of Poems Ancient and Modern, Continued (Zoku kokin wakashū) Japan, Kamakura period (1185–1333), 13th century Page from a book; ink on paper Image: 9 1/4 × 5 1/2 in. (23.5 × 14 cm) Overall with mounting: 54 5/16 × 11 in. (138 × 27.9 cm) Overall with knobs: 54 5/16 × 13 1/2 in. (138 × 34.3 cm) Mary Griggs Burke Collection, Gift of the Mary and Jackson Burke Foundation, 2015 2015.300.236

On view for Rotation 2 only; replacing 2015.300.19a, b.

Nun Abutsu (Abutsu-ni), one of the most celebrated woman writers of the age, earned literary fame for her moving account of palace and temple culture in her Diary of the Waning Moon (Izayoi nikki). Before taking Buddhist vows, she served as a lady-in-waiting in the palace and belonged to a circle of talented women writers.

While there is no way to verify that this crisp but elegant calligraphy is in her hand, the style is characteristic of kana calligraphy of the era and the elite society in which she lived. Kana calligraphy (used to inscribe Japanese phonetic characters) was referred to as onna-de, or the “women’s hand,” since ladies of the court wrote letters, diaries, and prose in the vernacular, while men continued to write primarily in Chinese.

10/16/2015 15 Gallery 223, Case 04 17. 『古今和歌集』断簡 Traditionally attributed to Fujiwara no Tameyori, Japanese, 939?–998 Three poems from the Collection of Poems Ancient and Modern (Kokin wakashū) Japan, Kamakura period (1185–1333), 13th century Page from a book mounted as a hanging scroll; ink on paper Image: 9 3/16 × 5 9/16 in. (23.4 × 14.1 cm) Overall with mounting: 54 5/16 × 11 in. (138 × 28 cm) Overall with knobs: 54 5/16 × 13 3/8 in. (138 × 34 cm) Mary Griggs Burke Collection, Gift of the Mary and Jackson Burke Foundation, 2015 2015.300.237

On view for Rotation 2 only; replacing 2015.300.19a, b.

Connoisseurs in the past attributed this work to the hand of courtier-poet Fujiwara no Tameyori. In doing so, they seem to have made a speculative connection between the content of the calligraphic fragment, in this case poems from Collection of Poems Ancient and Modern (ca. 905), imaging that it was from an early transcription of this literary classic. This style of court calligraphy did not appear until two hundred years later. Each of the three anonymously composed poems is rendered in two columns. The poem on the far left reads:

Tobu tori no koe mo kikoenu okuyama no fukaki kokoro o hito wa shiranan

If only my lover knew my deepest feelings, deep as these remote hills, where even the songs of birds can’t be heard. —Trans. John T. Carpenter

10/16/2015 16 Gallery 223, Case 05 18. 藻鯉図 Yōgetsu, Japanese, active late 15th century Inscribed by Mokumoku Dōjin, Japanese, active late 15th century Carp and Waterweeds Japan, Muromachi period (1392–1573), late 15th century Hanging scroll; ink on silk Image: 33 7/16 × 13 7/8 in. (85 × 35.2 cm) Overall with mounting: 65 3/4 × 19 1/16 in. (167 × 48.4 cm) Overall with knobs: 65 3/4 × 20 7/8 in. (167 × 53 cm) Mary Griggs Burke Collection, Gift of the Mary and Jackson Burke Foundation, 2015 2015.300.60

Little is known about Yōgetsu, who was active as a monk in the mountains northeast of the ancient capital of Nara. He is sometimes cited as a follower of the master painter Sesshū Tōyō (1420–1506). Above Yōgetsu’s auspicious image of a pair of fish swimming in a pond, Mokumoku Dōjin, about whom little is also known, has inscribed a poem that recalls the carp’s role as a vehicle of the Daoist immortal Qingao:

Wind whips the grass along the riverbank, frigid at dusk. A single ray of brilliant red illuminates the white shoal. If Qingao were here, he would not be riding a crane— He’d have [his carp] shaking their heads and snapping their tails, spinning waves into whirlpools. —Trans. Aaron Rio

10/16/2015 17 Gallery 223, Case 05 19. 蘭竹図 Tesshū Tokusai, Japanese, died 1366 Orchids, Bamboo, Briars, and Rocks Japan, Nanbokuchō period (1336–92), mid-14th century Hanging scroll; ink on paper Image: 28 3/8 × 14 1/2 in. (72 × 36.8 cm) Overall with mounting: 60 1/16 × 19 5/16 in. (152.5 × 49 cm) Overall with knobs: 60 1/16 × 21 in. (152.5 × 53.4 cm) Mary Griggs Burke Collection, Gift of the Mary and Jackson Burke Foundation, 2015 2015.300.61

In medieval Japan, ink paintings that combined orchids with briars, bamboo, and rocks were most commonly associated with the Yuan-dynasty Chinese painter Xuechuang Puming (active mid-14th century), whom Tesshū Tokusai—a Zen monk and accomplished poet and painter— may have encountered during an extended trip to China in the 1330s. After his return to Japan, Tokusai introduced the genre to others Zen monks such as Gyokuen Bonpō (1325–1388), another celebrated painter of orchids. Tokusai’s poetic inscription reads:

Thousands of miles now from the River of Chu, My thoughts multiply— I wonder, could there be anything As redolent as the solitary orchid? —Trans. Aaron Rio

10/16/2015 18 Gallery 223, Case 05 20. 蘆雁図 Geese and Reeds Japan, Muromachi period (1392–1573), late 14th century Hanging scroll; ink on paper Image: 19 5/8 × 11 7/16 in. (49.8 × 29 cm) Overall with mounting: 50 7/8 × 15 15/16 in. (129.3 × 40.5 cm) Overall with knobs: 50 7/8 × 17 7/8 in. (129.3 × 45.4 cm) Mary Griggs Burke Collection, Gift of the Mary and Jackson Burke Foundation, 2015 2015.300.57

It is near the end of autumn in this depiction, and three geese have alighted on a sandbank, indicated only by the faintest washy brushstrokes. Set in front of a clump of withered reeds, one of the geese is at rest while the other two extend their necks and squawk toward the sky, perhaps at others in their flock who have already begun their journey south.

The pictorial combination of geese and reeds was first introduced to Japan from China in the thirteenth century and was a popular subject among early Japanese Zen painter-monks such as Tesshū Tokusai (d. 1366), with whom paintings of this type are often associated.

10/16/2015 19 Gallery 223, Case 05 21. 枝に小禽図 Unkei Eii, Japanese, active first half of the 16th century Inscribed by Daiko Shōkaku, Japanese, died 1535 Bird Resting on a Branch Japan, Muromachi period (1392–1573), early 16th century, before 1535 Hanging scroll; ink on paper Image: 9 5/16 × 10 13/16 in. (23.7 × 27.5 cm) Overall with mounting: 45 7/16 × 16 1/8 in. (115.4 × 41 cm) Overall with knobs: 45 7/16 × 17 15/16 in. (115.4 × 45.5 cm) Mary Griggs Burke Collection, Gift of the Mary and Jackson Burke Foundation, 2015 2015.300.59

On view for Rotation 2 only.

This small painting perfectly encapsulates both the spirit and style of Zen paintings of the late medieval period in the style of Sesshū Tōyō (1420–1506). Monochrome and with a generous use of blank space, the work features dry and spontaneous brushwork that captures the moment a small bird (a titmouse) has alighted on a wizened branch. The brusquely brushed calligraphy by Daitokuji temple prelate Daiko Shōkaku cites a work by the well-known Zen monk-poet Son’an (Kisei Reigen; 1402–1488). It reads:

The forest is lush and suited for birds to retire in the evening to nest together. Coupled birds remain above the sky, their wings letting them soar, But it is not a place to spend the night. By Son’an —Trans. adapted from Miyeko Murase

10/16/2015 20 Gallery 223, Plexi Wall Case C 22. 岩に鶺鴒図 Attributed to Taikyo Genju, Japanese, active mid-14th century Wagtail on a Rock Japan, Nanbokuchō period (1336–92), mid-14th century Hanging scroll; ink on silk Image: 32 3/4 × 13 3/4 in. (83.2 × 34.9 cm) Overall with mounting: 63 3/4 × 18 7/16 in. (161.9 × 46.8 cm) Overall with knobs: 63 3/4 × 20 1/4 in. (162 × 51.5 cm) Mary Griggs Burke Collection, Gift of the Mary and Jackson Burke Foundation, 2015 2015.300.56

Near two withered branches and a moss-pocked boulder, a scraggy wagtail raises his head as if distracted by the inscription above, which is an allegory on Zen training and the pursuit of enlightenment. This poem-painting scroll was composed by Taiko Genju, a monk and amateur painter who trained with the eminent Yakuō Tokken (1245–1320) at Kenchōji in Kamakura before journeying to Yuan-dynasty China to undergo further training from Chan (Japanese: Zen) masters like the influential Lingshi Ruzhi (active first half 14th century) in Hangzhou. The poem reads:

By a withered tree with no twigs or leaves, A wagtail pecks at a straggle of lichen. Within the rock is a block of jade. When will he manage to dig it out? —Trans. Aaron Rio

10/16/2015 21 Gallery 223, Vitrine C1 23. 地蔵菩薩立像 Kaikei, Japanese, active 1183–1223 Jizō Bosatsu Japan, Kamakura period (1185–1333), ca. 1202 Lacquered Japanese cypress, color, gold, cut gold leaf, and inlaid crystal eyes H. of figure incl. base 22 in. (55.9 cm); H. to top of spear 22 7/8 in. (58.1 cm); W. 6 3/4 in. (17.1 cm); D. 6 3/4 in. (17.1 cm); Diam. of base 6 3/4 in. (17.1 cm) Mary Griggs Burke Collection, Gift of the Mary and Jackson Burke Foundation, 2015 2015.300.250

On view until Janurary; to be replaced by L.2012.3.1a, b.

The bodhisattva who relieves those suffering in hell, Jizō Bosatsu (Sanskrit: Bodhisattva Ksitigarbha) attends Amida Buddha as he delivers the pious to the Western Paradise and answers the prayers of all living beings. He is represented here in his usual attitude, with a shaved head and wearing the robes of a Buddhist monk. His right hand grasps a staff (shakujō), which he shakes to awaken humans from their delusions; his left hand most likely held a wish-granting jewel (hōju no tama), signifying the bestowal of blessings.

An inscription on the interior of the figure identifies this as a work by Kaikei, one of the two leading sculptors of the early Kamakura period.

10/16/2015 22 Gallery 223, Vitrine C1 24. 地蔵菩薩立像 Intan, Japanese, active 13th century Jizō Bosatsu (Bodhisattva Ksitigarbha) Japan, Kamakura period (1185–1333), 1291 Wood with polychrome pigments and gold paint (kindei) H (with pedestal) 53 1/2 in. (135.9 cm); W. 11 in. (27.9 cm) Lent by a private collection L.2012.3.1a, b

To go on view in January; replacing 2015.300.250.

Jizō Bosatsu (Sanskrit: Bodhisattva Ksitigarbha) is an enlightened being who, out of compassion, has chosen to lead others along the Buddhist path. In Japan he is best known for rescuing people from hell and protecting children. This sculpture of the bodhisattva—painstakingly decorated with fine patterns in painted gold—is one of only two surviving works upon which the name of the sculptor Intan is recorded. The other, a seated figure of the same bodhisattva, belongs to the temple Jōki’in at Mount Kōya and was carved by a team of three sculptors. In this case, Intan’s name appears on a wooden tenon used to slot one of the bodhisattva’s feet into the lotus-pedestal base.

10/16/2015 23 Gallery 224, Case 06 25. 釈迦三尊十六羅漢像 Unidentified Artist Shaka Triad and Sixteen Arhats Japan, Kamakura (1185–1333)–Nanbokuchō (1336–92) period, 14th century Hanging scroll; ink, color, and gold on silk Image: 56 1/8 × 29 13/16 in. (142.5 × 75.7 cm) Overall with mounting: 96 7/16 × 39 1/8 in. (245 × 99.3 cm) Overall with knobs: 96 7/16 × 42 3/8 in. (245 × 107.6 cm) Mary Griggs Burke Collection, Gift of the Mary and Jackson Burke Foundation, 2015 2015.300.1

This scroll depicts the Buddha Shaka (Sanskrit: Sakyamuni) on a bank of swirling clouds at upper center, preaching to a varied group of bodhisattvas, arhats, and historical Japanese figures at Vulture Peak. Shaka is flanked by his attendant bodhisattvas, Fugen (Sanskrit: Samantabhadra) at right riding a white elephant and Monju (Sanskrit: Manjusri) at left on a blue lion. Below this heavenly triad are sixteen arhats (Japanese: rakan), enlightened, ascetic followers of the Buddha, who engage in a variety of activities in a landscape of jagged rocks, caverns, and rushing waterfalls. Joining them below are two historical Japanese figures, both crucial to the development of Japanese Buddhism: at left in a red robe is Shōtoku Taishi (572–622), an imperial prince and early patron of Buddhism, and, at right, the monk Kūkai (774–835), founder of the Shingon sect of Buddhism.

10/16/2015 24 Gallery 224, Case 07 26. 『過去現在絵因果経』断簡（松永本） Scene from The Illustrated Sutra of Past and Present Karma (Kako genzai e-inga-kyō; Matsunaga Version) Japan, Kamakura period (1185–1333), late 13th century Handscroll; ink and color on paper H. 10 15/16 in. (27.8 cm); W. 61 5/8 in. (156.5 cm) Mary Griggs Burke Collection, Gift of the Mary and Jackson Burke Foundation, 2015 2015.300.7

On view for Rotation 1 only; to be replaced by 2015.300.5a, b for Rotation 2.

This illuminated sutra tells the story of the historical Buddha’s good deeds in his past lives and the path of his religious enlightenment from prince to bodhisattva and finally to Buddhahood.

This detached section from a longer handscroll, based on earlier Chinese models, illustrates the temptation of the prince by the demon king Mara and his army as they try to distract him from his meditation. Two of Mara’s sisters appear bearing skulls, and weapon-wielding demonic figures converge on the prince.

The supernatural power of the prince, however, repels all threats. Huge boulders to be cast at him will not move; flying arrows are arrested in midair; lightning, rain, and fire are transformed into blossoming flowers; the poisonous breath of dragons becomes a fragrant breeze.

10/16/2015 25 Gallery 224, Case 07 27. 過去現在因果経絵巻断簡 Unidentified Artist Japanese, active late 13th century The Illustrated Sutra of Past and Present Karma (Kako genzai inga kyō emaki) Japan, Kamakura period (1185–1333), late 13th century Hanging scroll; ink and color on paper Image: 10 7/8 x 22 3/8 in. (27.6 x 56.8 cm) Overall with mounting: 43 1/2 x 23 1/4 in. (110.5 x 59.1 cm) Overall with knobs: 43 1/2 x 25 1/4 in. (110.5 x 64.1 cm) Purchase, several members of The Chairman's Council Gifts, Miriam and Ira D. Wallach Foundation and Mary and James G. Wallach Foundation Gifts, 2012 2012.249

On view for Rotation 1 only; to be replaced by 2015.300.5a, b for Rotation 2.

Sinicized figures representing the Buddha’s father and his men occupy a landscape with a rolling hill and trees. The text beneath the illustration relates how Prince Siddhartha (the historical Buddha) travels to Mount Gaya and practices asceticism for six years. The worried king dispatches ministers to report on his son’s activities and orders that he be brought one thousand cartfuls of daily necessities and watched over at all times.

This work is a section of a handscroll version of the Buddhist scripture The Illustrated Sutra of Past and Present Karma. It details the lives, past and present, of the historical Buddha. The earliest examples of this work in Japan, which date to the eighth century, are thought to be copies of now-lost ancient Chinese originals.

10/16/2015 26 Gallery 224, Case 07 28. 『妙法蓮華経』安楽行品第十四 “Peaceful Practices,” Chapter 14 of the Lotus Sutra (Myōhōrenge-kyō, or Hoke-kyō) Japan, Edo period (1615–1868), ca. 1667 Handscroll; gold on indigo-dyed paper a: 11 in. × 14 ft. 10 15/16 in. (28 × 454.5 cm) b: 11 in. × 14 ft. 10 15/16 in. (28 × 454.5 cm) Mary Griggs Burke Collection, Gift of the Mary and Jackson Burke Foundation, 2015 2015.300.5a, b

On view for Rotation 2 only; replacing 2012.249 and 2015.300.7.

The Lotus Sutra, the most popular of all Buddhist scriptures, promises salvation to all who place faith in it and assures them that the mere invocation of the names of Buddhas and bodhisattvas will bring religious merit. These scrolls demonstrate how the courtly tradition of late Heian-period sutra copying was revived by the palace in early modern times. Each frontispiece has a delicate miniature painting meticulously executed in ink and gold. Margins above and below the text are beautifully decorated with designs stenciled in gold, silver, and various colors.

The frontispiece of chapter fourteen, shown here, though illustrating the section of the sutra called “Peaceful Practices,” shows a fighting scene in the upper-right corner, reminding viewers that the proselytizing efforts of Buddhist monks were often militant.

10/16/2015 27 Gallery 224, Case 08 29. 愛染明王像 Aizen Myōō Japan, Nanbokuchō period (1336–92), 14th century Hanging scroll; ink, color, gold, and cut gold leaf on silk 53 5/16 x 32 7/16 in. (135.4 x 82.4 cm) Purchase, Mary Griggs Burke Gift, 1966 66.90

On view for Rotation 1 only; to be replaced by 2015.300.2.

The blood-red body and flaming halo of Aizen Myōō, the Wisdom King of Passion, symbolize how, in Buddhist practice, the violent energies of carnality and desire can be converted in the pursuit of enlightenment. Aizen Myōō is the embodiment of rage: his hair stands on end, a snarling lion rises from his head, and his six arms brandish Esoteric Buddhist weapons and other emblems of power. The bow and arrow in his middle hands are attributes appropriated from Kama, the Hindu god of love. In contrast to this righteous anger, jewels of good fortune forming flaming clusters spill from a vase in front of the deity’s lotus throne. While Aizen Myōō’s appearance may instill fear, the faithful afflicted with problems of the heart address him as a popular intercessor.

10/16/2015 28 Gallery 224, Case 08 30. 不動明王四童子種字像 Chikai, Japanese, ca. 1422–ca. 1503 Fudō Myōō with Four Attendants, Outlined in Seed Syllables Japan, Muromachi period (1392–1573), 15th century Hanging scroll; ink and color on paper Image: 39 15/16 × 17 1/16 in. (101.5 × 43.4 cm) Overall with mounting: 67 11/16 × 22 15/16 in. (172 × 58.3 cm) Overall with knobs: 67 11/16 × 25 3/16 in. (172 × 64 cm) Mary Griggs Burke Collection, Gift of the Mary and Jackson Burke Foundation, 2015 2015.300.2

On view for Rotation 2 only; replacing 66.90.

Leader of the five brilliant wisdom kings, Fudō Myōō (Sanskrit: Acala-vidyaraja) represents the wrath of the Cosmic Buddha Dainichi (Sanskrit: Vairocana). As he does in the two sculptures displayed nearby, Fudō holds his wisdom-sword in his right hand and a noose, outlined in red, in his left. In this painting, Fudō and his four youthful attendants (dōji) are circumscribed in tiny sacred Sanskrit characters, called “seed syllables” (shuji), rendered in black ink. The syllables that form the five figures’ attributes are outlined in red ink. The painter, Chikai, was an Esoteric Buddhist monk and a prolific painter of Fudō images, active at Kono Shrine near Amanohashidate.

10/16/2015 29 Gallery 224, Vitrine Loc. NE 31. 薬師如来坐像 Yakushi Nyorai Japan, late Heian (794–1185) or early Kamakura period (1185–1333), mid- to late 12th century Wood with traces of lacquer and gold H. 39 in. (99 cm); W. 32 in. (81.3 cm); D. 25 1/4 in. (64.1 cm) Lent by a private collection L.2012.3.2a, b

On view beginning in January; replacing 1975.268.163.

Yakushi (Sanskrit: Bhaishajya) is known as the Medicine or Healing Buddha. Over the centuries in Japan, believers called upon Yakushi to provide spiritual and physical healing, to quell malevolent spirits, for protection during childbirth, and even for help obtaining rebirth in Amida’s (Sanskrit: Amitābha) Western Paradise. The cult of Yakushi was introduced from Korea and was well established in Japan by the end of the seventh century. The Buddha’s right hand is raised in the “fear not” gesture (mudra) and his left holds a medicine jar.

He originally would have been seated on a lotus pedestal and may have been flanked by Nikkō and Gakkō, attendant bodhisattvas representing sunlight and moonlight. The stiff rendering of the robes suggests that this sculpture was made in a region outside the capital.

10/16/2015 30 Gallery 224, Case 09 32. 十二神将の内 Six of the Twelve Divine Generals (Jūni shinshō) Japan, Kamakura period (1185–1333), 14th century Wood with lacquer, color, gold, and inlaid crystal eyes Each: H. 19 5/16 in. (49 cm); Base: L. 8 1/2 in. (21.6 cm); W. 6 1/2 in. (16.5 cm) Mary Griggs Burke Collection, Gift of the Mary and Jackson Burke Foundation, 2015 2015.300.254a–f

The Twelve Divine Generals serve and protect Yakushi Nyorai, the Medicine Buddha, who heals all diseases, including the disease of ignorance. They are also responsible for protecting the faithful and vanquishing the enemies of Buddhism. The generals are usually depicted with ferocious countenances, wearing armor and standing in fighting poses, as in these examples. In Heian Japan, they became associated with the twelve animals of the Chinese zodiac. The generals here have been tentatively identified as, from right to left:

(2) Basara, Ox (丑) (4) Anchira, Rabbit (丑) (6) Sanchira, Snake (丑) (7) Indara, Horse (丑) (11) Shotora, Dog (丑) (12) Bikara, Boar (丑)

10/16/2015 31 Gallery 224, Buddhist Platform 33. 阿弥陀如来坐像 Amida Nyorai Japan, Kamakura period (1185–1333), ca. 1250 Wood with gold leaf Overall: H. 34 5/8 in. (87.9 cm); W. 28 3/4 in. (73 cm); D. 22 3/4 in. (57.8 cm) Overall (with pedestal): H. 61 in. (154.9 cm); W. 39 in. (99.1 cm); D.39 in. (99.1 cm) Rogers Fund, 1919 19.140

Amida Nyorai (Sanskrit: Amitabha Tathagata), the Buddha of Limitless Light, sits upon a lotus pedestal at the center of the altar. His hands form a mudra of meditation. His benevolent gaze, directed toward the devotee below, is symbolic of his boundless compassion. Amida is flanked by his attendant bodhisattvas (kyōji ), Kannon (Sanskrit: Avalokitesvara) at right, and Seishi (Sanskrit: Mahasthamaprapta) at left, and is escorted by flying celestial beings. This sculptural configuration, known as an Amida Triad, or Amida-sanzon in Japanese, is a visualization of the Welcoming Descent (raigō) of Amida, who descends to this world with his heavenly retinue to provide salvation for all believers who have called upon his name. When a believer dies, Amida and his retinue venture to this world to rescue the deceased.

10/16/2015 32 Gallery 224, Buddhist Platform 34. 観音菩薩 Attendant Bodhisattva Kannon Japan, Kamakura period (1185–1333), late 12th–13th century Wood, gold paint, gold leaf with lacquer, and inlaid crystal eyes Figure: H. 33 in. (83.8 cm); W. 9 1/2 in. (24.1 cm); D. 13 in. (33 cm) Pedestal: H. 9 in. (22.9 cm); W. 14 3/4 in. (37.5 cm); D. 11 1/4 in. (28.6 cm) Rogers Fund, 1912 12.134.17

10/16/2015 33 Gallery 224, Buddhist Platform 35. Attendant Bodhisattva Seishi 勢至菩薩 Attendant Bodhisattva Seishi Japan, Kamakura period (1185–1333), late 12th–13th century Wood, gold paint, gold leaf with lacquer, and inlaid crystal eyes Figure: H. 33 in. (83.8 cm); W. 9 3/8 in. (23.8 cm); D. 103/8 in. (26.4 cm) Pedestal: H. 9 1/4 in. (23.5 cm); W. 14 in. (35.6 cm); D. 11 in. (27.9 cm) Rogers Fund, 1912 12.134.18

10/16/2015 34 Gallery 224, Buddhist Platform 36. 飛天像 Apsaras Japan, Heian period (794–1185), late 11th to early 12th century Lacquered and gilded Japanese cypress a: 21 in. (53.3 cm) b: 21 in. (53.3 cm) Mary Griggs Burke Collection, Gift of the Mary and Jackson Burke Foundation, 2015 2015.300.251a, b

Apsaras, or hiten in Japanese, are flying celestial beings that accompany Buddhas. These two examples, which display apsaras riding clouds and playing musical instruments, are believed to be part of a group of twelve or fourteen that formerly adorned the mandorla of an eighty-foot-tall statue of Amida at Jōruriji, a Pure Land sect temple in Kyoto. Although the disks and flying sashes are later additions, the apsaras themselves, carved in high relief in Japanese cypress and gilt, are dated to the turn of the twelfth century, when the Amida statue was installed. These apsaras once belonged to the politician Koizumi Sakutarō (1872–1937) and then were separated for many years until they were reunited by Mrs. Burke, who acquired them separately in 1987 and 1992.

10/16/2015 35 Gallery 224, Case 10 37. 十牛頌図巻 Ten Verses on Oxherding Japan, Kamakura period (1185–1333), 1278 Handscroll; ink and color on paper Image: 1 ft. 1/4 in. x 20 ft. 6 in. (31.1 x 624.8 cm) Mary Griggs Burke Collection, Gift of the Mary and Jackson Burke Foundation, 2015 2015.300.10

In Zen, a herdboy’s search for his lost oxen has served as a parable for a practitioner’s pursuit of enlightenment since this Buddhist sect’s early history in China. In the eleventh century, the Song-dynasty Zen master Guoan Shiyuan (active ca. 1150) codified the parable into ten verses (gāthā), recorded and illustrated in this handscroll. The parable proceeds from the herdboy losing his ox and following its tracks to recover the animal to, in the next-to-last verse, transcending this world. In a final stage representing the attainment of Buddhist enlightenment, the herdboy becomes one with Budai (Japanese: Hotei), the manifestation of the future Buddha Miroku (Sanskrit: Maitreya). Dated by an inscription to 1278, the present scroll is the earliest known Japanese illustrated copy of the parable and the only extant version with color illustrations.

One aimlessly pushes the grasses aside in search. The rivers are wide, the mountains far away, and the path becomes longer. Exhausted and dispirited, one hears only the late autumn cicadas shrilling in the maple woods. —Trans. Gen Sakamoto

By the water, and under the trees,

10/16/2015 36 there are numerous traces. Fragrant grasses grow thickly, but did you see the ox? Even in the depths of the distant mountain forest, How could the upturned nostrils of the ox be concealed? —Trans. Gen Sakamoto

A bush warbler sings upon a branch, warm sun, soft breezes, green willows on the bank. Nowhere can the ox escape to hide, but those majestic horns are difficult to draw. —Trans. Gen Sakamoto

With all my energy, I seize the ox. His will is strong, and his power endless, and he cannot be tamed easily. Sometimes he charges to the high plateau. And there he stays, deep in the mist. —Trans. Gen Sakamoto

One does not let go of the whip or the rope, afraid it will stray and choose the dusty mist. A well-tended ox becomes gentle, and even with no rope, Will follow people by himself. —Trans. Gen Sakamoto

Riding the bull, I leisurely wander toward home. Exotic flute melodies echo through sunset clouds.

10/16/2015 37 Each beat and each tune is indescribably profound. No words are needed for those who understand music. —Trans. Gen Sakamoto

Riding on the ox, he has come home. There is no ox there, and he is at ease. Although the sun is high, he is still dreamy. The whip and rope abandoned in the thatched hut. —Trans. Gen Sakamoto

Whip, rope, man, and ox, all are non-existent. The blue sky being vast, no message can be heard, Just as the snowflake cannot last in the flaming red furnace. After this state, one can join the ancient teachers. —Trans. Gen Sakamoto

In returning to the fundamentals and going back to the source, I had to work so hard. Perhaps it would be better to be blind and deaf. Being in the hut, I do not see what is outside. The river flowing tranquilly, the flower simply being red. —Trans. Gen Sakamoto

He enters the city barefoot, with chest exposed.

10/16/2015 38 Covered in dust and ashes, smiling broadly. No need for the magic powers of the gods and immortals. Just let the dead tree bloom again. —Trans. Gen Sakamoto

Gallery 224, Case 11 38. 牧牛図 Sekkyakushi, Japanese, active first half of the 15th century Oxherding Japan, Muromachi period (1392–1573), first half of the 15th century Hanging scroll; ink on paper Image: 21 1/16 × 11 9/16 in. (53.5 × 29.4 cm) Overall with mounting: 54 3/4 × 15 5/8 in. (139 × 39.7 cm) Overall with knobs: 54 3/4 × 17 5/8 in. (139 × 44.7 cm) Mary Griggs Burke Collection, Gift of the Mary and Jackson Burke Foundation, 2015 2015.300.47

This painting depicting a herdboy escorting an ox down a hillside path was probably originally one of ten hanging scrolls illustrating the Ten Verses on Oxherding, a Zen parable also narrated in the handscroll on display nearby. It likely narrates the fifth scene, “Herding the Ox,” when the herdboy has located his runaway ox and is on his way home.

Although the biography of the painter, Sekkyakushi, remains unclear, he is believed to have been one among several followers of the important early Zen monkpainter Kichizan Minchō (1352–1431), active at the painting atelier of Tōfukuji, a large Zen monastery in Kyoto.

10/16/2015 39 Gallery 224, Case 11 39. 七宝繋根来彫香合 Incense Box (Kōgō) with Interlinked Circles (Shippō) Pattern Japan, Momoyama period (1573–1615), early 17th century Carved wood with red and black lacquer layers (carved Negoro ware) H. 1 1/8 in. (2.9 cm); Diam. 3 1/8 in. (7.9 cm) Edward C. Moore Collection, Bequest of Edward C. Moore, 1891 91.1.640

Gallery 224, Case 12 40. 四季山水図 Keison, Japanese, active late 15th– early 16th century Landscapes of the Four Seasons Japan, Muromachi period (1392–1573), late 15th–early 16th century Pair of hanging scrolls; ink on paper Image (a): 38 5/16 × 19 9/16 in. (97.3 × 49.7 cm) Overall with mounting (a): 75 13/16 × 25 11/16 in. (192.5 × 65.3 cm) Overall with knobs (a): 75 13/16 × 27 1/2 in. (192.5 × 69.8 cm) Image (b): 38 3/8 × 19 5/8 in. (97.4 × 49.8 cm) Overall with mounting (b): 75 9/16 × 25 11/16 in. (192 × 65.3 cm) Overall with knobs (b): 75 9/16 × 28 1/8 in. (192 × 71.4 cm) Mary Griggs Burke Collection, Gift of the Mary and Jackson Burke Foundation, 2015 2015.300.53a, b

On view for Rotation 1 only; to be replaced by 2015.300.46a, b for Rotation 2.

Subtle seasonal motifs—rising mist, geese descending toward a sandbank on a moonlit night, snow-laden branches—are indicators of a seasonal progression from verdant spring and summer in the right scroll to autumn and winter in the left. Although the two compositions mirror each other, and landforms in the middle ground seem to connect the two scrolls, this pair of landscapes would once have served as the flanking scrolls of a triptych centered on a Buddhist figure such as Kannon or Hotei.

Keison, who was active in eastern Japan around the city of Kamakura, was the most prolific follower of Kenkō Shōkei (active ca. 1470–after 1523), on whose paintings this pair of landscapes was based.

10/16/2015 40 Gallery 224, Case 12 41. 豊干寒山拾得図 Reisai, ca. 1369–1452 Fenggan, Hanshan, and Shide Japan, Muromachi period (1392–1573), first half of the 15th century Pair of hanging scrolls; ink and color on paper Image (a): 37 7/8 × 13 5/8 in. (96.2 × 34.6 cm) Overall with mounting (a): 72 15/16 × 18 11/16 in. (185.3 × 47.5 cm) Overall with knobs (a): 72 15/16 × 20 5/16 in. (185.3 × 51.6 cm) Image (b): 37 15/16 × 13 9/16 in. (96.3 × 34.5 cm) Overall with mounting (b): 72 5/8 × 18 11/16 in. (184.5 × 47.4 cm) Overall with knobs (b): 72 5/8 × 20 1/4 in. (184.5 × 51.5 cm) Mary Griggs Burke Collection, Gift of the Mary and Jackson Burke Foundation, 2015 2015.300.46a, b

On view for Rotation 2 only; replacing 2015.300.53a, b.

From their perch on a rocky precipice, three figures look out over vaporous clouds rising from a valley below. At left are Hanshan and Shide (Japanese: Kanzan and Jittoku), Chan (Japanese: Zen) monks who held low-level positions at Guoqingsi, a temple on China’s sacred Mount Tiantai. Hanshan, turned away from the viewer and carrying a bucket, was a reclusive monk-poet. He is said to have gathered leftover food from the temple kitchen where he worked and offered it to Shide, his companion who carries a broom indicating his role as the temple’s janitor. The older, meditative figure at right is their teacher Fenggan (Japanese: Bukan), who is said to have lived at Guoqingsi with a pet tiger and is easily overlooked here as he naps at his master’s side. Although these two paintings—once the flanking scrolls of an iconic triptych—bear no seals or signatures, they have long been attributed to Reisai based on style. Reisai was a follower of Kichizan Minchō (1352–1431), who was active in the painting atelier of the Zen monastery Tōfukuji in Kyoto.

10/16/2015 41 Gallery 224, Case 13 42. 般若菩薩曼荼羅図 Mandala of Hannya Bosatsu Japan, Nanbokuchō period (1336–92), 14th century Hanging scroll; ink, color, gold, and gold foil on silk Image: 64 1/2 x 48 5/8 in. (163.8 x 123.5 cm) Overall with painted mounting: 83 1/4 x 57 3/4 in. (211.5 x 146.7 cm) Overall with mounting: 126 x 65 1/16 in. (320 x 165.2 cm) Overall with knobs: 126 x 69 11/16 in. (320 x 177 cm) Mary Griggs Burke Collection, Gift of the Mary and Jackson Burke Foundation, 2000 2000.289

On view for Rotation 1 only; to be replaced by 1975.268.23, 1975.268.24, and 2015.300.6.

The bodhisattva Hannya, an emanation of the Cosmic Buddha Dainichi as the embodiment of ultimate knowledge and perfect wisdom, is depicted in the center of the painting, seated on a lotus pedestal and mounted on the back of a lion. The deity is attended by Bonten (Sanskrit: Brahma) and Taishakuten (Sanskrit: Indra) and surrounded in alternating registers by figures from the Buddhist pantheon: bodhisattvas, guardian deities, demons, and heavenly musicians. A monk makes an offering before the second gate at the bottom of the outermost register, reminding the viewer of the world of causes and conditions.

The painting is an example of a “single deity mandala” (besson mandara), which focuses on a particular aspect of a deity and is used in rituals to invoke that aspect. The compositional structure of the mandala reflects the cosmological order in descending degrees of sublimity, from the center to the periphery.

10/16/2015 42 Gallery 224, Case 13 43. 羅漢図（十六羅漢図の内） Arhats Japan, Nanbokuchō period (1336–92), late 14th century Hanging scroll; ink and color on silk Image: 45 7/8 x 19 3/8 in. (116.5 x 49.2 cm) Overall with mounting: 75 3/4 x 25 3/8 in. (192.4 x 64.5 cm) Overall with knobs: 75 3/4 x 27 1/8 in. (192.4 x 68.9 cm) The Harry G. C. Packard Collection of Asian Art, Gift of Harry G. C. Packard, and Purchase, Fletcher, Rogers, Harris Brisbane Dick, and Louis V. Bell Funds, Joseph Pulitzer Bequest, and The Annenberg Fund Inc. Gift, 1975 1975.268.23

On view for Rotation 2 only; replacing 2000.289.

According to Buddhist scripture, arhats (Japanese: rakan) are protectors of the Dharma who also use assorted magical powers to assist the faithful. They were frequently depicted in groups of eight, sixteen, eighteen, twenty-eight, or five hundred. The arhats pictured were originally part of a group of sixteen (of which only seven are extant) once owned by Hokokuji, a temple on the island of Shikoku. Each arhat in the set is identified by a cartouche at the upper right or left.

10/16/2015 43 Gallery 224, Case 13 44. 羅漢図（十六羅漢図の内） Arhat from a series of sixteen Arhats Japan, Nanbokuchō period (1336–92), 14th century Hanging scroll; ink and color on silk Image: 45 7/8 x 19 3/8 in. (116.5 x 49.2 cm) Overall with mounting: 75 3/4 x 25 3/8 in. (192.4 x 64.5 cm) Overall with knobs: 75 3/4 x 27 1/8 in. (192.4 x 68.9 cm) The Harry G. C. Packard Collection of Asian Art, Gift of Harry G. C. Packard, and Purchase, Fletcher, Rogers, Harris Brisbane Dick, and Louis V. Bell Funds, Joseph Pulitzer Bequest, and The Annenberg Fund Inc. Gift, 1975 1975.268.24

On view for Rotation 2 only; replacing 2000.289.

Gallery 224, Case 13 45. Satsubari, the Second of the Sixteen Rakan Japan, Nanbokuchō period (1336–92), late 14th century Hanging scroll; ink and color on silk Image: 45 11/16 × 19 3/8 in. (116 × 49.2 cm) Overall with mounting: 75 3/8 × 25 7/16 in. (191.5 × 64.6 cm) Overall with knobs: 75 3/8 × 27 1/4 in. (191.5 × 69.2 cm) Mary Griggs Burke Collection, Gift of the Mary and Jackson Burke Foundation, 2015 2015.300.6

On view for Rotation 2 only; replacing 2000.289.

10/16/2015 44 Gallery 225, Vitrine D 46. 蝶漆絵根来瓶子 Sake Vessel (Heishi) with Butterflies Japan, Muromachi period (1392–1573) Wood with black and red lacquer; gold leaf application H. 12 3/4 in. (32.4 cm) Mary Griggs Burke Collection, Gift of the Mary and Jackson Burke Foundation, 2015 2015.300.295

Ritual sake bottles, made in pairs, were used in Shinto shrines to offer sake to the deities. Most of these sake vessels are Negoro lacquers. This heishi is black lacquer with butterflies painted in red lacquer. The pattern suggests that the sake vessel might have been used in a Bugaku music and dance performance, where butterflies are common motifs.

10/16/2015 45 Gallery 225, Case 14 47. 麝香猫図 Uto Gyoshi, Japanese, active second half of 16th century Musk Cat Japan, Muromachi period (1392–1573), second half of the 16th century Hanging scroll; ink and color on paper Image: 29 15/16 × 18 5/16 in. (76 × 46.5 cm) Overall with mounting: 66 1/8 × 24 1/8 in. (168 × 61.3 cm) Overall with knobs: 66 1/8 × 25 7/8 in. (168 × 65.8 cm) Mary Griggs Burke Collection, Gift of the Mary and Jackson Burke Foundation, 2015 2015.300.66

On view for Rotation 1 only; to be replaced with 2015.300.69a, b.

A fluffy, black-and-white musk cat does his best to ignore the agitated titmouse squawking on a willow branch above him. Although not native to Japan, musk cats (jakōneko), or civets, served as an auspicious motif associated with longevity. They were a favorite painting subject of artists affiliated with the Kano school, on whose models this work was likely based.

A large square seal at the lower right identifies the painter as Uto Gyoshi, an obscure figure whose name was long conflated with two other painters, Maejima Sōyū and Kano Gyokuraku, both of whom are loosely associated with a regional branch studio of the Kano school located in the eastern castle town of Odawara.

10/16/2015 46 Gallery 225, Case 14 48. 夏秋花鳥図 Shikibu Terutada, Japanese, active mid–16th century Birds and Flowers of Summer and Autumn Japan, Muromachi period (1392–1573), mid-16th century Pair of hanging scrolls; ink and color on paper Image (a): 37 11/16 × 17 5/8 in. (95.8 × 44.8 cm) Overall with mounting (a): 74 7/16 × 23 3/8 in. (189 × 59.3 cm) Overall with knobs (a): 74 7/16 × 25 3/16 in. (189 × 64 cm) Image (b): 37 11/16 × 17 5/8 in. (95.8 × 44.8 cm) Overall with mounting (b): 74 5/8 × 23 3/8 in. (189.5 × 59.3 cm) Overall with knobs (b): 74 5/8 × 25 3/16 in. (189.5 × 64 cm) Mary Griggs Burke Collection, Gift of the Mary and Jackson Burke Foundation, 2015 2015.300.64a, b

On view for Rotation 1 only; to be replaced by 2015.300.69a, b.

The hollyhocks and lilies of midsummer blooming in the right scroll are countered in the left by flowers of late summer and autumn—cotton roses, chrysanthemums, and eulalia grass. The profusion of detail is characteristic of the art of Shikibu Terutada, a prolific painter active in the Kantō region of eastern Japan. Although his many extant works reveal a familiarity with Kano-school styles and compositions, Terutada is thought to have begun his career emulating the style of Kenkō Shōkei (active before 1478–ca. 1523), the central figure of painting circles in late medieval Kantō. The pair of black-backed wagtails flying at the upper right and the oriole standing sentinel at the left, for example, are identical to motifs found in paintings by Shōkei and his numerous followers.

10/16/2015 47 Gallery 225, Case 14 49. 政黄牛・郁山主図 Kano Naizen, Japanese, 1570–1616 Inscribed by Takuan Sōhō, 1573–1645 Zheng Huangniu and Yushanzhu Japan, Momoyama period (1573–1615), early 17th century Pair of hanging scrolls; ink on paper Image (a): 44 in. × 18 11/16 in. (111.7 × 47.4 cm) Overall with mounting (a): 78 11/16 × 24 5/8 in. (199.8 × 62.6 cm) Overall with knobs (a): 78 11/16 × 26 9/16 in. (199.8 × 67.5 cm) Image (b): 44 1/16 × 18 11/16 in. (111.9 × 47.4 cm) Overall with mounting (b): 78 15/16 × 24 1/2 in. (200.5 × 62.3 cm) Overall with knobs (b): 78 15/16 × 26 9/16 in. (200.5 × 67.4 cm) Mary Griggs Burke Collection, Gift of the Mary and Jackson Burke Foundation, 2015 2015.300.69a, b

On view for Rotation 2 only; replacing 2015.300.66 and 2015.300.64a, b.

Zheng Huangniu, at right, and Yushanzhu, at left, were two legendary Chinese Chan (Japanese: Zen) monks often paired in Japanese painting beginning in the early Muromachi period. Zheng Huangniu (Japanese: Seiōgyū), whose name means “Zheng of the Yellow Ox,” is known for riding a yellow ox to which he attached various objects, such as water jars and books. As is common in later Japanese examples, here Zheng rides his ox backwards. Yushanzhu (Japanese: Ikuzanshu, “Master of Mount Yu”) is said to have gained enlightenment when he fell off his donkey while riding across a bridge.

The poetic inscriptions, rendered in a crisp and brusquely brushed style, are by Takuan Sōhō, one of the most influential Zen monks of his day.

Right scroll: A man of the Way sits at ease, without a care, astride a yellow ox, detached from the wind and dust of the world. He has left the hermitage of his garden, and from the ox’s horn hangs a sprig

10/16/2015 48 of peony from the Yao or Wei. Casually inscribed by the recluse monk Nanzan Takuan.

Left scroll: Having crossed the plank bridge again, seeking emptiness in vain, I embark on a journey with no destination in mind. Blue mountains and green waters surround the mounted traveler, as the rights and wrongs in the transient world breeze past the horse’s ears. Painting of the Master of Mount Yu Riding a Donkey, casually inscribed by Sokuin Hissū Takuan —Trans. Shi-yee Liu

10/16/2015 49 Gallery 225, Case 15 50. 四季花鳥図屏風 Birds and Flowers of the Four Seasons Japan, Momoyama period (1573–1615), second half of the 16th century Pair of six-panel folding screens; ink, color, gold, and gold leaf on paper Image: 63 1/4 x 142 in. (160.7 x 360.7 cm) Overall: 69 3/8 x 148 1/2 in. (176.2 x 377.2 cm) Purchase, Mrs. Jackson Burke and Mary Livingston Griggs and Mary Griggs Burke Foundation Gifts, 1987 1987.342.1, .2

On view for Rotation 1 only; to be replaced by 2015.300.74.1, .2.

This composition of flowers in a seasonal progression from spring to winter celebrates longevity with its auspicious motif of cranes. The brilliant colors, strong outlines in black ink, and profusion of pictorial elements are typical of the decorative formula established by Kano Motonobu (1476–1559), founder of the Kano school. The boldness, however, is more reminiscent of Motonobu’s grandson, the prolific Kano Eitoku (1543–1590), and the treatment of branches is closer to Eitoku’s style than to that of Motonobu’s other successors. The exaggerated dimensions of the pine and cedar trees, the attempt to create space for the projecting branches in the crowded composition, and the depiction of brushwood hedges in high relief suggest that the work dates to the late sixteenth century.

10/16/2015 50 Gallery 225, Case 15 51. 金山西湖図屏風 Kano Sanraku, Japanese, 1559–1635 Jinshan Island and West Lake Japan, Edo period (1615–1868), 1630 Pair of six-panel folding screens; ink, color, and gold on paper Image: 60 1/16 in. × 11 ft. 9 in. (152.5 × 358.2 cm) Overall with mounting: 67 5/16 in. × 12 ft. 4 1/4 in. (170.9 × 376.6 cm) Mary Griggs Burke Collection, Gift of the Mary and Jackson Burke Foundation, 2015 2015.300.74.1, .2

On view for Rotation 2 only; replacing 1987.342.1, .2.

Though united visually by an ink landscape of rugged mountains and islands among expanses of water and mists rendered in gold wash, this pair of screens depicts two wholly separate scenic locales in eastern China. At right is Jinshan, an island located in the middle of the Yangzi River near the town of Zhenjiang in southern Jiangsu province. The island’s many bridges, walkways, and paths are traversed by people from all walks of life—scholars, fisherman, and servants, among others—perhaps on their way to one of the temple halls scattered across the rugged terrain. The left screen meanwhile is a portrayal of West Lake, a storied site 150 miles south in the city of Hangzhou, whose city walls and gate can be seen in the lower-left foreground. Sanraku also incorporates into the landscape several of the Ten Views of West Lake, a set of poetic themes that first came into vogue in China during the twelfth century.

10/16/2015 51 Gallery 225, Case 16 52. 山水図屏風 Traditionally attributed to Tenshō Shūbun, Japanese, active 1414–before 1463 Landscape after Xia Gui Japan, Muromachi period (1392–1573), early to mid-15th century Two six-panel folding screens; ink and color on paper 60 5/8 in. × 9 ft. 6 3/16 in. (154 × 290 cm) Overall with mounting: 68 in. × 9 ft. 11 11/16 in. (172.7 × 304 cm) Mary Griggs Burke Collection, Gift of the Mary and Jackson Burke Foundation, 2015 2015.300.51.1, .2

On view for Rotation 1 only; to be replaced by 2015.300.77.1 (right screen of 2015.300.77.1, .2)

This depiction of a small, peaceful village nestled beside a stream at the foot of a cliff is an enlarged copy of a small section of a handscroll ascribed to the Southern Song Chinese painter Xia Gui (active 1195–1230). The original painting, called Streams and Mountains, Pure and Remote, survives in numerous copies, but this screen is closest to a fragment owned by the Hatakeyama Memorial Museum of Fine Art in Tokyo. In a later inscription at the far left, the painter Kano Yasunobu (1615– 1685) attributes the screen to the great Muromachiperiod painter-priest Tenshō Shūbun and includes Shūbun’s seal and signature. This type of traditional attribution to a celebrated Muromachi painter like Shūbun was not uncommon in the Edo period.

10/16/2015 52 Gallery 225, Case 16 53. 四季山水図屏風 Kano Tan'yū, Japanese, 1602–1674 Landscapes of the Four Seasons Japan, Edo period (1615–1868), 1630s Pair of six-panel folding screens; ink and color on paper Image (each): 60 3/8 in. × 11 ft. 6 7/8 in. (153.4 × 352.7 cm) Mary Griggs Burke Collection, Gift of the Mary and Jackson Burke Foundation, 2015 2015.300.77.1, .2

On view for Rotation 2 only; replacing 2015.300.51.1, .2.

At far right, a stream fed by melting snow comes tumbling down out of the mountains, symbolizing the onset of spring. This foreground of waterfalls, bent trees, and rooftops suddenly gives way to an expanse of blank paper—a diagonal swath of mist that parts to reveal distant summer mountains. A flock of geese and the large moon are the only indications of autumn in the left screen (not exhibited), which is dominated by icy mountains and a snow-covered village.

A grandson of the great Momoyama painter Kano Eitoku (1543–1590), Kano Tan’yū had, by the time he was a teenager, already become official painter to the second Tokugawa shogun Hidetada (1579– 1632; reigned 1605–1623). This pair of screens is dated on stylistic grounds to the 1630s, when Tan’yū was head of the Kano school’s Kajibashi atelier in Edo, which Tan’yū himself had established in 1621.

10/16/2015 53 Gallery 225, Case 17 54. 瓜図 Yamada Dōan, Japanese, second half of the 16th century Melons Japan, Muromachi period (1392–1573), late 16th century Hanging scroll; ink on paper Image: 13 1/4 × 18 1/8 in. (33.6 × 46 cm) Overall with mounting: 47 1/2 × 23 7/8 in. (120.7 × 60.6 cm) Overall with knobs: 47 1/2 × 25 13/16 in. (120.7 × 65.5 cm) Mary Griggs Burke Collection, Gift of the Mary and Jackson Burke Foundation, 2015 2015.300.63

On view for Rotation 1 only; to be replaced by 2015.300.49, 2002.3, and 2002.447.29 for Rotation 2.

Images of fruits and vegetables, like this pair of melons, were often displayed in Zen temples and served as symbolic offerings to Buddhist icons. Although such images were already being made by the Song dynasty in China, ink paintings of isolated fruits and vegetables became exceedingly popular in the late Muromachi-period Japan, where they were associated with the celebrated Chinese Chan (Japanese: Zen) painter Muqi (ca. 1210–after 1269).

10/16/2015 54 Gallery 225, Case 17 55. 栗鼠瓜蒔絵文台 Writing Table (Bundai) with Melons and Squirrels Japan, Edo period (1615–1868), first half of the 17th century Lacquered wood with gold hiramaki-e and e-nashiji (“pear-skin picture”) H. 4 in. (10.2 cm); W. 13 5/8 in. (34.6 cm); L. 23 in. (58.4 cm) Mary Griggs Burke Collection, Gift of the Mary and Jackson Burke Foundation, 2015 2015.300.283

On view for Rotation 1 only; to be replaced by 2015.300.49, 2002.3, and 2002.447.29 for Rotation 2.

This writing table, which was probably originally made as a set with a matching writing box, is decorated with designs of melons and squirrels, auspicious symbols representing good fortune and fertility. This painterly subject originates from Chinese compositions depicting nature, including birds and flowers, grasses, vegetables, and insects, popular in the arts of the Ming dynasty. Painters in Japan during the Muromachi period (1392–1573) incorporated these subjects into their repertory. The maki-e artist depicted the squirrels in a dynamic, playful composition, while some of the leaves are designed as if partially eaten by insects. The application of the flat maki-e and the e-nashiji (“pearskin picture”) sprinkling follows the Momoyama-period traditions (1573–1615) of Kōdaiji lacquers.

10/16/2015 55 Gallery 225, Case 17 56. 葡萄蝉図 Bokurin Guan, Japanese, active late 14th century Cicada on a Grapevine Japan, Muromachi period (1392–1573), late 14th century Hanging scroll; ink on paper Image: 25 1/4 × 12 1/8 in. (64.2 × 30.8 cm) Overall with mounting: 57 5/16 × 15 1/2 in. (145.5 × 39.3 cm) Overall with knobs: 57 5/16 × 17 5/16 in. (145.5 × 44 cm) Mary Griggs Burke Collection, Gift of the Mary and Jackson Burke Foundation, 2015 2015.300.58

On view for Rotation 1 only; to be replaced by 2015.300.49, 2002.3, and 2002.447.29 for Rotation 2.

At the end of summer, the leaves of a grapevine have withered, its fruits have ripened, and a solitary cicada clings to the vine. This scroll was originally paired with a painting now in the collection of the Kyoto temple Honpōji that features a grasshopper, vibrant leaves, and darker fruits of a plant at peak ripeness. Grapevines, with their abundant, long-lasting fruit, are traditionally associated with fecundity and perpetuity.

10/16/2015 56 Gallery 225, Case 17 57. 蘇軾騎驢図 Bokudō Sojun, Japanese, 1373–1459 Su Shi Riding a Donkey Japan, Muromachi period (1392–1573), early 15th century Hanging scroll; ink and gold on paper Image: 22 1/2 × 10 1/4 in. (57.2 × 26 cm) Overall with mounting: 57 11/16 × 14 7/8 in. (146.5 × 37.8 cm) Overall with knobs: 57 11/16 × 16 11/16 in. (146.5 × 42.4 cm) Mary Griggs Burke Collection, Gift of the Mary and Jackson Burke Foundation, 2015 2015.300.49