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The Japanese Collection of the Fondation Martin Bodmer, Genève: an Introduction

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The Japanese Collection of the Fondation Martin Bodmer, Genève: an Introduction Zurich Open Repository and Archive University of Zurich Main Library Strickhofstrasse 39 CH-8057 Zurich www.zora.uzh.ch Year: 2015 The Japanese Collection of the Foundation Martin Bodmer, Geneve: An Introduction Steineck, Tomoë I M Posted at the Zurich Open Repository and Archive, University of Zurich ZORA URL: https://doi.org/10.5167/uzh-114799 Book Section Published Version Originally published at: Steineck, Tomoë I M (2015). The Japanese Collection of the Foundation Martin Bodmer, Geneve: An Introduction. In: Kreiner, Josef. Japanese Collections in European Museums Vol. III: Regional Studies. Bonn: Bier’sche Verlagsanstalt, 361-366. THE JAPANESE COLLECTION OF THE FONDATION MARTIN BODMER, GENÈVE: AN INTRODUCTION Tomoe Irene Maria STEINECK, Zürich Fondation Martin Bodmer 19–21 route Martin Bodmer, 1223 Cologny (Genève), Switzerland Tel.: +41 (0)22 707 4433 Fax: +41 (0)22 707 4430 E-mail: [email protected] Website: http://fondationbodmer.ch/ The Fondation Martin Bodmer creation throughout all ages and in all parts of the world”) (MELA 2004: 11). Any other descrip- The Fondation Martin Bodmer, with its museum tion would only repeat its content, but less ele- and library, is a true jewel. Located on the out- gantly. One can understand what Bodmer terms skirts of Geneva with a view over Lake Léman, das Menschlich-Ganze, in a philosophical man- it houses an astonishing array of manuscripts ner, meaning humanitas rather than humanity. from the beginning of writing to the present This firm ambition has reached a considerable day, as well as objets d’art, known collectively level of accomplishment in the vast collection as the Bibliotheca Bodmeriana. Matrin Bodmer of manuscripts and art objects. In describing the bequeathed his private collection of enormous items in his collection, Bodmer chose the term scale, encompassing more than 150,000 items, “Schriftdenkmäler” (MELA 2004: 11), “liter- to the city of Geneva shortly before his pass- ary monuments”, or perhaps rather “scriptural ing in spring 1971. The museum was opened monuments”. in 2003 in a building designed by the architect Bodmer’s focus remained firmly on the five Mario Botta. One should also bear in mind that pillars, whether as a regional division of the world it was Martin Bodmer who established one of into Western, Oriental, Indo-Iranian, Sino-Japanese Switzerland’s oldest literary awards, the “Gott- and pre-Columbian regions, or as five realms of fried Keller Preis” (MELA 2004: 29), which “the quintessential products of the mind” (MELA counts Herman Hesse amongst its recipients (in 2004: 41) that are still strongly represented in the 1936). Bodmer’s own words perhaps best de- displays today: Religion, History, Philosophy, Art scribe the nature of the Fondation: “Sie möchte and Poetry. Within the last category Bodmer par- das Menschlich-Ganze umfassen, also die Ge- ticularly pursued collection of the works of William schichte, wie sie sich in den Geistesschöpfungen Shakespeare, beginning as early as in his youth, as aller Zeiten und Zonen spiegelt..” (“It represents well as those of Johann Wolfgang von Goethe.1 an attempt to embrace humanity as a whole, or in other words history, as reflected by spiritual 1 The author expresses her gratitude to Ms Stasa 361 Tomoe Irene Maria Steineck The Japanese Items in the boo Cutter (Taketori monogatari 竹取物語; Collection Bodmer no. 607), dated to the 18th century with fif- teen illustrations, should be mentioned first. The “quintessential products of the mind” from Taketori monogatari is the oldest of all mo- the cultural regions mentioned above, as well nogatari. The author is unknown, but the tale as scientific papers and musical notes, consti- is presumed to have been composed in the tute the Bibliotheca Bodmeriana. One limita- mid-10th century at the latest, due to several tion in Bodmer’s endeavor to collect a library references found in texts from the 10th cen- of Weltliteratur results from his firm roots in tury onwards. One such example is notably Western orthodox education, as well as his in- The Tale of Genji (Genji monogatari), the tellectual attitude. The East Asian section of most famous of Japanese stories. Written in the collection, where Japan belongs, contains the early 11th century and attributed to Lady representative items with the potential to cover Murasaki Shikibu, it is also present in the more than one of the five pillars, yet history Bodmer Collection in three copies. The first and philosophy remain untouched. Bodmer example (no. 604) is an 18th-century work based his collection on chosen representative on torinoko paper with fifty-four illustrations examples and acknowledged the limitations he by a Tosa-school (土佐派) artist. The second thereby encountered, so he should perhaps be example (no. 605), also dated to the 18th cen- forgiven for the limitations present in the Japa- tury, is accompanied by 300 monochrome nese collection. It would be a welcome future drawings. The oldest example (no. 609), with development to add to the collection works twelve illustrations again by a member of pertaining to Japanese history and philosophy, the Tosa School, is dated to the 16th century, which are currently absent. The high quality of placing it at the peak of this group of artists the items in the Japanese display is neverthe- as court painters to the Ashi-kaga Shogunate less remarkable. In this short introduction to during the Muromachi period. the collection, I shall aim to present an over- Also well preserved and of fine quality is view of the items, and refer to more thorough the example of The Tale of Sumiyoshi (Sumi- research whenever possible. yoshi monogatari 住吉物語, no. 606) with sixteen illustrations, dated around 1650. The Monogatari storyline of Sumiyoshi monogatari is similar to all archetypical stories involving a persecuted The bulk of the Japanese collection consists heroine, such as Cinderella. The heroine prin- of monogatari, one of the major literary cess, whose mother has passed away, despairs genres of Japan, and in a narrow sense the at the hindrances that her stepmother puts in fictional one2. These were popular from the her way, whenever the opportunity of a happy middle of the Heian period (10th century) to marriage arises. She subsequently relies on her the Muromachi period (15th century). Within late mother’s nanny and hides at Sumiyoshi, a this genre, the copy of The Tale of the Bam- place famous for its grand shrine. The prince searches widely for her and whilst praying at Bibic, curator of the Fondation Martin Bodmer, the grand shrine of Sumiyoshi, receives a di- for a detailed explanation of the concept. 2 vine message of her whereabouts and the two The genre of Gunki monogatari (軍記物語) for example, is largely based on historical facts yet are happily united. The stepmother meanwhile includes fictional aspects. This genre is excluded dies, sunken into poverty. The story is widely here. accepted as having been formulated during the 362 Fondation Martin Bodmer, Genève Kamakura period, as an example of the genre acquired in the United States, mainly in Cali- of giko monogatari 擬古物語, stories unfold- fornia, between the 1950s and the 1970s. ing against the backdrop of Heian-period aris- tocratic life. The genre was popular from the Religious Scriptures and Painting Kamakura period well into the Edo period, and was rooted in a series of stories that circulated Shaka no honji 釈迦の本地 (no. 600) does until the late Heian period3, heavily influenced not strictly belong within the genre of religious by The Tale of Genji. Sumiyoshi monogatari items. It falls rather in the monogatari genre, is usually presented in two volumes, as is the being an example of otogi-zōshi, yet it stands case with the Bodmer example. The typical as a bridge between the two. The example of emaki-type illustrations were possibly executed the Bodmer Collection consists of two bound by Tosa Mitsuoki 土佐光起 of the Tosa school volumes with twenty-nine illustrations, initially during the 17th century. The narrative passage dated around 1570 at the point of acquisition, (kotobagaki 詞書) preceding each illustration is yet it might be of a slightly later date, such as written in a fluent manner using both kana and the Keichō era from 1596 to 1615 . It was ac- kanji. Another example of this genre at the Fon- quired from Zeitlin, Los Angeles, in September dation Bodmer is the copy of Ise monogatari 伊 1957, but the volumes each bear a red seal on 勢物語 (no. 601), consisting of two handscrolls the last page, stating the name Getsumeisō, with fifty illustrations by a Tosa-school artist, signalizing its provenance as Kōbundō, the re- dated to the 17th century. nowned dealer in Tokyo (GRIOLET and BRISSET The example of The Story of Bunshō 2010: 101). The small size of the seal suggests (Bunshōzōshi 文正草子; no. 608), an exam- a later date in the career of Sorimachi Shigeo, ple of a Nara ehon with twelve illustrations by the collector and dealer behind Kōbundō. the Rimpa School, is dated to the 17th century. The scroll of Mahaprajnaparamita Sutra The auspicious storyline of a poor and unfortu- (般若波羅蜜多経, no. 603, fig. 1), formerly nate hero rising to fortune made this monoga- dated to the 9th century, was acquired from tari a suitable choice for reading on auspicious Breitlin & Ver., Bruges, in December 1953. occasions, such as at New Year. Nara ehon are This work is of central interest to our research manuscript books belonging to a genre of pop- project “Japanese Buddhist Art in European ular literature known as otogi-zōshi 御伽草子, Collections”. As a sutra, it is a major scripture widely appreciated from the late Kamakura to transmitting many of the basic principles of the middle of the Edo period.
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