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Japan in the Meiji Era The collection of Heinrich von Siebold Galleries of Marvel Japan in the Meiji Era Japan in the Meiji Era The collection of The collection of Heinrich von Siebold Heinrich von Siebold

This exhibition grew out of a research Meiji period (1868–1912) as a youth. Through project of the Weltmuseum Wien in the mediation of his elder brother Alexan- co-operation with the research team of der (1846–1911), he obtained a position as the National Museum of Japanese History, interpreter to the Austro-Hungarian Diplo- Sakura, Japan. It is an attempt at a reap- matic Mission in Tokyo and lived in Japan praisal of nineteenth-century collections for most of his life, where he amassed a of Japanese artefacts situated outside of collection of more than 20,000 artefacts. He Japan. The focus of this research lies on donated about 5,000 cultural objects and Heinrich von Siebold (1852–1908), son of art works to Kaiser Franz Joseph in 1889. the physician and author of numeral books About 90 per cent of the items pictured in Hochparterre on Japan Philipp Franz von Siebold (1796– the photographs in the exhibition belong to 1866). Heinrich went to Japan during the the Weltmuseum Wien.

Room 1 Ceramics and agricultural implements

Room 2 Weapons and ornate lacquer boxes

Room 3 Musical instruments and bronze vessels Ceramics and Room 1 agricultural implements 1

The photographs show a presentation of artefacts of the Ainu from Hokkaido, togeth- This large jar with a lid is Kutani ware from dynasty (1638–1644) Jingdezhen kilns, part of Heinrich von Siebold’s collection from er with agricultural and fishing implements Ishikawa prefecture. The style of covering its direct model was the Hizen Koimari about 1883, at his sister’s residence in south- surrounded by coin trays. In the lower area, an entire vessel’s surface with three painted gold-plated porcelain produced from the ern Germany. The objects in the photographs ceramics and porcelain that reflect both colors (red, gold, and black) in an intricate latter half of the seventeenth century into appear to be geometrically arranged, framed European and Japanese tastes round off the pattern is called aka-e saiko. It was popular the first half of the eighteenth century in with scroll paintings, textiles and architectur- selection. The models of about 80 agricultur- from the mid nineteenth century to the Japan. During this time Koimari jinko tsubo al elements. Against the backdrop of a large al implements had been previously displayed early twentieth century. On this work’s were exported overseas and became very military banner can be seen various everyday in the Vienna World Exhibition of 1873. body, sides, and lid, in circular frames we popular amongst royalty and nobility in the find auspicious images of one hundred West. They decorated castles and palaces. old people with a very long lifespan. Such This piece can be described as a Koimari images were actively produced in the jinko tsubo updated with Kutani ware’s Kutani ware areas of Nōmi and Kanazawa. detailed red coloring. Such works were This jar is called a jinko tsubo. While the primarily produced in the 1870s and 1880s origins of jinko tsubo’s shape lie in Ming for export to the West. MA

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This elegant work features a gorgeous design carried out from the 1970s onwards in the This is a small lidded container in the nineteenth century. Examples include applied in detail. It appears to be Kutani Hizen Arita area in Kyushu basically made shape of the late Tang period legendary the Zōshuntei brand of Hisatomi Yoshibē, ware from Ishikawa Prefecture created clear that such products were made at Hizen Buddhist monk Budai. In Japan, where who acquired Arita ware monopoly rights around the 1880s. It is modeled after the / Arita kilns during the mid-sventeenth he is called Hotei, he became one of the from the Saga domain in 1841, as well seventeenth century classic style called century. This is referred to as the “Ko-kutani” seven gods of fortune. This pot-bellied as the Hichōzanshipo brand of Tashiro “Ko-kutani.” Arita theory. This piece was created when figure appears carrying a large bag in this Monzaemon, who inherited overseas For many years from the second half of the the Ko-kutani Saga theory was predomi- humorous design. The decorations are in a export monopoly rights from Hisatomi in Edo period onwards, Ko-kutani products nant. It was modeled after a five-colored so-called someshiki style: beneath glaze, Ansei 3 (1856). Subsequently in 1868 nine were thought to have been produced at the Ko-­kutani work actually produced in the a cobalt pigment indigo is applied, and on more merchants were given permission by Kutani kiln in the Saga domain’s Yamanaka 1640s at an Arita kiln. While almost all top of the glaze, red and gold are applied. the Saga domain to engage in trade. One of area (today, Kaga city, Ishikawa prefecture). Ko-kutani were large plates, this piece is a The gold arabesque coloring applied on them was Tomimura Morisaburo. Judging This is referred to as the “Ko-kutani” Kaga flower vase and includes a classy Ko-kutani a thick dark orange background (seen on from the inscription “Made by Tomimura,” theory. However, archeological surveys design on its front. MA Budai’s body) is like the Hizen Arita ware this was probably one of the products for style from the middle to latter half of the overseas export that he handled. MA

3 5 On this large plate, large peonies and nar- and are thus auspicious signs of the lunar cissuses freely grow in a vase. Peonies and calendar New Year. Cherry blossoms, which This a richly colored large vase with a being pulled by cute children in Chinese narcissuses are auspicious flowers. The also bloom in spring, have been appreciated bulging body. The production of such vases clothing. On the neck of the vase we find former represents position and wealth, and since the Heian period (794–1185) due to flourished during the eighteenth century a lace-work string (yōraku) pattern. At the the latter the lunar calendar New Year. The their elegance and charm. The edge of the (mid-Edo period) at Hizen kilns in Kyushu. base of the neck is a geometrically patterned plate’s design is, in this way, an auspicious plate’s outer boarder slightly curves inwards This work was probably a revival of this swirling floral design, from which hangs one. It originates in China. Above and below and is colored with gold. On the back of the style created for overseas export during the another bead/lace-work string pattern. the blue and white double line border in the plate are plum, chrysanthemum, and peony middle to second half of the nineteenth At the bottom part of the vase’s body is a center are massive and richly luminous floral sprays, and the footring is surrounded by a century (first half of the Meiji period). On lotus petal pattern, which is also filled with motifs within a panel. It has a black back- triple-line in underglaze-blue. the body we find a resplendent flower cart geometrical patterns. MA ground with a gold floral motif. In the white Inside of the footring is a single line in space to the left and right of the panel are underglaze-blue. On the base are traces of red and gold camelias and cherry blossoms five support pins used when firing the piece in full bloom. Camellias flower in early spring (harisasae). MiS

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Modern Satsuma ware does not have any flour dumplings (shiratama). Its Buddhist This appears to have been created in the pink, the young leaves a light green, and color-based designs. For the so-called “White and other figure statues are famous. Guanyin White Satsuma style (clear glaze applied the flower stamina / pistils gold. The plum Satsuma ware,” clear glaze is applied to Dehua porcelain statues were popular in to the clay body). However, the material flowers are not fully bloomed. Rather, the white clay. One example of “White Satsuma the West. Satsuma ware/kiln also looked has small cracks, which one does not piece seems to be rendering a plum tree ware” is the sculpture-like three-dimensional to export pieces to the West in order to generally find on colored White Satsuma that is just about to bloom, with the buds hinerimono. The model for colorless three- obtain foreign currency, and actively created ware. Therefore, it is hard to definitively coming open one after another and the dimensional works appears to have been the three-dimensional White Satsuma pieces determine where it was produced. On flower petals opening up bit by bit. We Dehua porcelain (Blanc de Chine) of Fujian modeled after Dehua porcelain. In this piece, the body of this small bowl are gorgeous could describe it as a refreshing vessel province (China). Dehua porcelain flourished an evil spirit sitting on top of a rock holds an three-dimensional plum blossoms, resem- filled with the power of life. Around its during the Ming and Qing Dynasties (1368– incense burner. On the top opening of the bling a sculpture. Plum tree branches opening and bottom are gold bands. This is 1911). Its surface is half-translucent with a incense burner sits Shaka Nyorai (Śākyamuni hang down from its opening. Then appear probably an imitation of the neo-classicist beauty like that of elephant tusks or rice Tathāgata). MA swelling buds, and, finally, gorgeous style that was popular in the West during blooming flowers. The buds are a light the nineteenth century. MA

7 9 Modern Satsuma ware does not have any pieces. This piece shows the late Heian period color-based designs. One only finds so-called (794–1185) poet Saigyō, who enjoyed travel- This is a lidded container made to resemble be called O-kame. It is said that “O-kame” “White Satsuma ware,” for which clear glaze is ling, with an umbrella resting on a rock while Otogoze. It appears to be a colored ceramic comes from her face and protruding cheeks applied to the white clay body. One example gazing at Mt. Fuji. This was a painting subject produced in the middle or latter half of the resembling a large pot (kame). Her stout of “White Satsuma ware” is the sculpture-like also found in Edo period (1600–1868) paint- nineteenth century in Kyōtō. Otogoze is a appearance in this lidded container certain- three-dimensional hinerimono. It was made ings, sculptures, and ceramic ware. A similar woman from Japanese mythology and is ly brings to mind one. After shaping and at Naeshirogawa kilns such as Chin Jukan colored Satsuma ware work from basically said to be Ame-no-Uzume, Japan’s oldest the application of white glaze, this piece during the second half of the nineteenth the same time can be found at the Hermitage odoriko dancer. She has a round face, a was fired at high temperature. It was then century. At Chin Junkan’s Gyōkōzan’s produc- Museum in Russia. It depicts Kakinomoto no low and round nose, long flowing hair, painted and fired again. A light red has been tion site there are molds and models for such Hitomaro. MA and round cheeks projecting outward. In applied to her face, giving it a charming kyōgen she is a shikome (ugly woman). In expression. Her gorgeous kimono features bunraku she is called O-fuku and seen as a beautiful fall foliage Tatsuta River scene an auspicious female figure that brings created with gold leaf, red, and deep blue. in fortune (fuku). After entering the early It includes plovers, which are found at this modern period, in Edo kagura she began to river. MA

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While one finds the base inscription during the Kamakura period (1182–1333) and This panel features a chicken and a chick as Chōhachi of Izu. At the age of twenty “Kenzan,” judging from the inscription’s later. Ogata Kōrin (1658–1716), the biological kote-e (plaster relief) with red and blue he went to Edo (Tokyo) to study painting characteristics and the pattern design, this brother of Kenzan, revived this image during coloring. Kote-e (lit., “trowel picture”) is and engraving. He elevated the kote-e from work does not appear to be by Ogata Kenzan the middle of the Edo period (1600–1868). one type of plasterwork technique. It is architectural decoration to the level of art to (1663–1743) himself. He transformed it, depicting poets that lived done by plasterers, who create the likes of be appreciated indoors (panels, statues, and Probably created during the middle or latter in different eras as if they were participating buildings’ plaster and earthen walls, using so on). His masterpieces include a dragon half of the nineteenth century it is imitating in a poetry gathering. The Edo Rinpa school a small pointy trowel (kote). This technique ceiling painting in the main hall of the Kenzan’s style. painters Sakai Hōitsu (1761–1829) and Suzuki developed from the middle of the Edo period temple Jōkan-ji, which is located in his home On the body of this piece we find a Kiitsu (1796–1858) popularized this Kōrin- (1600–1868) while being used on decorations of Matsuzaki, as well as works in Sensō-ji so-called thirty-six immortals of poetry style “thirty-six immortals of poetry” image for the outer walls of temples, storehouse temple’s Kannon Hall and at Meguro Yūten-ji (sanjūrokkasen) image. The thirty-six immor- during the latter half of the Edo period. It walls of wealthy merchants, and elsewhere. temple (Edo/Tokyo). He exhibited a piece at tals of poetry were chosen by the tenth appears that ceramic works like this one Irie Chōhachi (1815–1889), the creator of the first Domestic Industrial Exposition in century / mid-Heian period poet Fujiwara no were under the influence of this popular Edo this work, was a master craftsperson active 1877. Unfortunately, the majority of his works Kintō. Images of them were often created Rinpa version. MA from the end of the Edo period into the have been lost due to earthquakes and war. Meiji period. (1868–1912) He was born in Kendō, found in this work’s inscription, is the Matsuzaki in Izu, and is therefore known pseudonym he used in his later years. KH

11 13 This gorgeous vase magnificently renders three-dimensional leaves and branches of the base part of green bamboo. It appears this piece we find a bamboo and sparrows Here we find miniatures that sophisticatedly farming in non-paddy fields. These include to be a Yokkaichi Banko piece. design, which is also often used for family replicate tools necessary for agricultural hoes and spades for tilling fields, sujikiri Yokkaichi Banko was established at the crests in Japan. This piece was modeled work, from plowing to threshing, as well as used to create farrows, a human-powered end of the Edo period (1600–1868) by after the traditional soft ceramic pieces, tools necessary in the daily lives of farmers. waterwheel for bringing water into rice Yamanaka Chūzaemon. Yamanaka imitated referred to with names like Maiolica and Considering the diversity of the hoes and paddies (fumikuruma), sandals for walking in the Yusetsu Banko technique and revived Faience, that had been created for a long other characteristics, these might be minia- wet fields (tageta), a boat used on wet fields Banko ware in Mie Prefecture’s Yokkaichi. time in (Western) European countries such tures of farming implements from a variety (tabune), threshing and hulling implements, Starting in Meiji 3 (1870), he launched a as Italy and Germany. After Yokkaichi Banko of areas that were created while referring to a mortar, and winnows. Also, we find imple- full-fledged kiln with the aim of becoming production grew, it began to look overseas, agricultural texts such as Ōkura Nagatsune’s ments for carrying objects such as a back- a local industry. Banko ware refers to glazed and exported Japanese-style pieces to 1882 On the Efficacy of Farming Tools (Nōgu pack basket and seita (“back board”), as well soft ceramic pieces that were fired at a low Western countries where Japonisme was benriron). These miniatures are major agri- as farmer clothing such as a sedge hat, grass temperature (around 800° C). Around the booming. MA cultural tools needed for rice cultivation and skirt (koshimino), and straw sandals. MM

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These are samples of major types of wood pre-made in Nikkō. Heinrich von Siebold The fishing pole consists of three bamboo This appears to be a spear used for stabbing used in buildings and craftworks in Japan, often visited Nikkō while in Japan, and he rods. The fishing line is embedded in the fish in shallow ocean waters. In Edo/Tokyo, including empress tree, hinoki cypress, probably acquired these samples during one pole and runs through it. The line that comes people would engage in tachikomi-tsuri, Japanese cedar, Japanese zelkova, Japanese such visit. out of the pole has a one-armed spreader wading into shallow waters wearing high cucumber tree, and Japanese horse-chestnut. We also find similar wood samples in the (tenbin) attached at its end. Out of the geta sandals (with long teeth) and fish for In addition to seventeen rectangular straight second collection of Heinrich’s father, Philipp spreader comes a line (snell) to which a hook the likes of small-scale whiting. When doing grain panel samples, there is a Japanese wis­ Franz von Siebold, that is held by the Five attaches. The hook is missing and there is no so, they would use a walking stick. So that teria vine cross-section, as well as a Boston Continents Museum in Munich. We could sinker attached to the spreader. they could stick it into the sandy ocean floor ivy one as well. These nineteen samples are say that these samples reflect the approach This is a fishing net with a rather small diam- and stab fish, its end was spear-shaped. nailed onto a base panel. Each sample’s name to collecting items of both father and son. eter. It was probably used to fish for very However, this item is very small, and it may is written to its left in the katakana script. They tried to introduce Japan’s handcraft small fish. Generally such net frames were have been a miniature reproduction. All of the samples are branded with charac- techniques in a way that covered their raw made by bending and binding a tree branch. MM ters meaning “Nikkō’s Famous Wood.” It thus materials, creation process, and finished appears that this was a set of wood samples product. HKu 17

This is a wood steelyard balance. The measure items with a wide range of weight 15 steelyard balance is thought to have been using just one light weight. It appears that invented in Ancient Rome or China. It was this steelyard balance, which is approximate- These appear to be implements used for The bottom fishing implement with a used in Japan for a very long time. During the ly 60 centimetres long, was able to measure hobby fishing in the Tokyo area. We find float spreader is missing its hook. While a Edo period (1600–1868), the use of balance items up to around 20 kilogramme. fishing implements, a bottom fishing imple- definitive conclusion cannot be drawn, it scales was restricted to merchant bankers We find the inscription “Tokyo Moriya,” ment with a spreader (tenbin), and a jig. It is was probably used for saltwater fishing of (ryōgaeya). Therefore, steelyard balances indicating that it was made by someone in unclear the type of fish that the float fishing smelt-whitings and gobies. were widely used. One would hold the cord Tokyo named Moriya. During the Edo period implements were used to catch as well as The jig was most likely used to fish for ayu. (called a torio in Japanese) and hang the item (1600–1868), the manufacturing of steelyard whether multiple fishing implements are In the latter half of the Edo period (1600– to be measured from the hook at the end balances was controlled by the Shuzui family wrapped around their winding parts or these 1868), ayu jig fishing was popular. This jig is of the pole. Then, after moving the position in Eastern Japan and the Jin family in West- implements use both a float and spreader. made to look like a mosquito and is brightly of the weight (with a cord attached) to ern Japan. Upon entering the Meiji period Further investigation is necessary. colored. MM counterbalance the item, one would read (1868–1912), a license-based system was put the graduation. By using the law of the level in place. One finds the name Moriya Sada- and different types of torio cords, one can kichi in an early list of licensees. HKu

Room 1 This object is on display in our permanent exhibition 18 in the gallery 1873 – Japan comes to Europe. 20

These pairs of earrings both feature hollow The openwork decorative plate is made The body of one quiver is a bamboo tube A sketch of this quiver is included in metal balls attached to metal loops. In Ainu from a brass-like metal. It appears to have with an approximately six centimeter diam- Heinrich’s 1881 book. The other quiver traditional culture, earrings are jewelry worn been an accessory attached to the leather eter. Tape-shaped cherry bark is wrapped was made by cutting a piece of wood in by both women and men. decorative bands worn by Sakhalin Ainu around it. Considering that large bamboo half, hollowing out the interior, attaching The circular decorative plates are made from women. trees do not grow wild in Hokkaido, it the two pieces back together, and then gray metal and feature a pattern. Seeing the Heinrich describes the bronze-like metal appears that this piece was made from wrapping them in place with tape-shaped small circular openings, one imagines that they piece with six knobs as a necklace in his bamboo somehow acquired from Japan’s cherry bark. were sewn to something. It is possible that 1881 book, but details regarding it are main island or further south. A narrow and Heinrich’s Ainu materials include twen- they were attached to the choker-like necklac- unclear. Sketches of all of these items long part, basically the same shape as an ty-two arrows for a hand bow. Some of es or cloth bands worn by Ainu women. appear in Heinrich’s 1881 book. KY ikupasuy (ritual implement), is attached to them might have been stored in this quiver. the main body with cherry bark. At the back When hunting with bow and arrow, Ainu end of this part is an opening that serves as people made use of aconite and therefore a sheath for a knife. The knife has been lost. could take down large animals. KY

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These are implements for carrying around Japanese lacquer-like red. The narrow and 21 items for smoking such as tobacco leaves long board tied to the tobacco box is a pipe and a pipe. In Ainu traditional culture, holder. The bowl of the pipe is inserted in Hunting knives were not only used to cut blade does not fit well in the sheath, it tobacco was not only a luxury item but the hole and the pipe is stored so that it is branches in one’s path while walking in appears that they were created separately. also an indispensable offering to gods and flush with the board. fields and mountains and like a machete, The knife is long and narrow with detailed ancestors in rituals. On the backside of the board is a storage but also to butcher large animals. Regular engraving. It has a gently curving blade The tobacco box is comprised of multiple space with a sliding lid for a wire-shaped knives were commonly used in Ainu daily that is 15.9 cm long. The sheath was made parts and designed so that the tobacco tool used to clean the pipe. live and carried by both men and women. by hollowing out a single piece of wood. It leaves will not be exposed to outside mois- From the worn pattern engraved on the This hunting knife has a 25.6 centimeter covers the hilt. The bottom of the sheath ture. Part of the design engraved on the bone/horn cord fastener, we can see that blade. The sheath is wrapped with tape- (the side of the blade’s back) has grooves sides of the tobacco box are painted with a this piece was used for many years. KY shaped cherry bark and has a part for created when hollowing out space for the attaching it to one’s waist. Judging from blade. Sketches of all of these items appear their number of usage marks and that the in Heinrich’s 1881 book. KY

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Arrow baskets were used by bow mochi- carrying arrows, such as ebira (quivers) Haniwa are variously shaped clay figures regarding burial mounds’ time periods. Also, gumi troops to carry on the shoulder a and yanagui (arrow cases). However, they that were lined up on burial mounds (kofun) in the “Tsuchi Ningio, or Clay Figures” chap- bow and a bundle of arrows. They were all only hold arrows and are carried on the where rulers were buried. They were made ter, he presents explanations regarding hani- primarily used on long-distance marches back with a cord or band. In contrast, arrow in a variety of shapes: vessel stands, pots, wa and stories about their origins. However, (for sankin kōtai, etc.). This piece has a baskets like this one (called shiko) can hold cylinders, houses, animals, and so on. One the three human haniwa in this book are bamboo lacquered frame and a leather a set comprised of a bow and arrows and be also finds human haniwa in the latter half different from the item here. Heinrich also black lacquered bag (hōdate). On the latter carried out the shoulder during marches. of the Kofun period. This piece is a head of carried out surveys of burial mounds around is a quince family crest (mokkōmon). One When shooting, after removing the bow, one such figure. Heinrich was interested in Takakasaki (Gunma prefecture), Kabuto would put three-feather fletching arrows one would insert the arrow basket’s hooked Japan’s burial mounds. In his 1879 Notes on (present-day Higashimatsuya city in Saita- for battle in it (twenty of them; nineteen portion into one’s waistband and secure it Japanese Archaeology with Especial Reference ma prefecture), Ōtani village (present-day extant) and fix a bow to the outer frame’s with a cord. to the Stone Age, one of the eight chapters Kumagaya city in Saitama prefecture), and metal fitting. The arrows have been lost. Being in good condition, this is a valuable is entitled “Japanese Graves.” Therein he elsewhere. The book states that ten human There are a variety of implements for bow and arrow implement. TI explains the characteristics of burial mounds figure haniwa were excavated in Ōtani and graves dug into the sides of hills (called village. However, it is unclear from which yokoanabo), funerary goods, as well as views burial mound this item came from. YK

This object is on display in our permanent exhibition 23 in the gallery 1873 – Japan comes to Europe.

Above and below its wooden black lacquer Along with fans (gunbai), these batons were handle, this baton (saihai) has metal fittings used by military generals in battle to give with an arabesque pattern against a silver instructions to their troops. Their tassels dotted background (nanaji). To the top were made from paper strips with gold metal fitting a ring is attached, from which and silver leaf (similar to the gohei used a paper tassel hangs. The bottom metal at shrines) as well as the fur of animals fitting has a hole through which a red cord such as yaks. Upon entering the Edo period tassel runs. This is a classic saihai with silver (1600–1868) feudal lord’s implements metal fittings attached to a formularized became more formalized. They increasingly black lacquer handle. It was most likely became ritual implements used, along with created for a feudal lord as item indicative the likes of armor decorations, to show of his status. one’s dignified demeanor. TI

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Dōtaku are bell-shaped bronze imple- In this way, they changed from being bells After returning to Europe from Japan in there are traces of annotations and labels on ments that are thought to have been to be rung to bells to be looked at. It is 1874, Heinrich actively worked to collect some of the stone implements and weapons, used for rites and rituals related to rice unclear from where this item was collect- archaeological materials. It appears that his their findspots are unknown. Many of the cultivation during the Yayoi period (1000 ed; no information remains regarding collecting work was primarily done through Jomon pottery fragments are from the late BCE–300 CE) in Japan. They have been the circumstances under which Heinrich Tokyo acquaintances and curio shops. In his Jomon period (ca. 2400 BC-1300 CE). Out primarily unearthed in the western part of acquired it. In his 1879 Notes on Japanese 1879 work Notes on Japanese Archaeology of all the topics in archeological research, the country. They first appeared towards Archaeology with Especial Reference to with Especial Reference to the Stone Age, we Heinrich was the most interested in shell the end of the early Yayoi period and in the the Stone Age, there is a chapter entitled find a chapter entitled “Stone Implements mounds and theories regarding the origins mid-Yayoi period (400 BCE–300 CE) and “Stone Ornaments and Bronze Objects.” and Stone Weapons,” which includes expla- of the Japanese people. He collected Stone were used for a period of four hundred However, it does not cover this bell. The nations regarding various items. The vast Age items in order to elucidate these topics. years thereafter. As time passed, their outer part of this bell’s handle is missing. majority of Weltmuseum Wien’s archaeo- Heinrich excavated the Ōmori Shell Mounds initial small bell shape (which came from Also, since it is a six part cross banded logical materials collected by Heinrich are at a different location than Edward Morse, the Korean Peninsula) gradually grew larg- design, it is probably from around the first Jomon period stone arrowheads. We also and it is highly likely that these pottery er, and they also became more decorative. century CE, or the later Yayoi period. YK find polished stone axes, chipped stone axes fragments include pieces from there, but the (stone hoes), and stone spearheads. While details are unclear. YK

Room 1 Weapons and Room 2 ornate lacquer boxes

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The design of this photograph is dominated warriors. Sanskrit symbols on weapons and The styles of the center Amida Nyorai the left-side attendant one finds “Shichijō by long, thin weapons such as rifles, arrows, armour were thought to possess the power statue and his two attendants are different. Dai Busshi Hokkyō Kōkei” written in red arrowheads, swords and sword blades, to fend off harm. Most of the lacquer boxes Therefore, these originally could not have lacquer. On the base of the right attendant flanked by scroll paintings and textiles. and caskets were originally in the possession been a trinity set. The Amida Nyorai statue one finds “Shichijō Dai Busshi Shikibu-shō,” A group of Buddhist figurines – the Amida of high-ranking families of the Edo period has a plump and firm circular face, as well as also in red lacquer. This indicates that they Trinity – has been set up in front of these (1600–1868). The exhibited wooden panel uniform clothing lines. Therefore, it appears were made by Shichijō Buddhist statue artefacts. The combination of weapons and is one of the oldest objects in the room. to have been created in the sixteenth centu- makers, who were primarily active in Kyoto. Buddhism is not far-fetched or arbitrary, It stems from the tomb of the second ry at the latest and modeled after works It is highly likely that Kōkei refers to the as, historically speaking, monks were also Tokugawa Shogun in Shiba, Edo (Tōkyō). from the end of the twelfth and thirteenth Buddhist sculptor known from historical century. The two side attendants have long documents to have been active during heads and calm expressions. Their neat yet second half of the seventeenth century. formalized style suggests that they were While details regarding “Shikibu-sō” are made in the Edo period (1600–1868). It is unclear, both statues are important as ortho- unusual for Amida Nyorai attendants to be dox Edo period sculptures. MoS joining their hands together at the breast. This is normally seen in Nichiren sect Shaka Note: “left” and “right” above are from the Nyorai and Tahō Nyorai statues. It is likely Amida statue’s perspective. The “left” that where the Amida Nyorai statue stands statue refers to the statue on the right was found a jeweled stupa with the inscrip- when looking at the trinity from a viewer’s tion namu myōhō renge kyō. On the base of perspective.

Room 2 metal mirror has been inlaid. For a long time “2537” inscription is based on the latter and 28 in Japan a lunisolar calendar was used with corresponds to 1876 or Meiji 9. years being counted using era names and We could say that the ancient mirror and Jingasa are hats from the Muromachi peri- Therefore, the shogunate established rules the sexagenary cycle. However, in 1872 (Meiji curved jewel design symbolizes Heinrich von od (1336–1573) worn in battle by infantry, regarding the indication social status differ- 5), the government revised the country’s Siebold, who was active during the infancy such as common foot soldiers, in place of a ences with their colors. calendar system to follow the West. When of archeology in Japan and loved old items. If helmet. At first they were made from thin The flat jingasa here are all ichimonji jingasa. doing so, the solar calendar and imperial the inscribed year is the year that this piece metal or lacquered leather and had a family On their surface, a lacquer with the likes of calendar, which starts with the ascension was created, it may have been specially crest or mark on the front to distinguish egg whites or tofu mixed in for adhesiveness of Emperor Jinmu, were both adopted. The made for him. KH between friend and foe. During the peaceful (called shibo-urushi) was applied, and then and stable Edo period, they were worn by beaten with a tool called a tanpo (a piece of samurai when, for example, going out to cotton wrapped in silk), creating a bumpy engage in military business or traveling afar. grain. This is one of the kawari-nuri tech- Such hats were curved at the brim, made nique, commonly referred to as tataki-nuri from wood or layers of washi (Japanese (beaten lacquer). One of the hats is brown paper), lacquered, and high quality. In addi- lacquer with a black lacquer underside. The tion to a family crest, sometimes they would other one is dark blue lacquer with a yellow 30 feature ornate decorations. Amidst the underside that features a gold makie lacquer upheaval of the Bakumatsu period during work brim decoration. The dark blue one Stationary boxes (ryōshibako) were used insect motifs often appeared with plants in the middle and latter half of the nineteenth was for high-ranked samurai allowed to have to hold the likes of waka poetry and Japanese craft designs from the Heian period century, jingasa were used more and more. audiences with feudal lords. KH letters. Along with ink stone boxes, they (794–1185) onwards. Elegant butterflies were important stationary items. Those were often used for designs symbolizing the lacquered and with beautiful decorations rebirth of life. Swallowtails are particularly were used by aristocrats, warriors, and large and gorgeous butterflies, and from the well-off townspeople. They often were sets Kamakura period (1185–1333) onwards they with ink stone? boxes. were thus preferred by the warrior class and Inside this large, rectangular wooden box also incorporated into family crests. 29 is a nested inner box. The entire box is While this box’s scattered family crest covered in black lacquer. Using narrow decoration is fairly simple, the inside is This is a wooden stationary box with a black On the large eight-flower pedal mirror on lines (tsukegaki) drawn on flat makie (hira resplendent, with densely sprinkled metal lacquer coating. The box features colored the top of the lid is a two-bird pattern as well makie) lacquer work, a swallowtail butterfly filings (makie fun) creating a tsume nashiji lacquer and makie lacquer work on a black as the text “year 2537.” The border features pattern is placed at various points on the box background. This box was probably used by a lacquer background. There is an ancient an arabesque pattern and a curling cloud in a balanced fashion. Butterfly and other wealthy family of a feudal lord. KH mirror and a linked curved jewel (magatama) unkimon pattern. The relief bronze mirror has design extending from the top of the box’s been realistically rendered (rust, etc.) using surface to the box’s sides. only lacquering, making it seem like a real

Room 2 featured of gorgeous makie lacquer work of the lid. The entire surface of the box is 31 decorations, metal fittings, as well as family covered in black lacquer, on which there crests that indicated the family to which is slightly raised makie lacquer work On the side of the large and narrow rectan- From the Edo period (1600–1868), it became the procession belonged. Different types (usuniku taka makie) that uses gold and gular box is a metal fitting for the purple common for large sets of wedding items to also emerged: boxes to be used alone, as a aokin (gold-silver alloy). On top of this chord that is tied around the box to keep in be created, primarily for the shogun’s family set, carried by servants leading the proces- lacquer work an arabesque pattern with a closed. In an old inventory of Weltmuseum and feudal lord families. This led to many sion, carried by servants at the rear of the sword wood sorrel arabesque pattern (ken Wien it is described as a koto (Japanese zith- lacquer designs incorporating family crests. procession, and so on. katabami) crest has been created by adding er) box. However, it is too small for one, and It is unclear in which familie’s household it This traveling box is rectangular with a lid. narrow gold lines (tsukegaki). The ken it is thus unclear what this box was used for. used the two crests on this box. To carry it, a pole was run throughout its katabami crest was the family crest of the The box is covered in black lacquer. An The watermarked/openworked incense hanging hooks found in front and behind Himeiji domain’s Sakai family. KH arrowhead crest (tachi omodaka mon) symbols on the nested box resembles the and six hammer crest (mutsu tsuchi mon) Genji incense symbols (hatsune). However, are created using narrow lines (tsukegaki) unlike the Genji incense symbols, there drawn on gold and aokin (gold-silver alloy) are six vertical lines, which are for distin- flat makie (hira makie) lacquer work. Inside guishing between five types of incense. It is is a mura nashiji ground consisting of spots possible that an artisan without knowledge of metal filings (makie fun) and a nested of incense-comparing games (kumikō) box with openworked incense symbols mistakenly created an image with an extra 33 (kō-no-zu). vertical line. KH This is an altar flower vase. Such vases are patterns are taotie (Jp. tōtetsu; mythical said to have developed out of the shapes Chinese creature/god) patterns set against a of ancient bronze alcohol vessels (Ch. zun; thick and zig-zagging line pattern (raimon). Jp. son). The vase’s mouth is wide, like vases While the taotie’s eyes, noses, jaws, and fore- used for flower arrangement. From the neck heads on the back and left side of the vase to the shoulders of the vase, elegant arcs are clearly visible, on the front and right side 32 extend from the mouths of unicorns and the eyes and noses are hidden by the frame. then curl in. Much gilt remains on the vase’s It appears that the person who added the black body: on these handles’ unicorns, as frame to these parts did not attach much Hasami bako were used by samurai, aris- called takebasami), boards sandwiched well as on the patterns with heart-shaped importance to the taotie pattern. However, tocrats, Buddhist priests, and others when between bamboo poles used to carry frames (nyoimon) found in four places. The due to the gold, the zig-zagging lines that traveling. In them were placed changes of clothing. unicorns’ large teeth are clear, emphasizing surround it stand out brilliantly. This design clothes, as well as necessary implements. In the processions of feudal lords during the evil-removing act of biting. Inside the uses ancient bronze vessel patterns as They were carried by servants with a pole. the early modern period, these traveling four aforementioned heart shape-framed accents. HK During the 16th century (Sengoku period), boxes began to be used to show the rank they came to replace hasamidake (also of their warrior families. Such boxes

Room 2 This object is on display in our permanent exhibition The park was opened to the public in 1917, interior of a sacred octagonal building that 34 in the gallery 1873 – Japan comes to Europe. by which time a number of derelict monu- was part of the original complex commis- ments had long been demolished. Before sioned by the second shogun and is dated These pots feature a taotie (Jp. tōtetsu; a that these two pots were created at the 1882 (?) Heinrich von Siebold was able to to around 1632. mythical Chinese creature/god) pattern same workshop: not only do their taotie purchase parts of a shrine erected before Most of the buildings at Shiba were that protects against evil. This pattern patterns have a similar composition, their 1710, which he presented to the Austrian destroyed in the 1923 Great Kanto earth- has been consistently popular from the low relief carving, gold damascening, and Trade Museum in Vienna in 1892. The quake and American bombing raids during Shang dynasty (16th cent. BC–c.1046 BC) the proportions of their base repeated collection in Vienna subsequently acquired WWII, making the fragments preserved in up through the present. Generally the diamond patterns are the same. They additional artefacts, among them the relief the Siebold Collection in Vienna rare extant horns, eyes, nose, jaw, tusks, and other differ in their body and handle shapes. On on show here. All are similar to the reliefs remains of these important architectural parts of the beast’s head are rendered both of them, handles partially come out visible in photographs documenting the monuments of the Edo period. JW with a cast relief. Depending on the shape of the mouth of a beast. of the vessel, its various parts might be However, those on the pot with a longer decorated with a thick and zig-zagging neck are striking: there is another beast’s line pattern (Ch. leiwen; Jp. raimon), cicada neck coming out of the first beast. The pattern (Ch. chanxingwen; Jp. semigata- cicada patterns on the bottom halves of This object is on display in our permanent exhibition mon) / plantain leaf pattern (jiaoyewen; these pots’ main bodies are comprised 36 in the gallery 1873 – Japan comes to Europe. Jp. shōyōmon), or a kui (Jp. ki) pattern. of kui figures facing each other against a Such vessels can be made more ornate thick and zig-zagging line pattern. A sword rack for five swords. The rack is tabi kushige (travel toiletries case) held by by applying silver and gold to the surface. This work, which is unsparing in its use of covered in black lacquer and features a Hluboká Castle (Czech Republic). Also, there These are one such example. It is possible gold, is outstanding. HK connected plum blossom arabesque made is a piece at the Burghley House in England from gold, aokin (gold-silver alloy), and with the same background pattern and silver makie lacquer work. The crests on arrowhead (daki omodaka) crests. At the the panels have a 5-3 paulownia design National Palace Museum (Taipei), there is a (go-san kiri; five center flowers with three piece with the same background pattern and 35 flowers on either side). It is given a luxuri- a circular flower pattern (hanamaru mon). It ous look by using not only makie lacquer- is very interesting that all of them are includ- Begun in 1617, the Shinto shrine Nikkō of members of the Tokugawa clan. The area work, but also a gold and silver kanagai ed in overseas collections formed during the Tōshō-gū (日光東照宮) north of Edo (Tōkyō) surrounding Kan’ei-ji temple (寛永寺) at Ueno technique in which thin metallic sheets eighteenth century. was dedicated to Tokugawa Ieyasu, the foun- eventually became their third burial site. are cut to form a pattern and then pasted Judging from the workmanship, this sword der of the Tokugawa shogunate (徳川家康 Six of the fifteen Tokugawa shōguns and on the surface. rack was probably an item for a feudal lord 1543–1616). The Taitoku-in mausoleum countless other family members were Examples of the same design can be family’s wedding. Also, considering that a (台徳院霊廟, Taitokuin Reibyō) at Edo, built interred at Shiba, and, together with the found in the sets of heishi (bottles used similar piece has Nagato arrowhead crests in 1632 for the second Tokugawa shōgun palace, these lavishly decorated mausole- for alcohol) held by the Victoria and (nagato omodaka mon), we could say, albeit Hidetada (徳川 秀忠 1579–1632), functioned ums are among the most important histori- Albert Museum (London) and the Musée without definitive proof, that it came from as the second most important burial site cal sites in the Japanese capital. Nissim de Camondo (Paris), as well as the the Mori family. KH

Room 2 and murals from the Muromachi period the dragon increases its power, and by 37 (1336–1573) onwards. The warrior class subduing the wind, the tiger increases liked them due to a passage in the Book of its speed and majesty. This is a metaphor The mountings are shaped as to be worn created for some sort of ritual purpose. Changes (chin. Yijing) : “Clouds following for outstanding subjects appearing under from the waist so that the blade points up On the tang (the part of the sword inside the dragon and wind follows the tiger.” grand monarchs and everything going well (katana style). However, they have been the handle) is the inscription “Chikugo In other words, by subduing the clouds, when similar things come together. KH made so that the sword can also be hung Province Fujiwara Takenaga,” indicating that from the waste (tachi style). Such mount- it was made by the Chikugo blacksmith ings are referred to as “han tachi koshirae” Fujiwara Takengaga who was active in (sword mountings for both tachi and katana Chikugo province (northern Kyushu) during style). The sheath is a patternless gold the middle of the Muromachi period The nashiji lacquer work. Similarly, although blade is narrow and has a irregular suguha 39 being dotted (nanako), the metal fittings (straight) pattern (hamon). The line (fuller are simple and do not have any design / hi) engraved on the front and back of the A short sword with a small crossguard was probably used with formal clothing pattern. While the sword is primarily gold, sword was probably added to both decorate attached. The sheath features nashiji decided upon in advance depending on overall has a muted design. Rather than the sword and also decrease its weight for (sprinkled gold powder on a lacquered the content of the ceremony. being for daily use, it appears to have been increased usability. TI surface). By using makie and mother-of- The blade is a wakizashi type with a Kaga pearl, kawarimon (various family crests) province Sanekage inscription on the tang are created. The metal fittings found on (the part of the sword inside the handle). the crossguard, hilt collar, hilt end, and Sanekage was a sword maker from the elsewhere are all plated with copper Nanboku-chō period. There are few swords and have an engraved flower arabesque with his inscription. This sword’s blade is pattern against a dotted background a classic example of a wakizashi from the pattern (nanako). In this way, the sword’s Nanboku-chō period: flat without a ridgeline 38 mountings are gorgeously decorated. It is (hira-zukuri), wide, and long. The consider­ highly likely that such golden decorative ably worn line engraving on the front and This is a rack for seven swords: one at the of the silver leaf. The colors are visible sword mountings were primarily used for back of the sword is Buddhist Sanskrit top, and three on the front and back. It is through the semi-translucent shells. Also, ceremonial and other similar purposes. It letters seeking divine protection. TI covered in black lacquer and decorated pulverized shell (mijingai) and metal filings with mother-of-pearl inlay. On the front (makie fun) have been sprinkled on the of the panel is a dragon and clouds design, embankments and clouds. Such lacquer and on the back a tiger and bamboo design. work pieces were made in great numbers The dragon, tiger, and bamboo parts were by Nagasaki artisans during late Edo period made by first laying silver leaf under large (1600–1868) and Meiji period (1868–1912). thin shells. Yellow and green colors, as Dragon-cloud and bamboo-tiger pairings well as black ink lines, are applied on top were popular in ink paintings (suiboku-ga)

Room 2 each other like chopsticks. The sword’s work with a somewhat pointy hamon (Minō 40 maker Kanemichi was active at the end of province [present day Gifu prefecture] the Muromachi period. This is a classical style) that resembles prayer beads. TI The sword mountings feature a cherry branch people took a liking to items that combined and blossom image created with makie and motifs representing noh songs or narrative colored lacquer on a black lacquer back- tales, as well as sword mountings with ground. They do not include a crossguard unifying designs: various kinds of flowers and (aikuchi style). The metal fittings on the birds, birds and beasts, and fish and shellfish. 42 mountings (at the hilt end, hilt collar, cord This sword is a tantō (short sword) with a flat, knob, scabbard tip, and elsewhere) feature ridgeline-less blade (hira-zukuri) and stand- Black lacquer has been applied to the wooden sheath. These serve both reinforcement as designs, created with plow carving, silver and ard measurements. At the end of the tang sword mountings. At the hilt end, hilt collar, well as decorative purposes. The hilt and the gold damascening, and other techniques, (the part of the sword inside the handle) is a sheath opening, sheath end, cord knob, and sheath end are strongly tapered, creating that combine the likes of children, fans, cups, two-character inscription: Kiyomitsu. There other important areas we find tusk/horn unique form with an overall curve. Black and jars against a wave background. The long was a line of sword makers named “Kiyomit- decorations. On the front side of the sheath lacquer has been applied to the wood. While hairpin (kōgai) and pocket knife (kozuka) that su” in Kaga province from the Nanboku-chō is a damascened vertical plum tree pattern. the background pattern and overall feeling accompanied the mountings also feature a period (1336–1392) to the Edo period, the On the sheath’s back side, the following is line appears to be similar to those of Ainu sword wave design. They probably were meant to most famous being Echizen Fujishima’s engraved “Aged 82 / Tōyō.” Rattan has been mountings, the place of creation is unknown. feature the same subject (such as a noh song) Kiyomitsu. It is unclear which one of them wrapped around three areas: the middle of It is also possible that it was made for souve- as a unifying motif. During the Edo period made this piece. TI the hilt, middle of the sheath, and end of the nir-like purposes. TI

41 43

The sword mountings are for a tantō (short that are centered on a family crest were The sheath features kawari-nuri (adhesive their surfaces dyed green, representing sword) and feature gold flake hollyhock probably not used for practical purposes lacquer beaten with a piece of cotton bamboo. The protrusion near the scabbard crests (aoimon). Around the hollyhock crests but worn for rituals at castles or palaces. wrapped in silk, creating a bumpy grain) tip is a copper-plated engraving in the shape is an arabesque makie lacquer work pattern. On this fine suikotō sword from the end with crane leg leather applied in a scaled of a turtle. The combination of crane (leg The hilt is covered in the skin of spotless of the Muromachi period is the inscrip- fashion. The hilt features a wood engraved leather), turtle, and bamboo is an immortal- smooth-hound (a type of shark), around tion “Kanemichi.” This sword has a flat, Ainu pattern. The decorative hilt ornament ity motif. Inside is a curved small machete. which pale blue chords are wrapped. The ridgeline-less blade (hira-zukuri) that is (menuki) uses a copper plate katachibori While the hilt cannot be removed and there- crossguard has layered leather (neritsuba). somewhat thin. On the blade there is a technique (having the motif form the fore information about the tang (the part of Lacquer has been applied to the crossguard, prayer bead-like hamon against a grain-like outlines of the ornament itself). It shows an the sword inside the handle) is unknown, and a hollyhock crest arabesque created background. On the front of the sword is a owl standing on a branch. Furthermore, at this design is similar to Ainu makiri knives. against a nashiji lacquer work background. thick, circular fuller and a thin fuller, and on the cord knob and other points we find We can therefore assume that this piece was Sword mountings with a leather crossguard the back are two fullers lined up alongside decorations (made from tusk/horn) with made in the north. TI

Room 2 pattern, flower pattern, or character. Some howling sound.Arrowheads were primarily 44 karimataya were also used to signal the created by sword blacksmiths. Sometimes beginning of battles with a turnip-shaped the sword maker’s inscription is found on This type of musket uses a matchlock artillery techniques. Also, the makers of device attached their base that produces a the tang. TI ignition system and is a muzzleloader. It these guns (referred to as teppō-kaji / was brought to Japan through trade with gunsmiths) or those who ordered them Iberian merchants (nanban bōeki) during sometimes chose to have damascened the first half of the sixteenth century. characters, flower and bird patterns, Matchlock muskets greatly influenced family crests, Sanskrit letters with a how warfare was carried out in Japan. religious significance, or painting-like Famous producers of these muskets designs on their butts. Starting in the 46 include the blacksmiths of Sakai (Settsu latter half of the Edo period (1603–1868), province) and Kunitomo (Ōmi province). and especially as it drew to a close, Harada Keigaku was from Nishio (Aichi in a work transmitting secrets of sumo en- However, production spread throughout new ignition mechanisms (flintlock and prefecture). His given name was Hajime, titled Sumō in’unkai. The work’s subject Japan, and one finds variations in length, percussion cap) that had developed in his courtesy name Rinkō, and pseudonym was a popular one in historical paintings caliber, butt (the wooden part) shape, the West were imported into Japan. This Tetsukei Shizuo 銕圭賤生. At first he studied from the Meiji era (1868–1912) onwards. and the firing mechanism structure led to these mechanisms being added to painting under the Shijō school painter It appears that the painter wanted to in accordance with each province’s older matchlock muskets. TI Okamoto Toyohiko, and then went to Edo, emphasize the painting’s legitimacy by where he studied under Suzuki Nanrei. including Kagyū’s name. There is a life-size Subsequently, he would move to Yoshida doll of these figures by Yasumoto Kame- (Toyohashi, Aichi prefecture). He made hachi. Originally created for the second this piece when he was eighty-one years Domestic Industrial Exposition in 1890, it old. It appears to show Nomi no Sukune was not put on display, and subsequently and Taima no Kehaya engaging in sumo was acquired by a US collector. It is now 45 wrestling, as depicted in the Nihon shoki. held at the Contemporary Art Museum in The inscription “Shikimori Kagyū-ō” is the Kumamoto. This historical subject appears Arrowheads were attached to the ends body (togariya), while others are wide and post-retirement pseudonym of the sumo to have also been liked by foreigners for its of bamboo arrow shafts to increase their flat (hirane). One also finds arrowheads referee Inosuke Shikimori I. He is described Japanese-like appearance. EN ability to pierce objects. As time passed, with points that are used for hunting (kari- their materials and shapes changed and mataya), as well as ones with a chisel shape. developed. While older ones were made There are also different kinds of togari- from stone, as well as animal bones, horns, ya: those with a rounded tip, triangular and shells, subsequently metal ones ones, as well as those in the shape of (copper, iron) began to be used. willow leaves and podocarpus leaves. Arrowheads took a variety of shapes in Hirane are sometimes decorative, with Japan. Some are simple with a narrow openwork creating a boar’s eye (inome)

Room 2 47 49

These are damask pieces with a gourd pattern multiple possible Daoist immortals, and it is This military flag consists of a quartered In 1878 he went to Hokkaido to stay with (a combination of Chinese-style fans and difficult to pinpoint a specific one. Perhaps rhombus (yotsu waribishi) family crest in a circle an Ainu family for approximately one week, chrysanthemums) and scroll pattern (a combi- this was an auspicious pattern meant to (both indigo blue) on a plain weave nerinuki researching their lives and culture. Three years nation of Chinese-style fans and peonies). bring to mind Daoist immortals in general. cloth that uses raw silk for the warp and refined later he presented his findings at a conference Pale blue silk thread is used for the warp and The chrysanthemums and peonies are also silk for the weft. The family crest is found on in Berlin in a presentation entitled “Ethno- crimson silk thread for the weft. Before being auspicious, respectively representing long both the front and back of the flag. The Kakizaki graphical Studies of the Ainu on the Island of undone, these two pieces appear to have life and wealth. Overall these fragments as well as the Matsumae clan used this family Ezo.” This presentation was the first to system- been joined together at their long sides and have an auspicious meaning. crest. The Kakizaki / Matsumae clan was the atically introduce the Ainu in Europe and was attached to a back fabric to form a cloth used In the Weltmuseum Wien’s Siebold Collec- head of the Matsumae domain, which was met with high acclaim. While a family crest to adorn temples and Buddhist altars. tion there is another set of Chinese damask located on Hokkaido’s Oshima Peninsula. They alone cannot serve as absolute proof, in light of Judging from the pattern, it appears that pieces that once formed a single uchishiki. It were in charge of the so-called “Ezo” lands and these activities of Heinrich, the possibility that these pieces were brought from China to is highly possible that their circum- were deeply involved with the Ainu. this was a military flag of the Kakizaki / Matsu- Japan. It is possible that the gourds and scrolls stances of transmission are the same as Heinrich also engaged in research on the Ainu. mae clan cannot be denied. KS symbolize a Daoist immortal. However, are these pieces. KS

48 50 On this flag we find the characters kangata in the Boshin War that lasted from Keio 4 This uchishiki is comprised of forty-eight of this cloth is brown cotton. Both its weft written in seal script on a plain komeori (1868) to Meiji 2 (1869). The cloth’s komeori textile fragments, including (gold) brocade and warp are twisted up to the right, charac- fabric, the entire gauzy silk area of which is a textile used by the imperial family and and velvet. Uchishiki are used to adorn teristics of textiles from the mid-Meiji period has a twill ukiori (float weave) pattern. While aristocrats for their clothing. In other words, temples and on Buddhist altars. They are onwards. Based on the above, it appears that the characters have turned black due to it is a kind of yūsoku orimono, and is of a placed on table surfaces. The textile frag- this item was sewn sometime in the mid oxidizing over the years, they were written level fit for an army of a flag on the side of ments are from a variety of periods spanning Meiji-period by a woman connected to the in silver paint and shined white. The back- the imperial court. However, there are no from the late Edo period (1600–1868) to the Tokugawa family with cloth fragments passed ground is painted a reddish brown color. known examples of this kind of military flag Meiji period (1868–1912). down in her family. If we interpret the characters kangata being used. There is a need for this to be Some of these fragments were once part of In the Weltmuseum Wien’s Heinrich Collec- straightforwardly, we can see this as a flag investigated further. a summer clothing obi (belt) worn by warrior tion, there are three textiles (Buddhist banners representing an army on the side of the In an old photograph there is something like a class women during the late Edo period. called ban) with three leaf-hollyhock crests. imperial court. The possibility thus comes flag with a grid crest (igeta hishi) that includes Furthermore, at opposing corners we find It is highly likely that they were passed down to mind that it was a flag used by the new these characters. While this photograph fragments with three leaf-hollyhock crest at the same temple as this item. However, the government’s military, which was on the appears to be related to this item, it is not in (mitsuba aoi mon) embroidery. The underside name of this temple is unclear. KS side of the emperor and imperial court, the Weltmuseum Wien’s collection. KS

Room 2 Musical instruments Room 3 and bronze vessels 51

This photograph is dominated by geo- traditional Japanese instruments, a group The yakumogoto is a two stringed koto serve as fingerboard markings. When metric shapes. In the place of ceramics of musical instruments showing evidence (Japanese zither) that was invented in 1820 performing on this instrument a stand is is a group of bronze vessels in an archaic of Chinese influence is displayed, together by Nakayama Kotonushi (Iyo province, used. One presses down both strings at style reminiscent of early Chinese. These with a nineteenth century instrument of present-day Ehime prefecture) for the these markings with a slide on the left vessels were used in Japan as vases or as original design. Audio samples offer an music offered at Izumo Shrine and else- hand’s middle finger and plucks the strings receptacles for burning incense. Siebold’s impression of how the exhibited instru- where. His pupils spread it from the Chugo- with the right hand’s pointer finger. collection of musical instruments offers ments might have sounded. Interspersed ku region to the Kansai and Kantō regions. Usually one finds a back panel with two further insight into century-old trends with these various artefacts are fans and Along with minshingaku (Chinese music), in sound holes. However, this item does not in Japanese musical taste. Alongside hairpins. Osaka during the Meiji period (1868–1912) have a back panel and the two holes are this instrument was very popular. directly engraved into the back of the The body is made from Japanese cedar made material. Considering that the front side to look like bamboo by carving three joints. decorations are also simple, this appears At the end are hexagonal tuning pegs. The to be an instrument that was influenced two strings are tuned to the same pitch. by the east Izumo koto, a version of the The plucked area has a round brocade to two-stringed zither revised and spread in rest one’s nails. On the surface of the instru- Tokyo by the kabuki musician Tōsha Rosen ment are thirty-one firefly-shaped silver up through the beginning of the Meiji fittings and circular mica marks, which period. KH

Room 3 seven string holes (next to the bridge) and is a harp with a pointed tip. In this 52 down to the tuning pegs at the end of the way, it quite different from this one. In the instrument. The base panel near the head instrument collection of Kunstmuseum This is an instrument with a simple than the wagon currently in use today. has sound holes. This is an instrument that Den Haag there is an instrument with seven structure: an upside-down boat-shaped A similar extant instrument includes the is like a sō with a tuning neck attached at strings that has a similar form to the one body (made by hollowing on a long, taiheikin base panel-less six-stringed kin the bottom. There are few examples of it here. However, details regarding both of narrow piece of wood) with bamboo poles that was made in 1834 and now held by the and it is unclear how it was performed. these are unclear. The tuning pegs and legs attached at its top and bottom and six Nabeshima Hōkōkai. However, it is quite While the traditional Ainu instrument are made from a hardwood (such as rose- strings. It has six movable bridges (kotoji). interesting that this item collected by tonkori (ka), a zither with tuning pegs, wood). One of the tuning pegs was added It does not have a base panel. Bamboo legs Heinrich von Siebold includes a plectrum comes to mind, it normally has five strings at a later point. KH have also been attached to the underside that is like one used for sō. of its bottom part. There are mortises at Board-shaped instruments, out of which both sides on the underside of the head. It the wagon probably emerged, have been appears that bamboo or wood poles were unearthed at ruins from the Yayoi period inserted therein to serve as the head legs (1000 BCE–300 CE) throughout Japan. (ryūshu). Some of them do not have a base panel. The wagon is a six-stringed koto with This instrument might have been created 54 the longest history out of any Japanese in the context of the interest in returning stringed instrument. This instrument to old ways (fukko) that was found in the The shamisen is a Japanese plucked string snakeskin cat or dog skin. Also, one uses a appears to have developed out of it. middle and latter half of the nineteenth instrument. It is also called a sangen and large ginkgo-shaped plectrum (bachi), like However, its structure is very different century (Bakumatsu period). KH samisen. Leather is stretched over its the one used for a Biwa, to pluck the strings. flat box body, which is comprised of four During the Edo period (1600–1868) it widely panels. It is a spike lute with a long neck spread and became loved amongst the that extends through the body. There are general populace as an instrument indis- three strings of different thicknesses. When pensable for indoor music (such as jiuta), performing one places a bridge (koma) on theater music (such as kabuki and bunraku), the leather to transmit the strings’ vibra- popular entertainment (such as rōkyoku / 53 tions to the body. narrative singing), and folk performing arts It is commonly thought that it developed or minzoku geinō (such min’yō / folk songs). This seven-string kin’s body is made from ninety-degree angle relative to the body, it in the latter half of the sixteenth century This shamisen has decorative makie lacquer wood and shaped like a long, narrow box. can serve as a leg. Along with the two large (Muromachi period) out of the sanshin, a work (scattered chrysanthemum pattern) A neck is attached to one side of the body, legs attached to the base of the head, they Ryukyu instrument based on the Chinese on the body and head (ebio), and an inlaid and tuning pegs are inserted into the side support the main body. This instrument sanxian. Unlike these two instruments, silver chrysanthemum-shaped metal wash- of the neck. The neck – which is located had a bridge (referred to as a ryūkaku in though, the shamisen uses instead of ers on the bottom spike (nakagosaki). KH at the bottom of the instrument – can the case of a sō) attached to its head, but be folded up. If one puts the neck at a it is now missing. Strings are run from the

Room 3 (cat. no. 54), and its materials are basically surface and near the pegbox. The strings 55 the same. However, the end (nakagosaki) are made of silk. There are three string and of the neck that runs through the body is four string versions of these fiddles. While A sō is a traditional Japanese stringed and kin no koto as kin). The sō greatly differs extremely long and protruding. This was many are of the former type, this one is of instrument. It is thought to have developed from the kin in that the former uses a done because when moving the bow from the latter. The very long bow can be broken out of a Chinese instrument that came to movable bridge on the front side of its body string to string performers would rotate the down into two pieces at its center. The loose Japan during the Nara period (710–784). called a kotoji to tune the strings. instrument. A bridge is placed on the leather horsehair can also be taken off as well. KH While the character for this instrument (箏) The sō, which was used in imperial court can be read sō, generally it is called a koto. music (gagaku) and other traditional music During the Heian period (794–1185) the two in Japan, has a standard total length of terms sō no koto 箏 のこと and kin no koto between 167 and 194 cm. However, in real- 琴 のこと were used to differentiate between ity, one finds sō made in a variety of sizes two different kinds of koto instruments. so that they can be used in smaller places: How­ever, in the early modern period, the ones that can be broken down or folded up, 57 character “琴” began to be read as koto shorter ones, and so on. and also refer to the instrument that had This sō’s number of strings, structure, and A kotsuzumi is a traditional Japanese hour-glass shaped body and secured with been called sō no koto. This made it easy surface decorations are the same as an membranophone. It was an important cords called shirabeo. Performers grip the to confuse the two terms for these instru- ordinary sō. However, it is extremely short instrument, along with the ōtsuzumi (large center yoko-shirabe cord, place the drum ments. (In this item’s explanation below, and narrow and therefore probably a minia- hand drum), in noh and kabuki music, as on their right shoulder, and hit one of the for clarity sō no koto will be referred to as sō ture model of a small sō. KH well as various types of folk performing arts leather drumheads. Longer notes are created (minzoku geinō). It is also referred to simply by changing the left hand’s grip on the shira- as the tsuzumi. Various types of drums, prob- beo to adjust the tension, a playing method ably with roots in India, came from China to unique to Japan. Japan during the Nara period (710–794). Noh On the lacquered wood body (by wood music developed while making use of them turning) is a gold and silver makie lacquer 56 during the Muromachi period (1336–1573). It work French hydrangea pattern. The chang- appears that this was when the ōtsuzumi and ing timbre is likened to the changing colors The kokyū is a major Japanese music instru- basically at the same time as the shamisen kotsuzumi assumed their current form. of this flower. One finds many decorative ment that began to be used around the music jiuta and the koto music sōkyoku. It Iron rings over which horse leather has been designs on drum bodies that have an allegor- beginning of the Edo period. Before Chinese was played by blind musicians that were stretched are attached to both sides of the ical meaning related to music. KH music (minshingaku) and instruments like part of the Tōdōza blind men’s guild. The kokin (jīnghú), teikin (yēhú bzw. bănhú) oder kokyū, shamisen, and koto are often collec- keikin (èrhú) came to Japan, it was the only tively referred to as the sankyoku (trio “three stringed instrument played with a bow in instruments”) and performed together. They the country. Its origins, about which a variety developed while being deeply related to one of theories exist, are uncertain. It developed another. Its shape is like the small shamisen

Room 3 imperial court music (gagaku) and the noh wrapped at points throughout the flute. ­ 58 flute, the appearance of the bamboo mater­ It is a very standard shinobue. On the top part ial is incorporated into the design, with, for is written shinobue in red in the katakana The shakuhachi is a bamboo and reedless shakuhachi is made of bamboo that is not example, the areas around the finger holes script. This may have been written when vertical flute that came to Japan from China curved, and is therefore probably a relatively not being shaved thin (taniguri). Also, nota- Heinrich von Siebold acquired it. during the Nara period (710–784). It is called older type. There are four finger holes on the bly the embouchure hole is near the top. The other flute is wrapped all over with birch a shakuhachi because its normal length front and one on the back. Birch is wrapped While normally shinobue have seven finger and has a branded inscription: the character is one shaku (approx. 30.3 cm) and eight around it at multiple points, which, along holes and an embouchure hole, some only yama surrounded by a circle (maru), indicat- (hachi) sun (3.03 cm). The shakuhachi used with the inside of the instrument, have been have six finger holes, and some five or less. ing that it was made by Kyoto Maruyama, a today have their origins in the instruments painted with red lacquer. One of the flutes has red-lacquered birch famous flue maker along with Shishida. KH played by mendicant Buddhist priests called Judging from the shape of the mouthpiece, komusō (belonging to the Fuke sub-sect of the other vertical flute appears to be a kind Rinzai Zen Buddhism) during the Edo period of shakuhachi. However, it is made from (1600–1868). However, starting in the Meiji wood, it has seven finger holes, the areas period (1868–1912), it spread amongst the around the finger holes have been shaved general populace and it was increasingly thin (referred to as taniguri), and the spaces performed with a sō 箏 (koto) and shamisen. between the finger holes are wrapped in Sound is produced by blowing into the birch. In these and other ways, it is unusual. diagonally cut upper portion of its jointed While there are a few known cases of wood- 60 bamboo body. The bottom part of a shaku- wind instruments being made in the Edo hachi (kanjiri) is made from the base of a period, very few of them exist today and From around the second half of the Edo found throughout the populace, as well as bamboo plant, which has many joints. This related details are unknown. KH period (1600–1868), artisans used their a single and double stringed koto. Each of dexterity to create many miniature these instruments are small yet created furnishings and implements. These caught with sophistication. It appears that they the eyes of foreigners visiting Japan, who are the same proportions as the actual not only purchased a variety of them to instruments. bring home but also placed orders for the Often miniatures of so, shamisen, and kokyū likes of large-scale building replicas. (collectively referred to as the sankyoku 59 These miniature instruments consist of or “trio instruments”), as well as of court a gekkin, genkan, and teikin, which were music (gagaku) ensemble instruments, These two bamboo side-blown flutes are Either jointless parts are used, or cut pieces major instruments in Chinese music were created for the domestic market ordinary shinobue that were used in the are connected at their bottoms and the popular during the first half of the Meiji during the mid-nineteenth century and likes of kabuki theater music accompani- seams hidden by wrapped birch. The base period in Japan (minshingaku), a koto later. However, here we have a different set ment and folk performing arts (minzoku part of the bamboo plant is at the top of (Japanese zither), shamisen, and kokyū of miniatures that, quite interestingly, show geinō). Shinobue are made from parts of the instrument. This is the opposite of a (four-stringed fiddle), which had existed the state of music in Japan when Heinrich thin bamboo grass such as simon bamboo. shakuhachi. Unlike the ryūteki flute used in since the Edo period and were widely von Siebold came to the country. KH

Room 3 61 62

The gekkin (Ch. yueqin) is an East Asian imitation items began to be made in Japan. Seven stringed kin (Ch. qin) are plucked and is known for being played by the ancient tradition lute-like plucked string instrument. This gekkin bears the brand name Mita string instruments that have existed for kings of China. It came to Japan during It developed out of the Chinese ruanxian. Shikokumachi (Tokyo) Shakusai. The place ages in China. They are sometimes referred the Nara period (710–794), and one finds a Its name, which literally means “moon lute,” name Mita Shikokumachi began to be used to as kokin (Ch. quqin) or just kin. Its hollow seven-stringed kin amongst the Shōsōin comes from its full moon-like circular body in 1872. It was thus sold sometime this year body is created by attaching a base panel to treasures. Heian period (794–1185) aristo- to which a short neck is attached. or later at the store of Ishimura Minosuke, a thin and long shell created by carving out crats enjoyed performing on this instrument, It came to Japan during the latter half of the who manufactured and sold Japanese and the underside of a piece of wood. Lacquer which they referred to as kin no koto. This is Edo period. As Chinese music (minshingaku) Chinese instruments. is then applied to the surface and seven clear from literary works such as Tale of the spread, it became very popular from the It has two sets of two strings. Each set is strings added. On the surface of the body are Hollow Tree, Tale of Genji, and Pillow Book. mid-nineteenth century to early twentieth tuned to the same pitch. It is played with thirteen mother-of-pearl finger markings Subsequently, the kin’s popularity declined. century. It was played by not only literati a pick and has eight frets. At the end of for the left hand. The right hand’s fingers are Upon entering the Edo period it returned and educated individuals in cities with an the neck is a lotus-shaped head with heart used to pluck the strings. The names of the and became a popular form of cultural culti- interest in Chinese culture, but ordinary shaped (nyoi) bat openwork. Instead of instrument’s parts come from dragons and vation amongst the warrior class (such as households throughout Japan as well. sound holes there is a pair of chrysanthe- phoenixes, which are symbols of longevity feudal lords) and literati (such as Confucian- The gekkin was imported into Japan from mum openwork 目摂一対. Between the frets and vitality. ists). Kin performance continued to develop China via Nagasaki. Soon thereafter are openwork jade and fan decorations. KH The seven-stringed kin appears at the top of up through the Meiji period (1868–1912) and so-called “four arts” of the Chinese scholar Taishō period (1912–1926). KH

Room 3 made from bamboo and small, it appears pegs with engravings on their handle. The 63 to be equivalent to the jinghu, a kind of current ones appear to have been added erhu used for accompaniment in China’s later. Normally a kokin is performed with a Both of these are fiddles that were used is run through the base and two tuning pegs traditional theater form of Beijing opera. In horsehair bow. The one used with this instru- in minshingaku during the Meiji period are inserted into the neck’s side. It resembles an old photograph of Heinrich con Siebold’s ment is missing. (1868–1912) in Japan. They are accompanied the Chinese yehu. collection of instruments, there are tuning KH by horsehair bows. While minshingaku is a The four-stringed fiddle is a somewhat larger general term referring to the Chinese music version of a kokin. The strings are alternat- that came to and became established in ingly thick and thin. One plays it by running Japan during the Edo period (1600–1868), it the bow between the strings. Snakeskin often specifically refers to the music that covers one side of the bamboo cylinder, and came to Japan during the Bunka-Bunsei peri- the other side is open with seven jewels 65 od (1804–1830) and became popular during openwork At the back end of the neck, the Meiji period (1868–1912). which runs through the body, are four tuning This water kettle is shaped like a pouch for Together these all comprise a “treasure The body of the two-stringed fiddle used pegs. One runs the strings through a bridge holding valuables. It is rendered in detail, collection” (takara tsukushi) motif of in this music (teikin) has a paulownia wood in the middle of the snakeskin. There is also even including the fabric grain that would auspicious items. The neck has a double- panel attached to a third of a coconut shell, an upper bridge made from a bone panel be found on the linen bag’s surface. The top wrapped cord with large tassels at each the bottom of which features seven-treasure with holes. This instrument resembles the features wish-granting jewels, a brass loop end and decoratively tied with a bowknot (shippō) openwork. A neck with a curved end Chinese sihu. KH attached to a key for a door to a storehouse on one side. The same kind of chord can (of important items), as well as a treasure also be found on the lid. Such treasure scroll (said to contain the profound teachings pouch-shaped water kettles appear to have of the gods and buddhas). The bottom part been popular. Similar ones exist that were of the quince-shaped handle that attaches created during the Meiji period by Ryūbun- it to the main body is shaped like a magic dō (Kyoto), Hata Zōroku (Kyoto; emerged 64 hammer, called a uchide no kozuchi, that can out of Ryūbundō), and Kakutani Minosuke “hammer out” anything one wishes for. (Osaka). HK Like the teikin (cat. no. 63) and the keikin greatly differs depending on the time and (cat. no. 63), this kokin is a bowed stringed place, here we it refers to the instrument instrument that was used in the Chinese used in Japan’s minshingaku. music (minshingaku) popular from the latter This instrument has two strings, snakeskin half of the Edo period to the Meiji period on one side of its cylindrical bamboo body, (1600–1912). Kokin (Ch. huqin) literally means a jointed bamboo neck that runs through “the [non-Chinese] barbarians’ (Ch. huren) the body, and two tuning pegs that stick stringed instrument.” It refers to string out of the top back of the neck. We could instruments developed in China, especially describe it as a type of erhu, a category of bowed string ones. While its definition Chinese instruments. Considering that it is

Room 3 bracket fungus symbolizes things going as combination to the extent that the legend 66 one wishes. It was used as an auspicious appeared that the suanni (Jp. shungei), one item for tokonoma (alcoves) and as a motif of the so-called Ming period (1368–1644) An odare fuji-gata iron pot. It is called fuji-ga- water. On the opposite side’s foreground is adorning Buddhist ritual implements. “nine sons of the Dragon King” that resem- ta because, like Mt. Fuji, its top is narrow and engraved, in high relief large characters, a There are many examples of lions decor- bles a lion, decorates incense burners flat and it expands out towards the bottom. poem by the early Tang (618–705) Chinese ating incense burners. It is a standard because he likes smoke and flame. HK Odare refers to its bottom part being shaped poet Wang Bo: “The river is wide and spring’s like the base of a kettle with drooping and flow is white / Mountains are lush and undulated nicked edges. While this was extend tall.” The handle is quince-shaped. originally the sign of the base having been The part attaching it to the body, as well as replaced due to damage from years of use, the lid’s handle, are shaped like houses. The people grew fond of this shape and began to lid features a silver line damascened pattern make kettles in it. of wavy lines on bronze. 68 Turning to the surface of the body of the Mt. Fuji-shaped iron pots were also popu- kettle, we find background mountains, as lar, and there are many examples of them A you (Jp. yū) is a kind of ancient Chinese on a metal surface. The eyes in the taotie well as, in the foreground, a figure holding among the “Nanbu Tekki” ironware (Iwate bronze jar with a handle and a top that held (Jp. tōtetsu; a mythical Chinese creature/ a cane walking on a bridge over flowing prefecture) HK liquids such as alcohol. This you’s handle is god) pattern are damascened with gold. The comprised of two rods that are twisted like a patterns’ horns, as well as the outlines of the rope. At the place where these rods attach to forehead and tusks, are damascened with the vessel are three-dimensional decorative silver lines. The decorations sticking out in heads of an animal, perhaps of a tapir or all directions on the lid, body, and base are donkey. The same heads are found on the damascened with silver. On the sides of the sides of the vessel’s body. Their eyes, as well lid, as well as around the neck and base, is a 67 as the top’s knob, are damascened with gold. pattern, set against a thick and zig-zagging This piece makes great use of damascening line pattern (Ch. leiwen; Jp. raimon) back- This is a classic three-legged incense burner, flower holder, and candle holder on its cast high relief engraving, creating ground, that depicts phoenixes with open burner with a lion on its lid. The lid features (or lantern) together are considered the gorgeous accents. “Damascening” is the beaks seen from the side (Ch. kuifengwen; a precious flower (hōsōge) arabesque three essential implements for carrying technique of inlaying a metal into narrow Jp. kihōmon). This gives the work a gentle openwork pattern. On the body of the out Buddhist services. An incense burner is grain-like lines that have been engraved essence. HK burner is a taotie (Jp. tōtetsu; a mythical placed between the other two. Chinese creature/god) pattern set against The lion on this incense burner’s lid has a thick and zig-zagging line pattern (Jp. its right leg on top of bracket fungus raimon) Along with candle holders and (ganoderma lucidum). Due to its resem- vases, this kind of incense burner is used blance to the end of a nyoi, a wish-granting for the veneration of Buddhist deities instrument held by Buddhist monks when and the deceased on altars. An incense reciting sutras or giving sermons, the

Room 3 bottom and legs had been attached. This a ribbon-shaped dragon unfurling) with 69 piece is notable for its patterns. It consists a bumpy gourd-like elliptical shape at its of five bands, each with different widths. center. The other bands have various thick These altar flower vases (used for flower on which are taotie face parts, such as The second from the bottom is the widest and zig-zagging line background patterns. arrangements), both have low relief eyes, noses, foreheads, and tusks. This and features flaming jewels against a wave The center and lowest band have a creature patterns at their necks, handles coming creates a more mild image than domi- (seigaiha) background pattern, as well as with horns, a snake body, and one leg (Jp. ki; out of the mouths of beasts with thick nating old-style beast face designs. Also, an arabesque pattern (which some see as Ch. kui). HK manes, and a burgundy color characteris- the base’s wave pattern is created with tic of cast bronze. The left flower vase has elegant and delicate wax spatula-work. a wide mouth in a lobed shape (aoi-mok- These bronze pieces have a spotted kō). At the center of the mouth is a large pattern (hanmon), a result of the oxidized low relief face with long horns similar to film that is created when firing with that of a water buffalo. Below it are taotie charcoal. This technique, called hanshidō, (Jp. tōtetsu; mythical Chinese creature) began to be actively used at the beginning 71 and phoenixes set against a thick and of the Meiji period (1868–1912) around the The entire surface of this sober, tubular vase Note the fine lines below its jaw that look zig-zagging line pattern (Jp. raimon). The Niigata area. It probably will be useful for is embellished with decorative patterns like teeth and recall the apotropaic shikami vase on the left has thick and zig-zagging determining the piece’s year and place of taken from ancient Chinese bronzes. The motif. The shoulder below the neck is decor- lines and swirls for the neck’s background, creation. HK exterior of the cylinder is divided into three ated with a pattern executed in inlayed sections, with the top section featuring silver wire that suggests clouds and a piece taotie, the centre a thunder pattern set in of jewellery (possibly peacock feathers); the a diamond-shaped pattern (hishitsunagi), centre is adorned with a band decorated and the bottom section a kui, an oblong, with silver damascened arabesques (karak- one-legged, horned dragon with arms. The usa) or waves. The lower section of the vase two upper sections are framed with vertical is embellished with a silver damascened bands featuring kushimemon executed in pattern comprising curved lines (kyokusen- 70 bas-relief. The ridge of a taotie’s nose is often mon). Originally, the contrast between the embellished with a protruding decorative shiny silver wire and the amber-coloured The right flower vase has two bands around expands in a shimokabura-style, does not edge; here, however, it is no higher than brass, its dark hue the result of browning, its neck. The top one consisted of a repeat- have a pattern. This emphasizes the vase’s the creature’s eyes and the rest of its face. would have been even stronger. HK ed set thick and zig-zagging line pattern beautiful silhouette. Turning to the left (Ch. leiwen; Jp. raimon) and the bottom one flower vase, it is a cylinder, with its mouth a cicada pattern (Ch. chanxingwen; Jp. semi- and bottom having the same diameter. We gatamon) / plantain leaf pattern (Ch. jiaoye- can see the pattern seams, which indicates wen; Jp. shōyōmon). Around the base is a low that it was cast by using an original model relief zig-zagging line pattern. In contrast, made from an engraved wax board that had the lower half of the body, which gently been turned into a cylinder and to which a

Room 3 jewel round its neck. The „flaming jewel“ depictions that combine dragons and the 72 (kaen hōju) is a Buddhist motif: the wish- wish-fulfilling jewel. The sphere clutched fulfilling, apotropaic jewel nyoi hōju by the decorative figure of a dragon in this On the center parts of both of these pieces Below one finds a large worm pattern (Ch. (Sanskrit: cintāmaṇi), framed by flames. The publication by Kimura Toun (cat. no. 74) we find a large taotie (Jp. tōtetsu; a myth- huandai wen: Jp. kantai mon), and on the fact that dragons are said to wear a jewel presumably also functions as a reference to ical Chinese creature/god). On their bases base is a kui figure pattern facing a small under their head has given rise to numerous the wish-fulfilling jewel. HK are symmetrical kui (Jp. ki) figure patterns. animal (perhaps a sheep). Both the thick black coatings and patterns While small, the right piece’s body is filled have worn out over the years. The left piece with a taotie face. We find gold dama- is an old bronze pot used for alcohol (Ch. scening on the taotie eyes and the edge hu; Jp. ko) with loops attached on the sides. decorations attached to the piece’s neck The right piece is a bronzeware jar used for and base, as well as silver line damascening 74 alcohol meant for drinking (Ch. zhi; Jp. shi). around the neck and base. On the side The left piece has a large taotie pattern set edge decorations there is only silver line While twisting its body, this dragon is Kimura Toun was a metal caster from Iwate against a thick and zig-zagging line pattern damascening. In this way, it is ornately opening its mouth upwards and appears to Prefecture during the late Edo period (1600– (Ch. leiwen; Jp. raimon). decorated. HK be crying out with its tongue out. It holds a 1868). He was adopted by Murata Seimin I. In crystal globe in its powerful and long claws. 1829 he took on the name “Seimin II.” Its other legs’ claws extend, as if grabbing However, in the 1830s the biological child the ground. Spikes run down its backside of Seimin I became Seimin III, and he then from neck to tail. Its body is covered in a changed his name back to Kimura Toun. scale pattern and its horns and whiskers Crystal ball-holding dragons are popu- extend far backward. The two inscriptions at lar motifs thought to bring about good 73 the bottom of the snake-like scaly stomach fortune. Toun is famous for his particularly (“Aged 69,” “Cast by Toun”) indicate that it outstanding dragons. This piece backs up his Each of the two open-mouthed dragons National Treasure – is also embellished with was created in the metal caster’s mature reputation with its precise expressions and craning their necks and turning their heads two dragons wearing flaming jewels on the later years. powerfulness. HK on this incense burner wears a flaming backs of their necks. Almost as if they were jewel around its neck. The vessel’s lid, too, clutching it, the dragons are attached to the looks like a flaming jewel, reminiscent of an gong but have turned their heads away, and egg carefully placed on the dragons’ backs. their mouths too are wide open; they may Incense burners featuring dragons sport- have informed the dragons on this incense ing, like these two, flaming jewels round burner. their neck are extremely rare. The bronze A water jug dated c.1276 in Shōjuraigō temple gong (kagenkei) preserved at Kōfuku-ji in in Shiga Prefecture is another example of a Nara - presented to the temple by Emperor vessel with a spout in the shape of a dragon Gaozong of Tang (ruled 649–683) and a with wide-open mouth wearing a flaming

Room 3 features lotus flowers boldly blooming out mon) at the knot of the three-dimensionally 75 of a wave pattern (seigaiha) that expresses rendered thick agemaki musubi. The trian- water. The lotus flower, a pure blossom that gular base of the loop used for hanging has a Murata Seimin was one of the most famous around the world. The Bunsei period blooms out of muddy ponds, is a motif that chiseled chrysanthemum arabesque pattern metalworkers in the Edo period. He is was during Seimin I’s later years (50s to represents Buddhist teachings. There is a (kiku karakusa mon) and is attached to the famous for his turtles that are realistic to mid-70s). It was the same Bunsei period diamond-shaped flower pattern (hanabishi body with a rivet. HK the extent that it is said that he used actual that Heinrich’s father came to Japan (1823) turtles as models. This work’s child turtle as a Dutch trading post employee. Seimin I climbs up onto the parent’s back. On the was born to the Kimura family in Edo. After stomach of the parent we find the following studying under Tagawa Minbu, he assumed inscription: “Bunsei period, Cast by Seimin.” responsibility for the Tagawa family and One of Seimin’s major works is the pair of thus took one character from both families lions at Hanazono Shrine in Shinjuku that to create the name “Murata.” In 1829 he bear the inscription “Bunsei 4.” It appears adopted Kimura Toun, who took on the 77 that Seimin was the most active during the name Seimin II, and it is thus also possible Bunsei period (1818–1831). that this work was created by Toun. Both A yokome ōgi is a cypress fan (hiōgi) used slats hang decorative chords in six different There are many works with the inscription of them are famous figures in the metal by boys fifteen years old and younger in colors (crimson, green, yellow, purple, white, “Bunsei Period, Cast by Seimin” found casting world. HK imperial court or aristocrat ceremonies. In and pink) that have been braided together early modern times, they were used not only in a nina musubi fashion. Usually, flowers by the sons of emperors, imperial princes, made from silk thread (plum, pine, trifoliate and aristocrats, but also kodoneri and other orange/tachibana) are attached to these attendants of child-acolytes (dōgyō). decorative chords. However, probably having On the front side of this item one finds a been scattered and lost, they are not on this pine, bamboo, and plum tree; two cranes fan. Also, while usually a decorative metal flying around them; a turtle at their base, fitting (in the shape of a butterfly on its front 76 flowing water; and a golden cloud outlined side and bird on its backside) is attached to with rich colors. On the back of this fan is the rivet, one does not find such a part on Keman (Skt. Mala) can be traced back in Japan and China are shaped like this a similar golden cloud, as well as birds and this fan. It is highly likely that this decorative to flower garlands that were offered on one (a somewhat horizontally oblong flat butterflies depicted with red, blue, and metal fitting was also lost. Buddhist altars after having been worn on paper fan) and have gilt applied to copper green lines. Both sides feature standard There is a fan similar to this one that is held the head. Subsequently leather, wood, metal, sheets with openwork lotus, arabesque, and yokome ōgi images. From the fan’s outer by the Tokyo National Museum. KS and other materials that maintain their other motifs. In the center are decorative shape began to be used to create garland knots called agemaki musubi, a remnant shapes, and these became decorations hung from when keman consisted of bundled in Buddhist temple buildings from the likes flowers. One often finds the likes of bells of nageshi tie beams and joists. Many keman and beads hanging from them. This keman

Room 3 existing Japanese hairstyles that had existed them in droves to the extent that production 78 before the Meiji period but also the sokuhat- could not keep up. Such is the story of Hana- su hairstyles that had begun to be popular. kame’s owner in Shinoda Kōzō’s book Meiji Uchiwa fans are waved by hand to produce both presents and practical items. Uchiwa In Tokyo as well, hana kanzashi first became hyakuwa. a draft that relieves oneself from the heat. fans can be used for a variety of purposes: popular in the pleasure quarters. They then These kanzashi give us a glimpse into this They came out of the originally Chinese blocking strong sunlight, keeping dust spread to a variety of classes. Women sought trend in Tokyo at the time. KH sashiba (Ch. yi), which were used to, for away, cooking, and swatting away bugs. example hide faces in rituals or held over Variously decorated, they also became small nobles in processions. They were used for accessories used when going out in the decorum up through the middle ages. summer to cool oneself and catch fireflies. Uchiwa fans were made from silk, bird During the Edo period (1600–1868) various feather, leaves (fountain palm, hardy areas in Japan began producing them. banana), and woven plant fibers. Around Different kinds were developed, including 80 the end of the Muromachi period ones with hand-drawn designs, ornately (1336–1573), uchiwa fans shaped like those wood-blocked printed ones, as well as stur- This work features vividly colored warrior feudal lords whose territory was one prov- of today (paper attached to a bamboo dy ones covered in persimmon varnish or family crest flags surrounding the imperial ince or greater. However, in this painting frame extending from the handle). This lacquer. Various uchiwa fans were on display family’s chrysanthemum flower crest flag scroll we not only find twenty kunimochi led to their spread amongst the masses as at the 1873 Vienna World’s Fair. KH and the Rising Sun flag in the center. It is a (province-holder) families, which include stand-out piece in Heinrich von Siebold’s kokushu, but also feudal lords not normally collection. Perhaps he decided to acquire it considered to be kunimochi. While the having felt that its unique family crests have details regarding the creator of this work are a Japanese-like quality to them. This work unclear, it appears that it was created some- has three flags for each of the twenty-nine time between the seventeenth day of the families featured, two Tokugawa family flags, seventh month of Keiō 4 (1868), when Edo the emperor’s flag, and the Rising Sun flag, started to be called Tokyo, and 1872, when 79 for a total of 91 flags. At the beginning of the old domain system was abolished and the scroll, we find “The Seals of the Daimyō the prefecture system put in place. While Long ornamental hairpins (kanzashi) with were used in the pleasure quarters of Kyoto Kokushu of Great Japan” written in black more investigation is required regarding the decorative flowers made from the likes of and Osaka and were not found in Tokyo. The ink. At the end of the scroll is written “Tokyo reason for and time of its creation, it is an crêpe and gold/silver thread is referred to as owner of Hana-kame, who trained under a Fujiwara-no-Tamechika,” also in blank ink, extremely interesting historical item creat- a hana kanzashi. They were used by girls and hana kanzashi manufacturer in Osaka, took as well as the white and red “Hirochika / 席 ed at the height of the Meiji Restoration’s young women. note of this and came up with the idea of 上” circular seal. Daimyō kokushu refers to upheaval. HKu In Shinoda Kōzō’s book Meiji hyakuwa, we manufacturing and selling them in Tokyo. find the words of the owner of the hana He then moved there in 1886. Sales of hana kanzashi wholesale business “Hana-kame.” kanzashi in Tokyo were very good. This According to them, originally these hairpins was because they went well with not only

Room 3 Japanese shape, which also features a circu- disappeared, but the foot is decor- 81 lar foot but whose lobed rectangular open- ated with a wave pattern and the body ing recalls a four-petal flower. Here, the with a geometrical design comprising a Bamboo swords are made by bundling togeth- the latter half of the Edo period up through the taotie motif (Sino-Jap. tōtetsu) has almost thunder pattern. BZ er four cut pieces of bamboo with deer skin or Bakumatsu period (middle to second half of other material placed at the sword’s tip (sakiga- 19th c.) such swords were particularly widely wa), center (nakayui), and hilt-leather (tsukaga- used in swordsmanship schools. They devel- wa). They were often used for swordsmanship oped along with their protective gear for faces, practice. It is said that they were created by masks, and hands. 83 the Shinkage-ryū school for practice purposes Upon entering the Meiji period (1868–1912), during the Momoyama period (1568–1600) and bamboo swords became important in kendo, The décor of one of these two small vases is with darts. The second vase represents a later early Edo Period. At the time they were called which developed independently as a modern still informed by classical models, featuring a shape that combines a spherical body with a fukuroshinai. Unlike previous training that used sport. While at first bamboo swords were cicada pattern but one filled with tiny spirals. slender neck and is dated to the nineteenth wooden swords, participants safety could be made from eight pieces and more pliant, later Its shape, too, recalls earlier vases with necks century. Its body is decorated with bands ensured due to bamboo’s pliability, enabling people began using the more simplified, easy- comprising tubes used for a game of skills featuring waves and spirals. BZ individuals to practice with peace of mind. to-produce four bamboo piece version. The This is probably why they started to be used crossguard is attached with layered strips of in other swordsmanship schools as well. From reinforced leather. TI

Credits Curator App development Bettina Zorn Peter Gregorc Kunsthistorisches Museum Wien vienom OG Burgring 5, 1010 Wien Authors © KHM-Museumsverband 2020 Masaaki Arakawa (MA) Creative Director 82 Kaori Hidaka (KH) Stefan Zeisler In Kooperation with the National Tetsuo Ito (TI) Gu are ancient Chinese ritual bronze over time. Originally a receptacle reserved Museum of Japanese History, Yūichirō Kudō (YK) Graphic design Sakura, Japan Hiroko Kurokawa (HK) Johanna Kopp vessels often included among the burial for ritual libations, it evolved into a decor- Hiroyuki Kutsusawa (HKu) objects found in the tombs of members ative object or a vase. With the support of Mutsuhiko Matsuda (MM) Copy editor of the nobility of the Shang (Yin) dynasty The foot of this slender, high vessel with Eri Nagaoka (EN) Rafael Kopper (1600–1046 BCE). Gu vessels held wine and circular foot and rectangular opening is still Miki Sakuraba (MiS) Moritoshi Sasaki (MoS) Translation were mainly used for ceremonial purposes. decorated with taotie (Sino-Jap. tōtetsu, Kazuto Sawada (KS) Dylan Luers Toda Like many ancient vessel shapes, this one a mythological fiend), a typical early apo­­ Director General Johannes Wieninger (JW) Agnes Stillfried too continued in use for millennia, was tropaic motif. The upper part is embellished Sabine Haag Kōji Yamasaki (KY) copied, altered and reproduced in different with a cicada pattern. The smaller recep- Bettina Zorn (BZ) Printed by Director of Weltmuseum Wien Walla Druck materials. Its function, however, changed tacle represents a modern, presumably Christian Schicklgruber

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