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Temple Treasures of Japan

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5f?a®ieiHas3^ C-'Vs C3ts~^ O ft Digitized by the Internet Archive in 2016 with funding from Getty Research Institute https://archive.org/details/ternpletreasureso00pier_0 Bronze Figure of Amida at Kamakura. Cast by Ono Goroyemon, 1252 A. D. Foundation-stones of Original Temple seen to left of Illustration. Photographed by the Author. TEMPLE TREASURES OF JAPAN BY GARRETT CHATFIELD PIER NEW YORK FREDERIC FAIRCHILD SHERMAN MCMXIV Copyright, 1914, by Frederic Fairchild Sherman ILLUSTRATIONS Bronze Figure of Amida at Kamakura. Cast by Ono Goroyemon, 1252 A. D. Foundation- stones of Original Temple seen to left of Illustration Frontispiece Facing Pig. Page 1. Kala, Goddess of Art. Dry lacquer. Tempyo Era, 728-749. Repaired during the Kamakura Epoch (13th Century). Akishinodera, Yamato .... 16 2. Niomon. Wood, painted. First Nara Epoch (711 A. D.). Horyuji, Nara 16 3. Kondo or Main Hall. First Nara Epoch (71 1 A. D.). Horyuji, Nara 16 4. Kwannon. Copper, gilt. Suiko Period (591 A. D.). Imperial Household Collection. Formerly Horyuji, Nara 16 5. Shaka Trinity. Bronze. Cast by Tori (623 A. D.) Kondo Horyuji 17 6. Yakushi. Bronze. Cast by Tori (607 A. D.). Kondo, Horyuji 17 7. Kwannon. Wood. Korean (?) Suiko Period, 593-628, or Earlier. Nara Museum, Formerly in the Kondo, Horyuji 17 8. Kwannon. Wood, Korean (?) Suiko Period, 593-628, or Earlier. Main Deity of the Yumedono, Horyuji . 17 9. Portable Shrine called Tamamushi or “Beetle’s Wing” Shrine. Wood painted. Suiko Period, 593- 628 A. D. Kondo, Horyuji 32 10. Kwannon. Wood. Attributed to Shotoku Taishi, Suiko Period, 593-628. Main Deity of the Nunnery of Chuguji. Horyuji 32 11. Kwannon. Wood. Suiko Period, 593-628 or Earlier. Koryuji (Uzemasa) near Kyoto 32 12. Shaka Trinity. Bronze. Probably Tenchi-Temmei Period, 668-686. Kondo, Horyuji 32 13. Bronze Screen Behind Shaka Trinity Illustrated in Figure 12. Tenchi-Temmei Period, 668-686. Kondo, Horyuji 33 14. Chandra. Wood, gilt. Seventh Century A. D. Hory- uji 33 v ILLUSTRATIONS facing fig. Page 15. Wall Painting, The Yakushi Trinity. First Nara Epoch (711 A. D. ?). Interior of the Kondo, Hory- uji 33 16. Wall Painting, The Shaka Trinity. First Nara Epoch (7x1 A. D. ?). Interior of the Kondo, Horyuji . 33 17. Shaka. Clay, Originally gilt. First Nara Epoch and about 708-724. Koryuji (Uzemasa) near Kyoto . 36 18. Kwannon, Wood, painted. About Tempei Era, 749- 767. Kondo, Horyuji . 36 19. Pagoda. Suiko Period (616 A. D.) or First Nara Epoch (711 A. D.). Horyuji 36 20. Statuettes. Clay, painted in polychrome. First Nara Epoch (711 A. D. ?). Pagoda, Horyuji .... 36 21. Kwannon. Lacquer, gilt. End of First Nara Epoch, 724-749. Shorinji, Yamato 37 22. Yakushi. Wood, gilt. School of Jocho (12th Cen- tury). Yakushido, Horyuji 37 23. Yumedono. Wood, Plaster. Eighth Century. Hory- uji. “Nippon Seikwa” 37 24. Kwannon. Wood, plain. Eighth Century. Horyuji . 37 25. A Bodhisattva. Bronze, gilt. Seventh Century. Im- perial Household Collection. “Nippon Seikwa” . 44 26. Statue of the Priest Gi-en. Dry lacquer. Eighth Century. Okadera, Yamato 44 27. The Dembodo. The Hanging Canopies are Relics of the Ikaruga Palace of the Seventh Century. Hory- uji 44 28. Pagoda. Early part of the Eighth Century. Yak- ushiji, Nara 44 29. Yakushi. Bronze (Shakudo). Cast by Gyogi Bosatsu, Early Part of the Eighth Century. Main Deity of the Kondo of Yakushiji. Nara. “Nippon Seikwa” . 45 30. Chandra the Lunar Deity. Bronze (shakudo). At- tendant of Same. Yakushiji, Nara. “Nippon Seik- wa” 45 31. Surya the Solar Deity. Bronze (shakudo). Attend- ant of Same. Yakushiji, Nara. “Nippon Seikwa” . 45 32. Pedestal of Figure 29. Bronze (shakudo). By Gyogi the Korean, Early Eighth Century. Yakushiji, Nara. “Nippon Seikwa” 45 33. Kwannon. Bronze. Late Seventh to early Eighth Century. Toindo, Yakushiji, Nara 48 34. Kwannon. Wood, painted. End of Eighth Century. Toindo, Yakushiji, Nara. Tajima, “Selected Relics” 48 35. Nakatsuhime. Wood, painted. End of Ninth Cen- tury. Yakushiji, Nara. Tajima, “Selected Relics” . 48 vi ILLUSTRATIONS Facing 'ig. Page _ _ 36. Sogyo Hachiman. Wood, painted. End of Ninth Century. Yakushiji, Nara 48 37. £ri. Painting on Coarse Hemp. Eighth Century. Yakushiji, Nara 49 38. Portrait in Colours on Silk of the Chinese Priest Tzu-en. Attributed to the Eleventh Century. Yakushiji, Nara 49 39. A Goddess Painting on Wood. By Giogon (1295) in the Style of Fujiwara Artists of the Eleventh Century. Yakushiji, Nara. “Nippon Seikwa” . 49 40. Shaka. Wood. Attributed to the Priest Kosho (13th Century). Saidaiji, Nara 49 41. Reliquary. Bronze, gilt. Said to have belonged to the Abbot Eison (13th Century). Chinese, Sung Dynasty (?). Saidaiji, Nara. “Nippon Seikwa” 64 42. Kondo. Erected 759 A. D. Toshodaiji, Nara ... 64 43. Interior of the Same 64 44. Rushana. Lacquer, gilt. Attributed to the Priest Shitaku. Eighth Century. Toshodaiji, Nara . 64 45. Yakushi. Lacquer, gilt. Attributed to the Priest Shitaku. Eighth Century. Toshodaiji, Nara . 65 46. Kwannon (San-ju). Lacquer, gilt. Artist Unknown. Eighth Century. Toshodaiji, Nara 65 47. Interior of the Kodo. Eighth Century. Toshodaiji, Nara. “Nippon Seikwa” 65 48. Miroku. Wood, gilt. Attributed to the Priest Gun- poriki. Eighth Century. Kodo, Toshodaiji, Nara . 65 49. Memorial-Statue of the Abbot Kwanshin. Eighth Century. Kaisando, Toshodaiji, Nara. “Nippon Seikwa” . 68 50. Kinkara. Wood, painted. School of Unkei (early 13th Century). Toshodaiji, Nara 68 51. Sarira Stupa. Bronze, gilt. Said to have been pre- sented by the Shogun Yoritomo. Chinese, Sung Dynasty (?). Toshodaiji, Nara 68 52. Picture-roll. Colours on Paper. Life of Kwanshin. By Rengyo (1298). Toshodaiji, Nara. Tajima, “Selected Relics” 68 53. Sangwatsudo. Erected by Roben in 733; Enlarged 1199-1200. Todaiji, Nara 68 54. Interior of Same. Eighth Century. “Nippon Seikwa” 69 55. Kwannon. Lacquer, gilt. Attributed to the Priest Roben (8th Century). Sangwatsudo, Nara ... 69 56. Brahma. Clay. First Nara Epoch, 708-749. Sang- watsudo, Nara 69 vii ILLUSTRATIONS Facing Fig. Page 57. Komokuten. Dry Lacquer. Date about 741. Sang- watsudo, Nara 69 58. Vajrapani (Indra). Clay. First Nara Epoch, 708- 749). Sangwatsudo, Nara 76 59. Memorial-Statue of the Abbot Roben. Wood. Sec- ond Nara Epoch (after 773). Robendo, Todaiji, Nara 76 60. Front of the Daibutsuden or Hall of the Great Bud- dha. Rebuilt 1708. Todaiji, Nara 76 61. Bronze Lantern. Formerly fronted Daibutsuden and now in Nara Museum. First Nara Epoch (Tempyo) and Repaired in the years 1101 and 1669. Todaiji, Nara 76 62. Narayana (Brahma). Wood, coloured. By Unkei, about 1190-1203. Height 26 ft. 3 inches. Todaiji, Nara. Tajima,- “Selected Relics.” 77 63. Vajrapani (Indra). Wood, coloured. Height 26 ft. 3 inches. By Kwaikei (An-ami), about 1190-1203. Todaiji, Nara 77 64. The Emperor Ojin, as Hachiman. By Kwaikei, about 1193-1202. Kangaku-in, Todaiji. Tajima, “Selected Relics” 77 65. Brahma. Rock-carving, Exterior Lung-men Caves, Honan, China. Date circa 672-675 A. D 77 66. Komokuten. Clay, painted. First Nara Epoch, 708- 749. Kaidan-in, Todaiji, Nara. “Nippon Seikwa” . 80 67. Memorial-statue of the Priest Shunjo. About 1195. Shunjodo, Todaiji, Nara. Tajima, “Selected Relics” 80 68. Painting on Screen. Date about 752-756 A. D. Im- perial Household Collection. Shoso-in, Nara . 80 69. Painting on Silk, The Shaka Trinity and Disciples. First Fujiwara Epoch, 888-986. Todaiji, Nara . 81 70. Portrait in Colours on Silk of the Priest Hsiang- hsiang. Chinese, Southern Sung Dynasty, dated 1185. Todaiji, Nara 80 71. Painting in Colours on Silk of One of Sixteen Rakan. Attributed to the Chinese artist Yen Hui (Ganki) of the Yuan Dynasty. Todaiji Nara 81 72. Yuima. Wood, painted. Attributed to Jokei, 1196. Kofukuji, Nara 81 73. Vajrapani (Indra). Wood, painted. By Jokei, about 1190-1x98. Kofukuji, Nara 96 74. Kwannon. Wood, painted. By Jokei, about 1190- 1198. Kyoto Imperial Museum 96 75. Hexagonal Lantern. Bronze, cast 816 A. D. Front- ing Nanendo, Kofukuji, Nara 96 viii ILLUSTRATIONS Facing Fig. Pago 76. Memorial-Statue of the Priest Genpin. Thirteenth Century. Formerly in Kofukuji, now Nara Imperial Museum 96 77. Vajrapani (Indra). Wood, painted. By Jitsugen (?), about 1190-1198. Formerly in Kofukuji, now Nara Imperial Museum 97 78. Two Demigods. Dry Lacquer, coloured and gilt. First Nara Epoch, and about 724-749. Formerly in Kofukuji, now Nara Imperial Museum .... 97 79. Two Disciples of Shaka. Dry Lacquer. First Nara Epoch and about 724-749. Formerly in Kofukuji, now in Nara Imperial Museum 97 Go. Komokuten. Dry Lacquer. Early Ninth Century. Formerly in Hokuendo, Kofukuji, now Nara Im- perial Museum 97 81. Meikira-Taisho. Half-relievo on Wood. First Fuji- wara Epoch, 888-986. Formerly in Kofukuji, now in Nara Imperial Museum 112 82. Shaka. Wood, gilt. Attributed to Jocho (d. 1053). Kofukuji, Nara. “Imperial Museum’s Publications” 1x2 83. Asanga. Wood. Attributed to Unkei, circa 1208. Formerly in Kofukuji, now Nara Imperial Museum. “Imperial Museum’s Publications” 112 84. Lantern Upheld by the Demon Tentoki. Wood, painted. By Koben in 1215. Formerly Kofukuji, now Nara Imperial Museum 112 85. Painting on Silk. Jikokuten. Attributed to the Elev- enth Century. Formerly in Kofukuji, now Nara Imperial Museum. “Imperial Museum’s Publica- tion” 113 86. Portrait in Colours on Silk of the Chinese Priest Jion Daishi. About the Eleventh Century. Kofukuji, Nara. “Nippon Seikwa” 1x3 87. Shin-Yakushiji. Erected in the 7th year of the Tempyo Era (745). Nara. “Nippon Seikwa” . 128 88. Yakushiji. Wood, gilt. Attributed to the Tenth- Eleventh Centuries. Shin-Yakushiji, Nara . 113 89. Shaka. Bronze. Attributed to the Sixth or Early Seventh Century. Shin-Yakushiji-Nara. “Nippon Seikwa” 113 90. Vajra, Attendant of Yakushi. Clay. First Nara Epoch, 708-749. Shin-Yakushiji, Nara. “Imperial Museum’s Publications” 128 91. Painting in Colours on Silk, Nehanso or “Death (nir- vana) of Shaka.” Attributed to Yen Hui (Ganki), Yuan Dynasty.
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    Volume 6 | Issue 9 | Article ID 2906 | Sep 01, 2008 The Asia-Pacific Journal | Japan Focus Border-Crossers and Resistance to US Military Rule in the Ryukyus, 1945-1953 Matthew R. Augustine Border-Crossers and Resistance to US main island groups. Trade barriers with Japan Military Rule in the Ryukyus, 1945-1953 were relaxed in 1950, but the San Francisco Peace Treaty signed in 1951 reaffirmed that Matthew R. Augustine the Ryukyus would remain under US military rule, divided from Japan. By this time, the Sixty-six years after Japan’s annexation of the increasing cross-border interconnections former Ryukyu Kingdom in 1879, in the waning between residents in the Ryukyus and months of the Asia-Pacific War, the American Okinawan and Amamian residents in Japan had military partitioned the Ryukyu Islands from already given rise to an organized movement Japan. The replacement of Okinawa Prefecture calling for reversion to Japanese sovereignty. by US military rule in the Ryukyus from 1945 had profound implications, for residents of the How did the establishment of the military occupied islands. A major repercussion of the government and new postwar borders actually military government’s separation of theaffect the movement of residents within and Ryukyus was the enforced isolation of the four outside of the Ryukyu Islands? Conversely, to main island groups from occupied Japan. The what extent did the resistance of residents in Ryukyuan-Japanese border severed long- the Ryukyus and their effort to overcome their standing administrative and economic links, division and isolation influence the military while restrictive border controls prohibited free government’s border controls and related travel and interaction between the two sides.
  • Watanabe, Tokyo, E

    Watanabe, Tokyo, E

    Edition Axel Menges GmbH Esslinger Straße 24 D-70736 Stuttgart-Fellbach tel. +49-711-574759 fax +49-711-574784 Hiroshi Watanabe The Architecture of Tokyo 348 pp. with 330 ill., 161,5 x 222 mm, soft-cover, English ISBN 3-930698-93-5 Euro 36.00, sfr 62.00, £ 24.00, US $ 42.00, $A 68.00 The Tokyo region is the most populous metropolitan area in the world and a place of extraordinary vitality. The political, economic and cultural centre of Japan, Tokyo also exerts an enormous inter- national influence. In fact the region has been pivotal to the nation’s affairs for centuries. Its sheer size, its concentration of resources and institutions and its long history have produced buildings of many different types from many different eras. Distributors This is the first guide to introduce in one volume the architec- ture of the Tokyo region, encompassing Tokyo proper and adja- Brockhaus Commission cent prefectures, in all its remarkable variety. The buildings are pre- Kreidlerstraße 9 sented chronologically and grouped into six periods: the medieval D-70806 Kornwestheim period (1185–1600), the Edo period (1600–1868), the Meiji period Germany (1868–1912), the Taisho and early Showa period (1912–1945), the tel. +49-7154-1327-33 postwar reconstruction period (1945–1970) and the contemporary fax +49-7154-1327-13 period (1970 until today). This comprehensive coverage permits [email protected] those interested in Japanese architecture or culture to focus on a particular era or to examine buildings within a larger temporal Buchzentrum AG framework. A concise discussion of the history of the region and Industriestraße Ost 10 the architecture of Japan develops a context within which the indi- CH-4614 Hägendorf vidual works may be viewed.