7757 a Rock Crystal Stupa in the Form of Gorinto (Five-Ringed Tower) Japan

Total Page：16

File Type：pdf, Size：1020Kb

7757 A rock crystal stupa in the form of Gorinto (five-ringed tower) Japan 16th century Muromachi period Dimensions: H. 10.5cm x W. 4cm x D. 4cm (4¼” x 1¾” x 1¾”) A fitted wood box inscribed: Suisho Hoto (A crystal stupa) A stupa used to contain a relic of Buddha or precious objects or stones. Nihonshoki (Chronicles of Japan, 720) mentioned that a relic of Buddha had been placed in a pagoda of Hoko-ji temple, Nara, in 593. During the Asuka period (592-710), a number of magnificent pagodas were built in great temples such as Horyu-ji in the ancient capital to enshrine Buddhist relics. During the Heian period (794-1185), many relics were brought from China to Japan by Kukai (774-835), the founder of the Shingon sect in 806. He and his followers made faith in relics popular with a wider audience especially within Esoteric Buddhism. By the Kamakura period, relics were not only for being secretly enshrined in pagodas but were also for being worshipped on their own. As such the sublimity of relic containers became more significant. The tower form of this current stupa, gorintō (five-ringed tower), is thought to be established in Japan. Many memorial monuments and tombs in this form were built from the late Heian period and were adopted as stupa. It consists of five shapes which symbolise Godai (Five Elements) and are believed to form the universe in ancient India. There are some variations but the basic five sections are (from bottom to top): the earth ring (cube), the water ring (sphere), the fire ring (pyramid), the air ring (hemisphere), and the ether or void ring (jewel-shape). Small wooden stupas of gorinto form are often found inside Buddhist sculptures, especially those made by Kei School artists such as Unkei (1150-1223) and his pupils. A similar example of crystal stupa from the Kamakura period (13th century) is housed in the Tokyo National Museum (item number E-19838)..

Copy Link

Recommended publications

“Modernization” of Buddhist Statuary in the Meiji Period
140 The Buddha of Kamakura The Buddha of Kamakura and the “Modernization” of Buddhist Statuary in the Meiji Period Hiroyuki Suzuki, Tokyo Gakugei University Introduction During Japan’s revolutionary years in the latter half of the nineteenth century, in particular after the Meiji Restoration of 1868, people experienced a great change in the traditional values that had governed various aspects of their life during the Edo period (1603-1867). In their religious life, Buddhism lost its authority along with its economic basis because the Meiji government, propagating Shintoism, repeatedly ordered the proclamation of the separation of Shintoism and Buddhism after the Restoration. The proclamation brought about the anti-Buddhist movement haibutsu kishaku and the nationwide movement doomed Buddhist statuary to a fate it had never before met.1 However, a number of statues were fortunately rescued from destruction and became recognized as sculptural works of Buddhist art in the late 1880s. This paper examines the change of viewpoints that occurred in the 1870s whereby the Buddha of Kamakura, a famous colossus of seated Amida (Amitâbha) from the mid-thirteenth century, was evaluated afresh by Western viewers; it also tries to detect the thresholds that marked the path toward a general acceptance of the idea that Buddhist statuary formed a genre of sculptural works in the fine arts during the Meiji period (1868-1912). Buddhist statuary in the 1870s It is widely known that the term bijutsu was coined in 1872, when the Meiji government translated the German words Kunstgewerbe (arts and crafts) and bildende Kunst (fine arts) in order to foster nationwide participation in the Vienna World Exposition of 1873.
[Show full text]
Art of Zen Buddhism Zen Buddhism, Which Stresses a Connection to The
Art of Zen Buddhism Zen Buddhism, which stresses a connection to the spiritual rather than the physical, was very influential in the art of Kamakura Japan. Zen Calligraphy of the Kamakura Period Calligraphy by Musō Soseki (1275–1351, Japanese zen master, poet, and calligrapher. The characters "別無工夫 " ("no spiritual meaning") are written in a flowing, connected soshō style. A deepening pessimism resulting from the civil wars of 12th century Japan increased the appeal of the search for salvation. As a result Buddhism, including its Zen school, grew in popularity. Zen was not introduced as a separate school of Buddhism in Japan until the 12th century. The Kamakura period is widely regarded as a renaissance era in Japanese sculpture, spearheaded by the sculptors of the Buddhist Kei school. The Kamakura period witnessed the production of e- maki or painted hand scrolls, usually encompassing religious, historical, or illustrated novels, accomplished in the style of the earlier Heian period. Japanese calligraphy was influenced by, and influenced, Zen thought. Ji Branch of Pure Land Buddhism stressing the importance of reciting the name of Amida, nembutsu (念仏). Rinzai A school of Zen buddhism in Japan, based on sudden enlightenment though koans and for that reason also known as the "sudden school". Nichiren Sect Based on the Lotus Sutra, which teaches that all people have an innate Buddha nature and are therefore inherently capable of attaining enlightenment in their current form and present lifetime. Source URL: https://www.boundless.com/art-history/japan-before-1333/kamakura-period/art-zen-buddhism/ Saylor URL: http://www.saylor.org/courses/arth406#4.3.1 Attributed to: Boundless www.saylor.org Page 1 of 2 Nio guardian, Todai-ji complex, Nara Agyō, one of the two Buddhist Niō guardians at the Nandai-mon in front of the Todai ji in Nara.
[Show full text]
For Immediate Release ASIAN ART SALES at CHRISTIE's NEW
For Immediate Release 21 March 2008 Contact: Sara Fox + 1 212 636 2680 [email protected] ASIAN ART SALES AT CHRISTIE’S NEW YORK ACHIEVE HIGHEST TOTAL EVER AT $80,068,489 18- 21 March New York – Spring 2008 Asia Week at Christie’s New York realized $80,068,489 the highest total for Asia Week at Christie’s New York. Theow H. Tow, Deputy Chairman, Christie’s Americas and Asia comments, “Christie’s achieved the highest total for Asian Art sales in New York this week and established numerous records, a testament to the superb sales put together by Christie’s specialists. The strength of the market combined with an extraordinary group of works of supreme quality, exceptional provenance and excellent condition, contributed to the phenomenal success. We saw enthusiasm from clients in Asia as well as the West and remarkable records were established for masterpieces. Works of such extreme rarity and importance were exemplified by the Dainichi Nyorai Buddha, which sold for $14,377,000. Christie’s dominates, finishing the week with 63% market-share for Asian Art in New York.” OVERVIEW OF ASIA WEEK SALES Japanese and Korean Art ~ March 18 Total Sold: $20,854,813 Sold by Lot: 70% Sold by $: 94% Lot 200 - $14,377,000 A Highly Important Wood Sculpture of Dainichi Nyorai (Mahavairocana), Kamakura period (1190s), attributed to Unkei (d. 1223) WORLD AUCTION RECORD FOR JAPANESE ART Lot 451- $825,000 Kim Whanki, Untitled (White porcelain jar and plum tree) WORLD AUCTION RECORD FOR THE ARTIST The Imperial Wardrobe: Fine Chinese Costumes and Textiles ~March
[Show full text]
Embracing Death and the Afterlife: Sculptures of Enma and His Entourage at Rokuharamitsuji
Embracing Death and the Afterlife: Sculptures of Enma and His Entourage at Rokuharamitsuji By Ó 2018 Ye-Gee Kwon Submitted to the graduate degree program in Art History and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. ___________________________ Chair: Sherry D. Fowler ___________________________ Amy E. McNair ___________________________ Maya Stiller ___________________________ Maki Kaneko ___________________________ Kyoim Yun Date Defended: 5 October 2018 The dissertation committee for Ye-Gee Kwon certifies that this is the approved version of the following dissertation: Embracing Death and the Afterlife: Sculptures of Enma and His Entourage at Rokuharamitsuji ___________________________ Chair: Sherry D. Fowler Date Approved: 5 October 2018 ii Abstract This dissertation investigates a sculptural group of Enma and his entourage that was once enshrined in an Enma hall located within the Kyoto temple Rokuharamitsuji precinct, and hopes to highlight the role that significant yet understudied sculptures played in the development of the cult of Enma and the Ten Kings in premodern Japan. Rokuharamitsuji is of great importance to study the cult of Enma and the Ten Kings not only for its rare early sculptures of Enma and his two assistants created in the thirteenth century when the cult began to flourish in Japan, but also for the later addition of a seventeenth-century Datsueba sculpture, which reveals the evolution of the cult through its incorporation of Japanese popular belief. This study examines how the Rokuharamitsuji sculptural group presented images of hell within a designated space and conveyed messages of salvation to their beholders, responding to the environs of the salvation- oriented temple.
[Show full text]
The Classicism of the Nara Period (8Th Century) in Japan Anales Del Instituto De Investigaciones Estéticas, Vol
Anales del Instituto de Investigaciones Estéticas ISSN: 0185-1276 [email protected] Instituto de Investigaciones Estéticas México Tanaka, Hidemichi The Classicism of the Nara period (8th century) in Japan Anales del Instituto de Investigaciones Estéticas, vol. XXXIII, núm. 98, 2011, pp. 237-248 Instituto de Investigaciones Estéticas Distrito Federal, México Available in: http://www.redalyc.org/articulo.oa?id=36921103007 How to cite Complete issue Scientific Information System More information about this article Network of Scientific Journals from Latin America, the Caribbean, Spain and Portugal Journal's homepage in redalyc.org Non-profit academic project, developed under the open access initiative HIDEMICHI TANAKA akita intnatinal univsity, japan The Classicism of the Nara period (8th century) in Japan Japanese Classicism of the Nara period nlik Europan at histy, where the development of styles has been a dominant consideration, the history of Japanese art has been approached against a schema of dynastic changes. It is fundamental Uthat art history should be analyzed in terms of style itself, and not simply against the background provided by political history. We know that Eurocen- trism has been criticized recently from a multiculturalist perspective, but this should be no obstacle to the use by other cultures of similar methods to those applied to European art history. Using such approaches, Japanese art could be seen to be compatible with Western art. My book, A History of Japanese Art, published in an English edition, is an attempt along those lines.1 This paper is also one approach to explaining the Japanese style of Classi- cism, which could be compared with Renaissance Classical art in Europe.
[Show full text]
Kaikei's Statue of Hachiman in T#Daiji Christine Guth Kanda Artibus Asiae
Kaikei's Statue of Hachiman in T#daiji Christine Guth Kanda Artibus Asiae, Vol. 43, No. 3. (1981 - 1982), pp. 190-208. Stable URL: http://links.jstor.org/sici?sici=0004-3648%281981%2F1982%2943%3A3%3C190%3AKSOHIT%3E2.0.CO%3B2-E Artibus Asiae is currently published by Artibus Asiae Publishers. Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/about/terms.html. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/journals/artibus.html. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. The JSTOR Archive is a trusted digital repository providing for long-term preservation and access to leading academic journals and scholarly literature from around the world. The Archive is supported by libraries, scholarly societies, publishers, and foundations. It is an initiative of JSTOR, a not-for-profit organization with a mission to help the scholarly community take advantage of advances in technology. For more information regarding JSTOR, please contact [email protected]. http://www.jstor.org Mon Oct 15 10:44:37 2007 CHRISTINE GUTH KANDA Princeton UniversiQ KAIKEI'S STATUE OF HACHIMAN IN TODAIJI* he reconstruction of Tddaiji and Kdfukuji following their destruction by fire in 1180 Tduring the wars between the Minamoto and the Taira opened a new era in Japanese sculptural history.
[Show full text]
ART a Legacy Spanning Two Millennia
For more detailed information on Japanese government policy and other such matters, see the following home pages. Ministry of Foreign Affairs Website http://www.mofa.go.jp/ Web Japan http://web-japan.org/ ART A legacy spanning two millennia Scroll painting A scene from the 12th-century Tale of Genji Scrolls (Genji monogatari emaki), which portray events from the 11th-century novel Tale of Genji. National Treasure. © Tokugawa Art Museum iverse factors have contributed to the the beginning of the era, manufactured copper Ddevelopment of Japanese art. Both weapons, bronze bells, and kiln-fired ceramics. technologically and aesthetically, it has for Typical artifacts from the Kofun (Tumulus) many centuries been influenced by Chinese period (approximately A.D. 300 to A.D. 710) styles and cultural developments, some of that followed, are bronze mirrors, and clay which came via Korea. More recently, Western sculptures called haniwa, which were erected techniques and artistic values have also added outside of tombs. their impact. The simple stick figures drawn on dotaku, However, what emerged from this history bells produced in the Yayoi period, as well as of assimilated ideas and know-how from other the murals adorning the inside walls of tombs cultures is an indigenous expression of taste in the Kofun period, represent the origins of that is uniquely Japanese. Japanese painting. Haniwa Haniwa are unglazed earthenware sculptures The Influence of Buddhism that were paced on Ancient Times and around the great and China mounded tombs (kofun) The first settlers of Japan, the Jomon people of Japan's rulers during the 4th to 7th centuries.
[Show full text]
Pages 101 To
IMPRESSIONS The Journal of the Japanese Art Society of America Number 31 10 Editor Impressions is the journal of the Japanese Art The Japanese Art Society of America would like Julia Meech Society of America, Inc., and appears annually. to thank our advertisers as well as the following Associate Editor Single copies of this issue are available at $ whose contributions have made possible the Jane Oliver per copy including postage from: Japanese Art publication of this issue of Impressions: Society of America, Inc., P.O. Box , FDR Advertising Manager Mary Livingston Griggs and Allison Tolman Station, New York, NY . Mary Griggs Burke Foundation Sebastian Izzard Advisory Board Copyright ©10 by the Japanese Art Society John Carpenter George and Roberta Mann Philanthrophic Fund of America, Inc. Second-class postage paid at Timothy Clark Klaus Naumann Roger S. Keyes New York, NY, and at additional mailing offices. Kobayashi Tadashi Subscriptions are included in society member- Ruth Nelkin Mary Richie Smith ship. Information on membership appears on Barbie Rich Elizabeth de Sabato Swinton page 196 in this issue. Melanie Trede Allison Tolman David R. Weinberg and Effi P. Weinberg Design and Production We welcome the submission of manuscripts for Foundation Dana Levy possible publication in Impressions on any topic Roger Weston Perpetua Press, Santa Barbara concerning Japanese art. Manuscripts and inquiries Copy Editor about submissions, as well as books for review, Robbie Capp should be sent to: Editor, Impressions, Japanese Art Society of America, Inc., P.O. Box , FDR notes to the reader Printer and Binder Personal names: For Japanese and Chinese Toppan Printing Co.
[Show full text]
Buddhism in Japanese Literature. W
^be ©pen Court A MONTHLY MAGAZINE jSDcvote^ to tbe Science of iRelfglon, tbe iRellofon of Science, nnb tbc Extension ot tbe IReUoioits parliament f5ea Founded by Edwaxo C Hecelsk Volume XXXIX (No. 11) NOVEMBER, 1925 (No. 834) CONTENTS PACK Frontispiece. The Great Buddhist Statue of Kamakura. Buddhism in Japanese Literature. W. G. Blaikie Murdoch 641 The Origin of Magic. Joshua C. Gregory 650 Metaphysics, Psychology and Philosophy. Victor S. Yarros 669 So This is Fundamentalism. William Burquest 676 Tennessee's Aid to Education. Smith W. Carpenter 685 Body, Mind, Soul. H. G. Tovvnsend 696 The Idealist (Poem) . Alice A. Keen 704 XLhc ©pen Court publisbing Company I2t2 S. Michigan Ave. Chicago, Illinois Per copy, 20 cenu (1 shiUing). Yearly, $2.00 (in the U.P.U., 9s. 6d.) Entered as Second-Class Matter March 26, 1887, at the Post Office at Chicago, 111., under Act of March 3, 1879. Copyright by The Open Codrt Publishing Company, 1924. : Applying the Project Principle Young People's Projects By Erwin L. Shaver Here are six separate projects, each designed to cover a period of three to four months, and each a challenge to young people to think through the problems of the Christian life A CHRISTIAN'S LIFE WORK. A project plan suggesting how Christian young people of high- school and college age may be helped to find that form of life-work to which they are best suited. A CHRISTIAN'S RECREATION. A project plan to guide young people of high-school age and older in the discovery and use of Christian types of recreation.
[Show full text]
Thirteenth Presentation of the Charles Lang Freer Medal
Thirteenth Presentation of the Charles Lang Freer Medal April 12, 2012 Contents 4 History of the Freer Medal 7 Opening Remarks Julian Raby, Dame Jullian Sackler Director of the Freer Gallery of Art and Arthur M. Sackler Gallery 13 Remarks by John Rosenfeld Abby Aldrich Rockefeller Professor of East Asian Art, Emeritus, at Harvard University 32 Sources and Further Reading 3 History of the Freer Medal From the frst presentation of the Freer Medal on February 25, 1956: his medal is established in commemoration of the one hundredth T anniversary of the birth of the founder of the Freer Gallery of Art. The late Charles Lang Freer was born on February 25, 1856, at Kingston, New York. For many years he was a devoted and discerning collector and student of Oriental art. He believed that more is learned concerning a civilization or epoch from the art it has produced than from any other source. With this idea in mind, he presented his collec- tion, a building to house them, and an endowment. The income was to be used “for the study of the civilization of the Far East,” and “for the promotion of high ideals of beauty” by the occasional purchase of the fnest examples of Oriental, Egyptian, and Near Eastern fne arts. This gift was ofered to the Government during the presidency of Theodore Roosevelt, to be given in trust to the Smithsonian Institution. The deed of gift was executed on May 5, 1906. Ground was broken on Septem- ber 23, 1916, and the building was completed in the spring of 1921, about eighteen months after the death of the founder in New York City on September 25, 1919.
[Show full text]
Vairocana 1 Vairocana
http://www.articlesphere.com/ar/Article/The-Christ--Ratu-Adil-and-Satria-Piningit---Revealed---Part- 4/59124 http://www.articlesphere.com/ar/Article/The-Christ--Ratu-Adil-and-Satria-Piningit---Revealed--Part- 2/59122 فيروكانا ויירוקאנה Βαϊροτσάνα 大日天使 Nāmapada: a guide to names in the Triratna Buddhist Order By Jayarava Vairocana 1 Vairocana This article is about the primordial buddha Vairocana. For the Tibetan translator, see Vairotsana. Vairocana A gilt-bronze statue of Vairocana Buddha, one of the National Treasures of South Korea, at the Bulguksa Temple. Sanskrit वैरोचन Vairocana Chinese 大日如來 (Dàrì Rúlái) 毘盧遮那佛 (Pílúzhēnàfó) Japanese 大日如来 (Dainichi Nyorai) 毘盧遮那仏 (Birushana-butsu) Korean 비로자나불 毘盧遮那佛 (Birojanabul) 대일여래 大日如來 (Daeil Yeorae) Mongolian ᠮᠠᠰᠢᠳᠠ ᠋᠋ᠭᠡᠢᠢᠭᠦᠯᠦᠨ ᠵᠣᠬᠢᠶᠠᠭᠴᠢ Машид гийгүүлэн зохиогч Masida geyigülün zohiyaghci Tibetan རྣམ་པར་སྣང་མཛད། rNam-par-snang mdzad Vietnamese Đại Nhật Như Lai, Tì Lư Già Na, Information Venerated by Vajrayana Attributes Emptiness Buddhism portal Vairocana (also Vairochana or Mahāvairocana, Sanskrit: वैरोचन) is a celestial buddha who is often interpreted, in texts like the Flower Garland Sutra, as the Bliss Body of the historical Buddha (Siddhartha Gautama). In Chinese, Korean, and Japanese Buddhism, Vairocana is also seen as the embodiment of the Buddhist concept of Emptiness. In the conception of the Five Wisdom Buddhas of Vajrayana Buddhism, Vairocana is at the centre. Vairocana is not to be confused with Vairocana Mahabali, son of Virochana. Vairocana 2 History of devotion Vairocana Buddha is first introduced in the Brahma Net Sutra: Now, I, Vairocana Buddha am sitting atop a lotus pedestal; On a thousand flowers surrounding me are a thousand Sakyamuni Buddhas.
[Show full text]
Heian (794-1185) and Kamakura (1185-1333) Buddhist Sculpture
Heian (794-1185) and Kamakura (1185-1333) Buddhist Sculpture “Amida Nyorai (detail).” Jōchō, 1053, cypress wood with lacquered cloth and gold leaf. Height: 110 inches. Hōōdo (Phoenix Hall), Byōdō-in, Kyoto. Terms of Use: The image above is in the public domain. I. Heian Period Buddhist Sculpture The Heian period witnessed a flowering of Buddhist art and architecture and the introduction of Esoteric Buddhism to Japan. Early Heian period sculptures inherited and modified late Nara period sculptural forms while developing new images to depict wrathful Esoteric deities. During this time, wood also replaced bronze as the most common material from which Buddhist sculptures were made. By the middle of the Heian period, the powerful Fujiwara clan dominated political and cultural affairs and formal trade with China ended, allowing for the development of indigenous cultural forms. A growing sense of grace, refinement, and softness emerged in Buddhist sculptures, which culminated in the work of Jōchō (d. 1057), whose workshop in Kyoto perfected the Wayō or “Japanese style” of sculpture. The above sculpture of Amida Nyorai is the only statue by Jōchō that has survived. It was created as part of (and still remains in) the Phoenix Hall of the Byōdō- in. As you can see, Jōchō experimented with proportions in the crafting of this sculpture, using the height of the head from the brow to the statue’s chin as the basic unit of measurement for the entire sculpture. Note also that if you draw a line from the center of the statue’s hairline to the middle of where its legs are crossed beneath the folds of The Saylor Foundation 1 its robe, this line is equal to the distance between its two knees.
[Show full text]