Faith and Power in Japanese Buddhist Art, 1600-2005
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japanese art | religions graham FAITH AND POWER IN JAPANESE BUDDHIST ART, 1600–2005 Faith and Power in Japanese Buddhist Art explores the transformation of Buddhism from the premodern to the contemporary era in Japan and the central role its visual culture has played in this transformation. The chapters elucidate the thread of change over time in the practice of Bud- dhism as revealed in sites of devotion and in imagery representing the FAITH AND POWER religion’s most popular deities and religious practices. It also introduces the work of modern and contemporary artists who are not generally as- sociated with institutional Buddhism but whose faith inspires their art. IN JAPANESE BUDDHIST ART The author makes a persuasive argument that the neglect of these ma- terials by scholars results from erroneous presumptions about the aes- thetic superiority of early Japanese Buddhist artifacts and an asserted 160 0 – 20 05 decline in the institutional power of the religion after the sixteenth century. She demonstrates that recent works constitute a significant contribution to the history of Japanese art and architecture, providing evidence of Buddhism’s persistent and compelling presence at all levels of Japanese society. The book is divided into two chronological sections. The first explores Buddhism in an earlier period of Japanese art (1600–1868), emphasiz- ing the production of Buddhist temples and imagery within the larger political, social, and economic concerns of the time. The second section addresses Buddhism’s visual culture in modern Japan (1868–2005), specifically the relationship between Buddhist institutions prior to World War II and the increasingly militaristic national government that had initially persecuted them. The author then looks at a concurrent develop- ment: the transformation of sacred imagery from icon into art, which in turn stimulated the emergence of a new form of Buddhism dominated by nondenominational practitioners, including secular artists with a per- sonal affinity for Buddhism. The final chapters focus on Buddhist locales Cover art: and imagery after the war, introducing some of the most distinctive re- Maeda Jo¯saku (b. 1926). Meditation on the Silver cent sites of worship and the new makers of Buddhist art. River (Ginka meiso¯), from the series Personal Patricia J. Graham, a former professor of Japanese art and culture, Impressions of Mandalas and museum curator, is an independent scholar and Asian art consultant (Kanso¯ mandara shirizu), 1980–1982. Acrylic paint based in Lawrence, Kansas. on canvas, 181.8 ∞ 227.3 cm. Toyama Prefectural Museum of Art. University of Hawai‘i Press Cover design: April Leidig-Higgins Honolulu, Hawai‘i 96822-1888 www.uhpress.hawaii.edu PATRICIA J. GRAHAM Printed in Canada Faith and Power in Japanese Buddhist Art, 1600 – 2005 Graham final text 1 7/12/07 4:17:44 PM Faith and Power in Japanese Buddhist Art, Graham final text 2 7/12/07 4:17:46 PM Faith and Power in Japanese Buddhist Art, – Patricia J. Graham University of Hawai‘i Press | Honolulu Graham final text 3 7/12/07 4:17:48 PM Publication of this book has been assisted by the Kajima Foundation and Mary Livingston Griggs and Mary Griggs Burke Foundation © 2007 Patricia J. Graham All rights reserved Printed in Canada 12 11 10 09 08 07 6 5 4 3 2 1 Library of Congress Cataloging-in-Publication Data Graham, Patricia Jane. Faith and power in Japanese Buddhist art, 1600 – 2005 / Patricia J. Graham. p. cm. Includes bibliographical references and index. isbn 978-0-8248-3126-4 (hardcover : alk. paper) isbn 978-0-8248-3191-2 (pbk. : alk. paper) 1. Buddhism — Japan — History — 1600 – 1868. 2. Buddhism — Japan — History — 1868 – 1945. 3. Buddhism — Japan — History — 1945 – 4. Arts, Buddhist — Japan. I. Title. bq689.g73 2007 700'.4829430952 — dc22 2007023706 University of Hawai‘i Press books are printed on acid- free paper and meet the guidelines for permanence and durability of the Council on Library Resources. Designed by April Leidig-Higgins Printed by Friesens Graham final text 4 7/12/07 4:17:48 PM Contents vii Acknowledgments ix Note on Translations, References, and Usage of Chinese and Japanese Names, Dates, and Terms xi Map of Japan 1 Introduction Part I Buddhism in the Arts of Early Modern Japan, 1600 – 1868 17 One. Institutional Buddhism under Warrior Rule 45 Two. Buddhist Temples for the Elites 73 Three. Temples for Commoners 96 Four. Depictions of Popular Deities and Spiritual Concerns 127 Five. Professional Icon-Makers 150 Six. Expressions of Faith Part II Buddhist Imagery and Sacred Sites in Modern Japan, 1868 – 2005 177 Seven. Buddhist Institutions after an Era of Persecution, 1868–1945 199 Eight. From Icon to Art, 1868–1945 226 Nine. Buddhist Sites of Worship, 1945–2005 251 Ten. Visualizing Faith, 1945–2005 Graham final text 5 7/12/07 4:17:48 PM 275 Conclusion 279 Appendix. Guide to Tokyo-Area Temples Mentioned in This Book 281 Notes 307 Character Glossary 313 Bibliography 339 Index Color plates follow pp. 148 and 244 vi | Contents Graham final text 6 7/12/07 4:17:49 PM Acknowledgments i am very grateful to the organizations that supported my research and this book’s production. The Asian Cultural Council of New York funded ini- tial field research in Japan in 2001. A National Endowment for the Humanities grant allowed for subsequent short research trips and time to devote to writing over a two-year period from 2003–2005. Publication of this book has also been assisted by the Mary Livingston Griggs and Mary Griggs Burke Foundation. Lastly, this book would not have had nearly as many color plates without a major grant from the Kajima Foundation. I am honored by the faith these organiza- tions had in this project. Like my earlier book, Tea of the Sages, this one has substantially benefited from the magnanimity of Prof. Ōtsuki Mikio, research fellow at the Bunkaden at Manpukuji and professor at Hanazono University. Sudō Hirotoshi, Patricia Fister, Ellen Conant, and Joseph Seubert also deserve special acknowledgment for great help and encouragement. Many other scholars, artists, Buddhist priests, and museum curators worldwide have also offered advice at various stages of this project. I thank especially Stephen Addiss, Barbara Ambros, Akiyama Terukazu, Cynthea Bogel, Gunhild Borggreen, Philip Brown, William Coaldrake, Barbara Ford, Fukuda Hiroko, Fukushima Keido Roshi, Noelle Giuffrida, Marilyn Grid- ley, Elizabeth ten Grotenhuis, Christine Guth, Itō Michiko, Itō Shiori, Iwasa Mitsuharu, Isozaki Junko, Richard Jaffe, Katsuyama Shigeru, Kōno Motoaki, Ku- rushima Hiroshi, Elizabeth Lillehoj, Karen Mack, Lawrence Marceau, Andrew Maske, Matsuda Junko, Matsuda Tsutomu, Nedachi Kensuke, Jonathan Reynolds, Tom Rimer, Satō Dōshin, Suzuki Yoshihiro, Karin Swanson, Elizabeth de Sabato Swinton, John Szostak, Takaguchi Yoshiyuki, Taki Kozue, Takishita Yoshihiro, Willa Tanabe, Reiko Tomii, Tsuchikane Yasuko, William Tsutsui, Tsuji Nobuo, Norman Waddell, Watanabe Toshio, Andrew Watsky, Duncan Williams, Pa- mela Winfield, Yasumura Toshinobu, and Yuzurihara Junko. I must also thank Patricia Crosby of the University of Hawai‘i Press for her insightful criticisms of preliminary outlines and drafts and for her unwavering belief in this project from its early stages. The staff of the interlibrary loan department of the University of Kansas library is also to be commended for their efficiency and ability to obtain for me some rather obscure materials. Lastly, I need to thank Drs. Mary Vernon Graham final text 7 7/12/07 4:17:49 PM and Christopher Penn, who helped me to regain my health and complete this project. I really could not have done this without them. Because this book covers so much ground, I have indebted myself to myriad others beyond those listed here, including the two anonymous readers for the University of Hawai‘i Press who pointed out various mistakes and omissions. Since I have strayed into many areas of research outside my expertise, I apolo- gize in advance for any inaccuracies that inevitably still remain. My foremost intention has been to suggest new directions for research and to stimulate new ways of thinking about Buddhism and its relation to the visual arts. Above all, I cannot adequately acknowledge the debt of gratitude I owe my husband, David Dunfield, for his patient support of this study from beginning to end. I dedicate this book to him. Unless otherwise indicated in the captions to the photographs, all photos appear courtesy of the owner institution or collector. viii | Acknowledgments Graham final text 8 7/12/07 4:17:49 PM Note on Translations, References, and Usage of Chinese and Japanese Names, Dates, and Terms all Chinese and Japanese names, except for those of authors writing in English, appear with surname first. Following customary usage, premodern Japanese individuals and most of those born through the nineteenth century are referred to by their given or artist names. Family names are used for reference to more recent individuals and authors. Exceptions to this rule occasionally occur when I employ names customarily used for some long-lived modern artists. I state ages according to Western calculation and have converted the traditional system of noting dates according to era names into their Western equivalents. Names for important Buddhist deities and texts are given in Sanskrit (Skt.) and, when appropriate, in Chinese (Ch.). Names of Chinese residents in Japan are rendered in both Chinese Pinyin Romanization and Japanese (Jp.) initially and subsequently only in Japanese. I provide measurements in the metric system. Graham final text 9 7/12/07 4:17:50 PM Graham final text 10 7/12/07 4:17:50 PM Map of Japan showing places mentioned in the text. Graham final text 11 7/12/07 4:17:55 PM Graham final text 12 7/12/07 4:17:55 PM Introduction buddhism, at its Core, espouses compassion for all living things and deep respect for the sanctity of life.