OF THE

UNIVERSITY
Of I L L I N O I S

720.952.
Vl4b

A

BRIEF HISTORY
OF THE

Glyptic Art ^ Architecture
OF

JAPAN,
TOGETHER WITH

A Brief Description of Temples and
Shrines
AND

A Biography of Eminent Architects and Sculptors*

YAMANAKA & CO ,

New York,
Boston,
London,
Osaka, Japan.
1902.

CONTENTS.
Page
I.
II.

PRIMITIVE STAGE

6

PERIOD OF THE EMPRESS SUIKO

.

III.

PERIOD OF THE EMPEROR TENCHI

.

8

IV.

PERIOD OF THE EMPEROR SHOMU

.

9

V.

PERIOD OF THE EMPEROR KWAMMU,

12

VI.

PERIOD OF THE FUJIWARA SHOGUN-

ATE
VII.

VIII.

17

PERIOD OF THE
ERNMENT .

6

.

KAMAKURA
.

.

r

.

GOV.

,

21

PERIOD OF THE ASHIKAGA SHOGUN-

ATE

26

IX.

PERIOD OF THE TOYOTOMI ADMINIS-

X.

PERIOD OF THE TOKUGAWA ADMIN-

TRATION

29

ISTRATION

SHINTO SHRINES AND BUDDHIST TEMPLES

32

.

37

BIOGRAPHY OF EMINENT ARCHITECTS, AND
SCULPTORS

74

A BRIEF HISTORY
OF THE

Glyptic Art and Architecture
OF JAPAN

Introduction.
" T h e region known as the Far East . . . calls
for special study at the hands of those who would
unfathom its mysteries "—A Kausse

T H E fine art of Japan possesses a history
that covers a period of over one thousand
three hundred years, extending from the
creation of the Empire down to the present era. During this long period it has
undergone many changes, occasioned by
the progress of events in each generation,
but in no period of its existence has it
ever been dwarfed into utter insignificance.
For this reason, every object of art produced in this country is marked by something peculiar to Japan, though one article
may differ from another according to its
3

kind,— the feeling of the artist, and the
views held by different schools, — yet one
wholesome national idea pervades them all,
and constitutes the fundamental value of
the Japanese productions.
Notwithstanding the fact that the glyptic art and architecture of Japan occupy an
important position in the world's history of
fine art, the study of these two subjects
has, so far, been neglected and apparently
left in obscurity. The singular development of these two branches of art in
Japan is attributable to the favorable circumstances under which the country and
her people have been placed. Firstly,
Japan abounds with trees of various descriptions, such as the pine, the cedar,
the cryptomeria and the Keyaki (Zelkotva
Keakie), so that an artist can select any
kind of wood best suited to his purpose.
Secondly, the climate is so mild and wellregulated that the inhabitants do not feel
the need of building their houses with
stones or other materials than wood, so as
to provide against excessive heat or cold
or other climatic influences. Last, but not
least, the Japanese are peculiarly fond of
cleanliness and simplicity — the most important habits for those engaged in the
4

production of works of fine art. All these
circumstances combined must have taught
the ancient Japanese how to exhibit their
manual skill in architecture and carving.
Buddhism has in no small degree influenced the glyptic art and architecture of
Japan With the introduction of this foreign religion, a marked change took place
in the construction of Imperial Palaces,
Shinto shrines and the ordinary dwellinghouses, which began to be decorated in
Chinese style We owe the present high
state of development attained by the fine
art of Japan mainly to the influence of
Buddhism as well as to the elements of
civilization brought over from China by
way of Korea in the early part of our
history *
The present little work is intended to
give a bird's-eye view of the development
of glyptic art and architecture in Japan,
together with a biography of noted architects, sculptors and carvers, and a brief
description of temples and shrines worthy
of record.
* " Chinese literature, in short, and the creed of
Buddha must be regarded as the influence that
vivified the heart of Japa»ese national progress."—
History of the Empire of Japan, compiled by the
I J. Department of Education.
5

I. The Primitive Stage.
" The relics of Japanese industry before the time
of the ascendency of Chinese influence, which have
become known chiefly from excavations, show that
the country at that time occupied a very low plane
of artistic ability and taste "—Rein.

During the period from the foundation
of the Empire down to 500 A.D., when Japan's intercourse with her neighbors, China
and Korea, was of little importance, her
fine art was in a state of infancy
Glyptic
art, especially, as will be seen from some
of the existing specimens, consisted of simple crosses of straight or curved lines, and
in more elaborate cases, of men, birds,
beasts, etc , they were of extremely rudimentary character, and, so far as we know, there
was produced no object of real artistic merit.

II. The Period of the Empress
Suiko.
(Sixth

Century.)

" Further progress was made in the reign of the
Empress Suiko, when the methods of producing
pigments and dyes came to be known "•—History of
the Empire of Japan, official translation.

It was during the reign of the Emperor
Kimmei (540 A.D.) that a refined type of
6

fine art crossed the sea to Japan from the
neighboring continent, and gave rise to the
development of later years. It was just in
these days that the civilization of the Six
Dynasties of China was brought over by
the Koreans to Japan, in the shape of Literature and Art. During the reign of the
enlightened Empress Suiko (600 A.D ) an
Imperial Rescript was issued for the propagation of Buddhism, and no efforts were
spared by the Government in encouraging
the people to build temples, while the people themselves gave liberally for the making of sacred images and paraphernalia
Glyptic art and architecture thus attained
a stage of high development. Some of
the buildings of this epoch still exist, among
which may be mentioned the temple of
Horyu-ji, at Nara, the pagodas of Horin-ji
and Hoki-ji. Of these surviving examples,
Horyu-ji, with its complete set of " T h e
Seven Sacred Buildings," is worthy of posterity, especially its main edifice, the Toba-do and the Middle Gate. There is a
small shrine, known as " T h e Tamamushi
Zushi, ,, which is coated with the shell of an
insect called tanamushi (kind of beetle of
a shining green color). This shrine is a
wonderful specimen of ancient carving, ex7

tremely chaste in design and execution, and
is without doubt the oldest relic of the kind
in existence.

III. The Period of the Emperor
Tenchi.
(Seventh

Century.)

Glyptic art and architecture, which had
made such wonderful progress during the
reign of the Empress Suiko, underwent a
marked change before and after that of the
Emperor Tenchi, or approximately at the
end of the Sixth Century. At this period,
Japan had a direct intercourse with China,
without the interposition of Korea, and envoys were frequently sent from Japan to
China (vice versa), with the result that the
art and sciences of the Celestial Empire
flowed into Japan almost without restraint.
The Japanese carvers and sculptors, who
had hitherto copied the works of the
Chinese, were now able to produce their
own, surpassing in many respects their masters in design and execution, so that another
step towards perfection was distinctly made
during this epoch. The temples of S5fuku-ji, Onyo-ji, Oka-dera, Kofuku-ji and
Kwannon-ji were destroyed long ago, but it
8

is recorded that nothing excelled the beauty
and grandeur of these structures, while the
pagoda of Yakushi-ji in Nara, which is still
preserved in a perfect order, has a peculiar
form and taste; and the three statues or
the Sanzon-butsu deposited in the same
temple inspire the beholder with a feeling
of grandeur and magnificence. All these
relics testify to the marked progress of art
made in the days gone by.

IV. The Period of the Emperor
Shomu.
(Eighth

Century.)

Japan's relations "with China reached its
climax during the Tempyo Era of the reign
of Shomu (729-748). Her fine art was
largely influenced by the civilization of the
Tang Dynasty of China, which inspired
the Japanese to produce works of supreme
merit. This period is especially noted for
the propagandism of Buddhism, which extended throughout the Empire with unprecedented rapidity and wrought a complete
change in the mind of the nation Not only
were there priests of exceptional talents,
but the ruling monarch himself was the
most zealous devotee of the foreign faith.
9

He gave an order to the effect that a
temple, called Kokubun-ji, should be built
in each and every province in the country,
and also appealed, with success, to the
charity of the masses for the erection of a
huge image of Roshana-butsu (Vairochana)
in the Capital of Nara. This gave a powerful impetus to the architecture of the time,
which was brought up to a higher level
of advancement. Its style was nearly the
same as in the preceding age, but a marked
change was effected in the plan of building,
which was of an exceptional magnitude A
progress was also made in execution and
finish. As regards the mode of decoration,
no sensible change was witnessed excepting some fresh departures in design. The
painting of columns, panels, e t c , also came
into vogue.
With the removal of the Emperor Gemmyo to the new Capital of Heijo (Castle of
Peace), a new feature was introduced into
the structure of court-houses, which were
built on a much larger scale than in the
previous epoch, with tiled roofs and bright
red pillars.
The ruling classes of the society were
engrossed in worshipping Buddha, spending large sums of money in graving images
IO

and building temples, with the result that
the glyptic art made long stiides, both in
design and execution Though the present
" Capital of Nara " retains but little of its
former prosperity, some temples and shrines
are still preserved from destruction to tell
the tales of by-gone days. These are Todai-ji, K5fuku-ji, Yakushi-ji, Shin-yakushi-ji,
Genko-ji, Saidai-ji, Tosho-dai-ji, and the
Shrine of Kasuga, where one may admire
the grandeur of architecture and the splendor of glyptic art It is worth one's while
to spend a day in Sh5zo-in, a treasure-house
belonging to Todai-ji, where objects of art
of exceptional merit, now more than twelve
hundred years old, are preserved. All these
treasures were, on the death of Shomu,
offered as thanksgiving to the illustrious
Vairochana in Nara, an Imperial Decree
being subsequently issued to have this collection kept in Shozo-in and handed down
to the succeeding generations
It is the
only treasure-house in Japan and perhaps
the only repository that contains the finest
specimens of Oriental Art. A study of
these relics will impress one with the fact
that they possessed refinement of taste, free
from vulgarity; that truth to nature was
in perfect harmony with imagination, and
ii

that there lurked sobriety and vigor of
expression. As to Buddhist images, the
greatest care was taken on the expression,
as will be seen from the statues of the
Shit en-no, or " The Four Celestial Kings,"
whose fearless air is gracefully tempered
with mercy, or the images of Mida* and
Kwannonf, from whose gentle brow shines
forth dignity and tenderness in their full
splendor. The other branches of art also
made great progress, wood-engraving and
metal-casting being encouraged by the construction of the huge Vairocha. Sculpture
and lacquering by dry process, both of
which were invented in the previous epoch,
had enjoyed prosperity during the era under
consideration.

V. The Period of the Emperor
Kwammu.
(From end of Eighth to Ninth Century )
Tranquility had reigned supreme for a
considerable period, and people began to devote themselves almost entirely to pleasure,
vieing with each other in extravagance and
* Sanscrit, Amitabha,
light and love.

an ideal god of boundless

t Sanscrit, Avalohitesvara,
12

the Goddess of Mercy.

luxury. In addition, the members of the
Imperial House and the Minister of State
zealously accepted Buddhism; no stone
was left unturned in the encouragement
and propagation of the creed
Immense
sums of money were contributed towards
the maintenance of temples; many new
edifices were erected — all expenses to
be defrayed out of taxes, which the Government levied upon the people heavily.
Things being in this condition, all social
abuses sprang up, the coffers of the State
depleted, and an ominous cloud was fast
spreading itself over the political horizon;
a change was inevitable when the most
illustrious Emperor Kwammu ascended the
throne. Gifted with unusual wisdom and
ability, the able monarch at once set himself to remodel the system of administration, and, by fostering progressive spirits
among his people, succeeded in destroying
the social evils. Soon afterwards he subjugated the rebels who had been disturbing
the peace of the eastern Japan, and, when
tranquility reigned all over his dominion,
he transferred the Capital to the Province
of Yamashiro, and gave it the name of
Hei-an-jo, or " T h e City of Peace. ,, This
is the modern Kyoto. With the transfer
13

of the Capital, things underwent a complete
change.
New ideas were introduced and hopes
awakened in the minds of the people The
City of Peace was built after the model of
the old Capital of Nara, with some modifications introduced from the Chinese Capital
Cho-an-kyo (Citadel of Perpetual Peace) of
the Tang Dynasty, and was on a scale of unprecedented magnitude and splendor. The
view of the Imperial Palace surrounded by
buildings of the various administrative departments was really picturesque and handsome The Hall of Taikyokuten was one
of the most gigantic architectural creations
of the period, and the present building of
the same name in Kyoto is but a shadow
of the former's grandeur.
The transfer of the Capital, as has already
been said, wrought complete change in the
manners and customs of the people. The
Chinese civilization, which had been admired and blindly followed for ovei two
centuries, lost its influence, for people began to realize that the art and other elements of civilization possessed by their
neighbors did not satisfy their needs and
their restless longing. In other words, the
people were stimulated by strong reactionH

ary spirit; an important change was taking
place in the history of Art and Literature.
The proof of this can be found in the existing works of art which are now kept in
Kyoto. In most cases they exhibit distinctly national characteristics. Sculpture
also underwent a sensible change, showing a
marked progress in form and expression,
which were treated with accuracy and
grace. The images of Mikkyo, or " Secret
Teaching," above all, exhibited wonderful
dignity. These remarkable progresses were
doubtless due not only to the fact of the
reaction but also many of these images
were graven by priests of accomplishment
and high rank, who also furnished sculptors
with excellent designs To cite an instance,
the images of Fudo * in Toji, in Kyoto,
were graven by the great priest Kobo
Daishi; while Ko-un carved the images in
Hase-dera, in the Province of Yamato.
There are many images besides which are
the productions of eminent priests, such as
Denkyo Daishi, Chisho Taishi, etc. From
these facts we can infer that in those days
the sculpturing of images constituted an
important business of great priests.
Buddhist architecture also made a pro* Sanscrit, Ac/iala, meaning immovable.
15

gress during the period under consideration. At the beginning of this century,
Kukai or Kobo Daishi, the founder of the
Shingon Sect, built Kong5bu-ji on the summit of Mt. Kongo, and Denkyd Daishi, the
founder of the Tendai Sect, erected Enriyaku-ji on the top of Mt. Hiei. Owing
to the curious custom of worshipping the
Shinto and Buddhist gods at the same time
and spot having come into vogue,* many
Shinto shrines were built in the precincts
of Buddhist temples, with the result that
the former began to resemble the latter in
structure and appearance.
The Shinto
Shrine of Kasuga, a Buddhist temple in all
appearance, is a good example of this. So
is the case with the Hirano Shrine and the
Gion-no Yashiro, in Kyoto, which were
built entirely after the model of a Buddhist
temple.
The architecture of Imperial Castles
and Court-houses attained a stage of
great development. The Imperial Palace,
Hassho-in, Horaku-in, and some other
* " T h e doctrines of metempsychoses and universal perfectibility taught by Buddhism naturally
made it tolerant of other creeds and willing to
afford hospitality to their gods in its own pantheon
. . . and the temple architecture was deeply affected
by Buddhist principles "—Chamberlain.
16

Government buildings were most spacious
and magnificent, with roofs of tiles, and
frequently surmounted with a sort of cresting and final.

VI. The Period of the Fujiwara
Shogunate.
(From Tenth to Eleventh Century )
During these three hundred years, the
natural charms of the country played an
important role in the history of the fine
art of Japan. Kyoto, where the Fujiwara
family enjoyed its supremacy as mainstays
of the Imperial House, was, as it now is,
the Paradise of Japan.
Throughout the four seasons of the year
there was always something in the scenery
of Kyoto that appealed strongly to one's
conception of beauty. It inspired the
cultured class of this great Metropolis to
give much of their time to Literature and
Fine Art. During the first part of this
epoch, or in the Engi Era, the organ of administration was in full swing, and the Imperial personages, as well as the Government officials, were occupied in the discharge of their functions, and had no time
to amuse themselves but by studying the
17

Chinese or Japanese literature. But as the
prosperity of the Fujiwara reached its
zenith, the nobles and men of affluence
spent much of their time and money in
building elegant mansions with extensive
gardens, on which all the artistic and decorative resources of the time were lavished.
The productions of this age, therefore, were
devoid of vigor and strength of expression,
but were so perfect in design and feeling
that one is fascinated with the ease and
delicacy of execution. As, moreover, the
fine art of this epoch was patronized entirely
by nobles, they were extremely refined.
The exquisite taste and chaste refinement
displayed by these productions may be compared to the pale moon timidly peeping
through a cloud or to the cherry blossoms
hidden in a mist. When, however, the
power of the Fujiwara house gradually
declined, the eastern Japan was trampled
under the feet of the bloodthirsty samurais,
and when the peaceful dreams of the nobles
in Kyoto were constantly disturbed by the
whoops of war, art was affected by the
animated spirits of the nation, and began
to assume a livelier aspect, producing something original in design. When, therefore,
the great clan of Fujiwara, which had so
18

long been conspicuous in the history of
the nation, had been overthrown by the
House of Taira, who now assumed the responsibility of administration, art no longer
boasted of the showy and laboured productions of the Fujiwara Epoch, but was characterized by refined simplicity with life and
vigor.
With regards to architecture, it followed
the course taken in the previous years, and
attained a still higher development. The
Tendai and Shingon Sects were most popular, and the Emperors and the Ministers of
State were devout believers in Buddha.
They built temples and even converted
their residences and palaces into places of
worship, the decorations adopted being of
the most splendid character. The zealous
devotion to Buddhism became still greater
and reached its climax at the time of Fujiwara-no-Michinaga, who was nick-named
" T h e Temple Generalissimo," because of
his zeal in constructing the Buddhist edifices He built a magnificent temple, called
Hosho-ji, in the northeastern quarter of the
City, which, however, was unfortunately
burned down 34 years after its completion.
The magnificence and grandeur of this
temple was really beyond description. In19

deed, with the exception of the huge Vairocha of Nara, this temple was the most
gigantic production of art in Japan. The
Hd-o-do (Phoenix Hall), belonging to the
temple of Byodo-in, the Konjiki-do of
Chuson-ji, and the Mida-dd of Hokai-ji are
all famous for magnificence of structure,
but these buildings are quite insignificant
when compared with the great temple of
Hosho-ji, for the former were erected with
the remnants of the materials used for the
construction of the latter. In addition to
the temples and other buildings above
enumerated, which can still be seen, there
are other architectural creations which are
also preserved in whole or in part, such as
the five-storied pagoda of Daigo-ji, the
temple of Sanzen-ji, at Ohara, the main
edifices of J5ruri-ji and Nenbutsu-ji, the
latter in Atago; also the three-storied pagoda of Kofuku-ji in Yamato.
As the Buddhist architecture progressed,
the art of graving images grew by its side.
Michinaga ordered the eminent sculptor
J5ch5, better known as Sadatomo, to grave
images for the temple of Hosho-ji and for
other places of worship of minor note. The
expressions and forms of these images were
exceptionally clever, representing the high20

est sentiments of glyptic art. Some of the
images graven by Jocho and other contemporaneous artists are still extant.
The ornamentations of the interior of the
temples were gorgeous. The altar was generally erected in the inner hall, or Nai-jin,
surrounded by railings, which, together with
the altar, were inlaid with precious stones
and metals. On the altar stood the image
of Buddha, over which hung a canopy, or
tengai, gorgeously painted and inlaid with
gold and gems. The ceiling of the inner
hall generally consisted of square panels,
while that of the outer hall or Gwai-jin was
embellished with pictures representing
flowers. The walls, pillars and other prominent parts were also painted in bright
colors.

VII. The Period of the Kamakura
Government.
(From Twelfth to Middle of Fourteenth
Century )
The House of Taira, springing up from
the military class, followed the extravagance
and luxury of their predecessors and began
to abuse the position they had attained.
Soon their dreams of pomp and power were
21

interrupted by the war-whoops of the Minamoto. A decisive battle was fought in
Yashima, and the last of the Mohicans of
the Taira clan were exterminated in another
battle that took place at Dannoura. The
House of Minamoto now rapidly rose into
power, assumed the reins of administration and built the seat of Government in
Kamakura, which soon became the political
centre of the Empire The affairs of the
State thus completely fell into the hands of
samurai, thereby causing a change in the
general state of things The luxury and
effeminacy of aristocracy gave place to the
vigor and simplicity of a military class, and
the Fine Art wras affected in such a manner as to produce a vigorous and animated
style As to execution and finish, they
made a marked progress, still retaining the
refined delicacy of taste
The glyptic art of Buddhist images also
progressed, steadfastly following the course
which had been in vogue during the administration of the Fujiwara family, the richness of design and execution being, however, superseded by vigor and boldness of
finish. Some detailed rules of graving were
established by Kwaikei and Unkei, the most
prominent sculptors of the age. These
22

rules have since, with the greatest reverence, been adhered to by the artists of the
succeeding generations. Even now these
rules are strictly observed, and not without
reason, for they are so perfect in every detail that there is scarcely room for criticism.
To sum up the progress made during the
epoch under consideration, we may say that
on one hand there was that school which,
following the course of the previous period,
was brought up to a higher standard of perfection, and, on the other hand, that new
school led by Kwaikei and Unkei was attracting no small attention. The characteristics of the former school consisted of
the exquisitely chaste design which had
been practiced by Jocho and his followers,
blended with extreme fineness of execution
and finish ; the halo, pedestal, canopy,
fringes, etc., being inlaid with gold and
jewels The latter school was characterized
by the vigor and force of execution, chisels
making deep cuts in the folds of the garments, and the expression and form, which
reveal a careful anatomical study of muscular development. This departure is attributable partly to the new state of things
and partly to the realistic inclination of the
artists In truth, the works of the former
23

school were in striking contrast to the vigor,
boldness and faithfulness of the latter school.
There were likewise two schools of
Buddhist architecture: One, following the
style adopted in the preceding age, flourished till the middle of the present epoch,
while the other practiced a new style of
architecture adopted by the Zen Sect, the
Contemplative Sect, which had been instituted by the influence of the Sung Dynasty
of China. The existing specimens of the
former school are the Seishi-do of Chi-on-in,
in Kyoto, San ju-san gen-do, and Kaijuzan-ji,
while those of the latter are Shariden of
Yenkwaku-ji in Kamakura.
During this epoch, nothing could exceed
the devotion shown by the Imperial personages towards Buddhism. Yoritomo and
the succeeding Generalissimos, moreover,
took recourse to this creed as a means of
administration, with the result that Buddhism spread throughout the country and
influenced fine art to a very large extent.
The mode of building Shint5 shrines seems
to have undergone but little change. The
Imperial Palaces were frequently destroyed
by fire, and, although rebuilt several times,
gradually diminished in size and splendor.
A great difficulty is generally experienced
24

in summing up the history of architecture
of this period. It may, however, be divided
into two parts. The one represents that
period which extended from the time of the
Fujiwara Administration, when elegance of
style was conspicuous, down to the period
prior to the dawn of the Ashikaga government, when refined simplicity of taste was
predominant. The other part comprises
the period when the new school influenced
by the doctrine of the Zen Sect flourished.
In the former, most of the styles prevalent
in the preceding epoch were maintained,
with the exception of the execution of detailed parts, which underwent a gradual
change until it harmonized with the execution of the Ashikaga period. As regards
that style of architecture which was adopted
by the temples of the Zen Sect, a Chinese
mode of joinery was introduced, and a simpler kind of ornamentation was applied to
the capitals of columns, rafters, etc. This
was decidedly a new feature in the annals
of the architecture and decorative art of
Japan.

25

VIII. The Period of the Ashikaga
Shogunate.
(From Fourteenth to Middle of Sixteenth
Century )
11

The Ashikaga line of Shoguns grasped the
power which had fallen from the Hojo's hands, and
distinguished themselves by their patronage of the
arts."—Chamberlain

When Ashikaga Yoshimitsu occupied the
Shogun's chair, the two Imperial Houses,
which had long been in hostility, were reunited, and peace once more reigned supreme, Yoshimitsu, posted at the zenith of
prosperity, addicted to ease and luxury, built
the great temples of To-ji and Sokoku-ji, the
spacious Lecture Hall of Yenryaku-ji, repaired the main building of Kofuku-ji, and
also rebuilt many edifices which had been
demolished by fire. He also built the
stately Mansion of Muromachi, lavishing
immense sums on its decorations A magnificent villa was built on Kitayama, containing a three-storied house whose walls,
pillars, doors, etc., were replenished with
gold
But peace did not last long, and
was soon followed by scenes of tumult and
violence. A natural calamity visited the
country in the shape of famine, which, how26

ever, did not bring Yoshimitsu to his senses.
His grandson Yoshimasa, the eighth Shogun of the Ashikaga family, was a still
greater devotee to luxury. He spent large
sums on buildings, indulged in the operatic
performance of " No " and in all other sorts
of diversions. He was also a distinguished
patron of Chanoyu, or tea ceremony, and
erected a picturesque tea-room in the
Temple of Ginkaku-ji, at Higashiyama.
This soon became a fashion, followed by
high officials and other people, who built
such rooms in their residences, exhibiting
refinement of taste in their structure *
This gave a powerful impetus to art
Meanwhile, the Shogun, whose office is
hereditary, paying no attention to the administration of his country, was entirely
lost in pleasure, which resulted in the dawn
of the darkest epoch, known in the history
of Japan as " T h e Insurrection of the Onin
Era." The whole Empire of sixty provinces
was thrown into confusion, and this state
of things lasted for eleven years, Kyoto
being always the centre of disquietude.
The Imperial Palace, the great temples of
* " The aristocratic enthusiasts, who, under the
general name of Chanoyu, cultivated all the arts
from which esthetic enjoyment can be derived "—
Chamberlain,
27

Tenryu-ji and Sokoku-ji, together with the
residences and villas, were made a prey to
the flames, while important historical documents, manuscripts, and many other treasures were burned or lost. The tranquil city
of Kyoto thus became a complete wilderness
Fortunately, however, architecture and
glyptic art, which attained a higher level of
development under prominent artists, did
not suffer much. This new school of architecture was characterized, as has already
been stated, by its unostentatious decorations ; no painting was used for the outside
of a building, neither was there any dazzling
agency in the internal structures. Among
the existing specimens of this class may be
mentioned Daitoku-ji and Myoshin-ji in
Kyoto, and Kencho-ji in Kamakura, these
three being of the highest merit. Next in
excellence come Senryu-ji, Kennin-ji, S5koku-ji, Tofuku-ji and Man-nin-ji in Kyoto,
which are called " The Five Temples of the
Zen Sect." Besides those above enumerated, there are Enkwaku-ji, Jufuku-ji, Jochiji and Jomyo-ji in Kamakura. Wood was
mostly used for graving images coated artistically with gold dust or gold foil. Painting
in rich pigments and color lacquer finished
28

in delicate line of gold were also in vogue.
The operatic performance of " N o " was also
in fashion among the nobles. " No " mask
carving was greatly encouraged, and naturally brought that branch of glyptic art into
a higher standard. Of course masks had
been used from time immemorial for popular dancing as well as for Shinto and Buddhist ceremonial dancing, but those specially
adopted for the " No " dancers were carved
for the first time during this period.

IX. The Period of the Toyotomi
Administration.
(From latter part of Sixteenth

Century.)

After the insurrection of Onin, a large
number of feudal lords, disregarding the
already enfeebled power and order of the
Central Government, had secluded themselves in their strongholds. Everywhere
struggles began — struggles for the extension of their respective domains and for
supremacy. The country was in a state
of perpetual warfare and bloodshed, when
it pleased the Gods to have a peasant's wife
give birth to a son, who afterwards became
Hideyoshi, one of the greatest heroes the
world has ever produced, This urchin,
29

driven several times from the houses to
which he had been apprenticed, left his
home in search of fortune, and found his
master in the person of Nobunaga, one of
the feudal lords. There our hero became
a stableman, and, gradually winning his
master's favor, rose into power.
After
defeating his chief enemies, he captured
Kyoto, was appointed Generalissimo and not
satisfied with the highest position, he invaded Korea and made her a vassal state of
Japan Things being in this condition, the
almost feminine delicacy of taste, which had
long characterized the previous epoch, was
superseded by a warlike spirit and patriotism. Hideyoshi, however, had a special liking for fine art, and under his administration
the art made considerable progress. Delicacy of taste, gorgeousness in finish, and
magnitude of work are the most prominent
qualities in the works of art during this
period. These characteristics were most
conspicuous in the Castles of Nijo and
Azuchi, as also in the Juraku and Momoyama Palaces, the latter of which was built
in Osaka. In addition to these masterpieces of art, there was built Hoko-ji.
The nobles also spent large sums on
stately mansions, ornamented with paint30

ings and carvings of all sorts. The Miyabori (carving specially adopted for Imperial
Palaces and Court-houses) and Ramma-bori
(carving of ventilating panels) made long
strides. Hidari Jingoro, one of the greatest sculptors, was born during the latter
part of this administration
His works can
still be seen in many of the temples throughout Japan.
The West Hongwan-ji temple in Kyoto
is a good specimen of the architecture of
this period, while the Daibutsu-den of Hoko-ji was the largest building erected during this period. Although the style of
architecture adopted during the previous
period was followed in the main, decorative
art was strongly influenced by the civilization of the Ming Dynasty. Pictures were
more freely used than in any previous age;
walls, panels and pillars being painted most
elaborately. So was the case with the Imperial Palace and Court-houses.
In striking contrast to this gorgeous
style there flourished a school of architecture for the construction of tea rooms, which
had become so popular during the Ashikaga
administration. This style of architecture
was extremely simple but refined. There
was something aristocratic in its taste, and
31

it began to form a school by itself. The
instances of this class of building can be
seen in the Detached Palace of Katsura,
Shugaku-in Palace and Hiun-kaku of Hongwan-ji.
The Toyotomi Shrine, dedicated to the
great Hideyoshi, is a fair specimen of the
Shinto architecture of the period. Generally speaking, the Shinto shrines had a
slight resemblance in appearance to Buddhist temples, and were ornamented with engravings of gorgeous colors. The Shrine
of Kitano was entirely built in the Buddhist
fashion

X. The Period of the Tokugawa
Administration.
{From Seventeenth to Nineteenth

Century.)

" Japan reached the acme of her ancient greatness
during the Tokugawa Dynasty."—Murray

The death of Hideyoshi hastened the destruction of his family, and the reins of
State were transferred into the hands of
Iyeyasu. In the eighth year of Keicho he
assumed the office of Generalissimo, and established the seat of his government in
Yedo, now called Tokyo. He devoted
himself to furthering the interests of his
country by improving the system of admin32

istration and especially encouraging education. In spite of his peaceful policies, the
effect of the long continued war was keenly
felt in every direction throughout the country. The objects of art, therefore, were
tinged with boldness of design and vigorousness of execution. In architecture it
had retained exquisite delicacy, and the
skill of execution was perfected even to the
minutest details
As time went on and the power of
the Tokugawa was firmly established, the
construction of the famous mausoleum of
Nikko (popularly known as the Temple of
Nikko) was undertaken, the Castle of Yedo
was built, and many Buddhist temples were
erected, contributing not a little to the progress of art. Nobles built their castles on
their estates and residences in Yedo.*
These residences were very imposing, with
large gates and high roofs, while the luxurious furnishing of the interior was almost
without comparison. Construction of tea
rooms made a progress, but it gave rise to
a number of different schools. In specimens of architecture of this period there
* " I n 1642 a legulation was made whereby the
Daimyos (nobles) were obliged to reside alternately
in Yedo and on their domains for certain fixed
time.,'— Chamberlain,
33

are the mausoleum of Nikko, duly mentioned, Manpukuji in Uji, the mausoleums
of Nikko, Zojoji in Shiba Park, Tokyo, and
the Hongwan-ji Temple of Kyoto. In no
period in the history of Japan has art enjoyed such a prosperity as it did during
these years. The most conspicuous names
associated with the glyptic art were Hidano
Takumi and the followers of the far famed
Hidari Jingoro, the former being noted for
building Imperial Court-houses.
In the third year of Meireki (1657),
Yedo was swept by a conflagration that
lasted for two days and nights, reducing
the once glorious city into a heap of ashes,
the Imperial Palace and the residences of
nobles and all. That was followed in the
sixteenth year Genroku (1703) by a severe
and appalling earthquake and another conflagration. But the city was not long to
lay in waste; an active and united reconstruction soon started with the result that
in the course of a few years the people began to forget the days of calamity. The
Tokugawa administration had attained the
zenith of prosperity in the Era of Meiwa,
some fifty years after the fire. The people,
high and low, rich and poor, were intoxicated with the tide of time, and gave
34

themselves up to jollity. Art flourished
under the Shogun's liberal patronage, and
ambitious aspirants for art had enjoyed
social distinction and honor. To them
wrork was no drudgery, time was of no
account. They worked because they enjoyed it and also because they held it as
sacred.
But marked changes came, good or bad.
The long, peaceful dream of the Tokugawa
administration was interrupted by the thundering cannon from the foreign vessels that
appeared on Japan's sacred water as if
from nowhere Decided resistances were
made against the inflow of the Western
civilization without any success. The tide
was too strong and the downfall of the
administration was completed when the
Mikado took the rightful and supreme
command of the country in his hands, in
1864. It was the most memorable day in
Japan's history. Soon the change was visible in every sphere of life Nearly forty
years have passed, and when we look over
the rapid and unparalleled progress that
modern Japan has accomplished we are
filled with the sense of surprise and gratitude. We fear, however, that the change
made in the line of Glyptic Art and Archi35

tecture is a sad one. It is gradually losing
the purity, simplicity and grandeur of old.
Will there be another Hidari Jingor5, or
Hidano Takumi ? Or when shall we have
other magnificent and inspiring structures
like that of the Nikko Mausoleum and
Hongwan-ji rise up ?

tf

A BRIEF D E S C R I P T I O N
OF

TEMPLES AND SHRINES.
Asakusa-dera, Bud, temple, Tokyo. More
properly called Senso-ji, one of the most
popular temples in Tokyo, founded by
Shokwai Jonin in the first year Taikwa
(645), during the reign of the Emperor
Kotoku. Tradition has it that the image
of Kwannon (Goddess of Mercy), only
I f inches in height, worshipped in the
temple, was fished up in the River
Miyako by Higuma-no-Hamanari and
Takenari in the reign of the Empress
Suiko (sixth century). The present
temple was renovated in the Keian Era
by Tokugawa Iyemitsu. The dragon
painted on the ceiling of the main hall
and the phoenix on that of the inner hall
are by Kano Eishin, while the picture in
the frame representing a horse was
painted by the famous artist Motonobu.
Among the other hanging pictures there
are many productions of excellent merit.
37

Asama-jinja, Shinto shrine See " Sen genjinja.,>
Akishino-dera, Bud. temple, Nara. Founded
in the eleventh year Hoki (780), in the
reign of the Emperor Konin; destroyed
by a fire in the first year Hoen (1135),
excepting an edifice which is now over
1120 years old, a rare specimen of ancient architecture. There are many
images by Unkei, Yasuami, and other
famous sculptors.
Byodd-in, Bud. temple. See "Ho-o-do."
Castle of Himeji. See " Himeji Castle "
Castle of Osaka. See " Osaka Castle.''
Castle of Nagoya. See " Nagoya Castle."
Castle of Okayama.
See "Okayama
Castle."
Castle of Yedo (Tokyo). See "Yedo
Castle "
Castle of Yodo. See " Yodo Castle."
Chikubu-shima, an island on the Lake Biwa,
in the Province of Omi. There is a
shrine in the island dedicated to the Goddess Benten. In the Kwannon-do there
is deposited an image of Senju-Kwannon
(Thousand-handed Kwannon) byGy5ki,
an eminent priest and sculptor
The
shrine was built with the materials used
for the construction of Momoyama palace.
33

There are many art treasures preserved
in the shrine.
Chion-in, Bud, temple, Kyoto. The head
temple of the Jodo S e c t ; founded by an
Imperial order by Enkd Daishi in the
first Kenryaku (1211). It was since destroyed and rebuilt by the Emperor Shijo (1234)
It was, however, soon burnt
down, excepting the main gate, library
and the Shisei-do. The present temple
was reconstructed in 1630 by the Shogun Iyemitsu. Many objects of art are
kept in the temple.
Chuson-ji, Bud. temple, Province of Rikuchu. The name was given by the Emperor Seiwa (859-880) ; founded by Jikaku Taishi; reconstructed by Fujiwarano-Kiyohira by an Imperial order in Eiho
Era (1081) The temple, with its massive
gates and edifices, was really magnificent,
but destroyed by a fire during the Kemmu Era (1334). The Konjiki-d5 and
Sacred Library are still preserved and
valued highly by the students of art.
Daigo-ji, Bud. temple. Founded by the
Emperor Daigo (898-930) ; destroyed
by fire and renovated by Hideyoshi (15361598).
Daitoku-ji, Bud. temple, Kyoto. A head
39

temple of the Zen Sect; founded in the
first Shochu (1324) by Daito Kokushi,
the benefactor being the Emperor Godaigo; destroyed by a fire during the
Onin insurrection, and since recon
structed. There is a tea room designed
and built by Kanamori Sowa and Kobori
Enshu.
Eihei-ji, Bud, temple\ Province of Echizen.
The head temple of the Zodo Sect;
founded by Ddgen Zenshi, and built during the Teio Era (1223)
Enryaku-ji, Bud, temple, Mt. Hiei, near
Kyoto. Founded by the abbott Dengyo
in the seventh Enryaku (788), the benefactor being the Emperor Kwammu ; destroyed by Oda Nobunaga in the second
Genki (1571), and rebuilt by Hideyoshi
Between 1596 and 1640 many new buildings were added, and the whole monastery presented a very imposing appearance. Most of the buildings are preserved in good order ; belongs to the
Tendai Sect.
Genko-ji, Bud temple, Nara. One of "The
Seven Great Temples of N a r a " ; belongs to the Shingon Sect ; built in the
second Yoro of the reign of the Empress
Gensho (718). Formerly the temple
4°

consisted of seven edifices, and was of
exceptional magnitude and splendor. The
main edifice was destroyed by an earthquake in the fourth Hoei (1707). The
temple was since demolished by fire many
times, and not a building was left. An
image of Juichi-men Kwannon (Elevenfaced Kwannon) and other idols are still
preserved.
Ginkaku-ji, Bud. temple•, Kyoto
Otherwise called Jikaku-ji; belongs to the Zen
Sect. This temple was formerly a villa
of Ashikaga Yoshimasa, the fourth Shogun of the Ashikaga Administration ;
built in the second Bunmyd (1470). On
his death the villa was dedicated to
Buddha and converted into a temple. The
Ginkaku (silver pavilion) is a two-storied
building, covered inside and out with real
silver foils, now worn out. There is a tea
room in the pavilion which is adorned
with paintings by Kano Motonobu and
Soami. The temple is a good specimen
showing the style of architecture adopted
during the period of the Ashikaga Government.
Gion-no-Yashiro, Shinto shrine. See " Yasakajinja.',
Gokoku-ji, Btid. temple, Kyoto Commonly
41

called To-ji; belongs to the Shingon
Sect; founded by Kobo Taishi. The
five-storied pagoda was rebuilt by lyemitsu, the third Shogun of the Tokugawa
family.
There are images which are
stated to have been sculptured by the
founder of the temple Besides, there
are a large number of art treasures
Hama-goten, Tokyo. Popularly called Ohama-goten, an Imperial Detached
Palace ; built by the fifth Sh5gun, Tsunayoshi of the House of Tokugawa, in
the first Kwan-ei (1704). Its artistic
structure, together with the beautiful
garden it possesses, places it among the
foremost of the Imperial villas.
Hase-dera, Bud, temple, Province of Yamato. Founded by a bonze, Tokudo, in the
fifth Tempyo (733); subsequently destroyed by a fire. The present temple is
of much later origin; abounds with art
treasures; belongs to the Shingon Sect.
Higashi Hongwan-ji, Bud, temple, Kyoto.
Built by Iyeyasu in 1602, destroyed by
fire in 1788, 1809, 1859, and 1864.
The present temple was built in the
Meiji Era. There are preserved many
objects of art.
Himeji Castle. Founded by one Akamatsu
42

Sadanori in the reign of the Emperor
Gomurakami (1339-1368); occupied by
Hideyoshi in the eighth Tensho (1580).
Hideyoshi afterwards gave the castle to
his distinguished general Ikeda Terumasa,
who enlarged it. During the Tokugawa
Administration the castle was occupied
by the Sakai family; at present used as
barracks. The castle is otherwise called
"Shirasagi-j6,M or the "Castle of the
White Heron."
Hoke-ji, Bud, temple, Nara. Founded by
the Consort of the Emperor Shomu
(724). Formerly it comprised a set of
" The Seven Sacred Buildings," and was
a rare specimen of Buddhist architecture;
subsequently destroyed excepting the
Kon-do (Lecture Hall), Yakushi-do,
belfry, and a few others, of which the
lecture hall is now used as the main edifice
Hoki-ji, Btid, temple. Founded by Shotoku
Taishi in the fourteenth year of the reign
of the Empress Suiko (606); subsequently destroyed by a fire, excepting a
three-storied pagoda. There are kept in
the temple many objects of art. The
temple belongs to the Hos5 Sect.
Hoko-ji, Bud, temple, Kyoto. Founded by
43

Hideyoshi in the sixth Tensh5 ( 1 5 7 8 ) ;
belongs to the Tendai Sect. The temple
was destroyed many times and as often
rebuilt. An image of Buddha of considerable height was once deposited in
the main edifice, but the present one is a
wooden image. The bell of this temple
was cast by Hideyori in the nineteenth
Keichd (1614), with an inscription by
Seikwan, a bonze of Todai-ji. It is well
known among the Japanese that Iyeyasu
had found something defamatory in the
inscription, which resulted in a serious
dispute between these two houses.
Hokoku-jinja, Shinto shrine> Kyoto. An
edifice dedicated to Hideyoshi; built in
the tenth Meiji (1876). The site of the
shrine is where the Daibutsuden built
by Hideyoshi once stood. The main
gate is the very one which Hideyoshi
erected for his Momoyama Palace.
Ho-o-d5, Bud temple, Uji in the Province of
Yamashiro. Otherwise called Byodo-in ;
formerly a villa belonging to a high
government official. After his death the
three Emperors Yozei, Uda, and Sujaku
resided here successively. At the time
of Fujiwara-no-Yorimichi, or in the sixth
Eisho (1051), it was converted into a
44

temple and has been preserved to the
present day. The walls, pillars, ceilings,
etc., are painted elaborately, while the
tengai (canopy), shumidan (altar), e t c ,
are inlaid with precious metals and stones.
An exact copy of this building was exhibited at the World's Columbian Exposition, Chicago, 1893.
Horai-ji, Bud. temple, Province of Mikawa.
Founded by the Empress Suiko; belongs
to the Tendai and Shingon Sect. There
are the main edifice, the founder's hall,
a three-storied tower, etc, of which the
founder's hall was superintended and
built by Hida-no-Takumi, an illustrious
builder. The tower was built by Minamoto-no-Yoritomo, the great general of
the Minamoto Clan.
H5rin-ji, Bud temple, Province of Yamato.
Founded by Prince Yamanose-no-Oye in
the thirty-first year of the reign of Suiko
(622); reduced to ashes in the Middle
Ages, excepting several images and a
three-storied pagoda, which are extant,
and a large number of pictures and other
objects of art. Belongs to the Shingon
Sect.
Horyu-ji, Bud. temple, Nara. This temple
belongs to the Hoso Sect, and was built
45

in the fifteenth year of the reign of the
Empress Suiko (607) by Shotoku Taishi,
the Constantine of Japanese Buddhism,
as Mr. Chamberlain aptly calls him. The
temple, with its complete set of " The
Seven Sacred Buildings/' still exists.
The main edifice, a three-storied pagoda,
drum tower, belfry, the middle gate and
the gallery are most noteworthy, exhibiting a refined type of the ancient architecture. The Tamamushi Shrine, covered
with the shell of an insect called Tamamushi, is the most wonderful production
of the period, and corresponds in form
and execution to those of the main edifice and the other buildings above enumerated. The shrine is ornamented with
metal works of real artistic merit, while
the arabesques used are identical to those
which were in vogue in the eastern part
of Rome and Arabia. In the figures
ornamenting the image kept in the
shrine we find Grecian honeysuckles — a
strange coincidence of the Eastern and
Western arts. The wall pictures of the
main edifice representing the Buddhist
Paradise (Jodo) are unique specimens of
pictorial art. The images graven by Shotoku Taishi, Torii Busshi, Yamaguchi-no46

Atae-Oguchi, Gyoki, e t c , together with
those by Unkei and Yasuami, are still
preserved.
Inari-jinja, Shinto shrine, Fushimi, near
Kyoto. Founded in the fourteenth K5nin (823), the main shrine being since
reconstructed by Fujiwara-no-Tokihira ;
entirely rebuilt by Ashikaga Yoshinori in
the tenth Eikyo (1438).
Itsukushima-jinja, Shinto shrine> Hiroshima.
One of the Sankei, or "Three Most Beautiful Sceneries " in Japan, the other two
being Matsushima near Sendai, and Hashidate, in Province of Tamgo Founded
in the twenty-second year of the reign of
the Empress Suiko (614); many buildings were added by Taira-no-Kiyomori,
head of the Taira family. The shrine
was frequently rebuilt without any alteration as to the plan of building. The
shrine itself is partly built out over the
sea on piles, and appears at high tide
to float upon the sea. There is a long
wooden jetty, at the farthest end of
which stands a big wooden lantern. The
sanctuary has a gallery some 900 feet
long, hung with lanterns and hanging
panels, some by famous artists
There
is a beautiful stone portal at a distance
47

of about 200 yards away from the main
edifice, and stands in the sea. On the
island there are several buildings, among
which may be mentioned the Senjojiki, a
spacious room, and a five-storied pagoda
built in the fifteenth Oei (1408).
Ishiyama-dera, Bud. temple, Province of
Omi. One of the eight scenes of Omi,
commanding a good view of the Lake
Biwa; founded by Ryoban Soj5 in the
Tempyo Sh6h5 Era (about 750) ; belongs to the Shingon Sect. Destroyed
by a fire in the second Shoreki (1078);
renovated by Yoritomo and subsequently
by Hideyori's mother There is a room
called Genji-no-ma, where the eminent
poetess Murasakishikibu compiled the
famous work "Genji-monogatari, ,, or the
Story of the Gen Family.
Jikaku-ji, Bud. temple. See "Ginkaku-ji."
Juraku Palace, Kyoto
One of the residences of Hideyoshi; built in the thirteenth Tensho (1585). The palace was
laid on a magnificent scale; the doors,
panels, etc., were decorated with pictures;
ceilings painted in gorgeous colors; rammas elaborately carved. Destroyed by a
fire during the administration of Hidetsugu, adopted son of Hideyoshi. A street
48

of Kyoto now bears the name of Juraku,
indicating the old site of the palace.
Jizo-in, Bud templey Nara. Popularly called
"Obitoke Jizo"; founded by the Empress
Somedono in the Ten-an Era ; belongs to
the Shingon Sect. In the main edifice
is deposited an image of Koyasu Jizo,
flanked by the images of eleven-faced
and one thousand-handed Kwannon.
Joruri-ji, Bud. temple\ Kyoto. Founded by
Tada-no-Mitsunaka during the Tengen
Era (about 980) ; belongs to the Hoso
and Shingon Sects. The main edifice
contains an image of Yakushi by Gyoki.
There is also an image by the famous
sculptor Jdcho.
Kasuga-jinja, Shinto shrine, Nara. Belongs
to the first-class Government shrines.
Its main edifice, gates, galleries and the
altar stand in a perfect condition. The
plan bears close resemblance to that of a
Buddhist temple; is a capital specimen
of Shinto architecture during the period
of Kwammu (seventh century). In the
grounds there stand innumerable stone
lanterns dedicated by the Shogun and
nobles of each generation.
Katsura Detached Palace, Kyoto. This
picturesque palace now belongs to the
49

Imperial Household Department; stands
on the River Katsura in Kyoto. Designed and built by Sen-no-Rikyu, an expert of tea ceremony, superintended by
Hideyoshi, who presented it to Prince
Katsura Tomohito. It was occupied by
the House of Katsura before the Restoration.
Kench5-ji, Bud. temple, Kamakura, near
Yokohama
Founded by the Chinese
priest, Taikaku Zenshi, the benefactor
being Hojo Tokiyori. This is the head
temple of the Rinzai Sect, and is a good
specimen of the architecture adopted by
the Zen Sect. The group of birds
painted on the ceiling is by Kan5 Hogan, while the Buddhist angel carved on
the ramma is by Hidari Jingoro.
Kennin-ji, Bud temple, Kyoto
Founded
by the priest Eisei in the second Kennin
(1202), the benefactor being the Emperor Tsuchimikado. Belongs to the
Zen Sect,
Ki-nen-den (Commemoration Hall), Kyoto.
The twenty-eighth year of Meiji (1895)
fell on the one thousand one hundredth
year since the transfer of the Capital of
Nara to Kyoto, and, in commemoration
of the event, a copy of the ancient Tai50

kyokuden was built. Though much
smaller in scale and less magnificent than
the original, the present hall, with its
massive chambers and gates, is sufficient
to remind one of the splendor of the old
Taikyokuden.
Kinkaku-ji, Bud. temple, Kyoto. Otherwise called Rokuon-ji; formerly a villa
of Ashikaga Yoshimitsu; built in the
fourth Oei (1397).
The Kinkaku
(Golden Pavilion) is a picturesque threestoried building, covered inside and out
with real gold foils, which, though battered by time, can still be seen; a good
specimen of the architecture of the Ashikaga period.
Kitano-jinja, Shinto shtine, Kyoto. This
shrine is dedicated to the memory of
Sugawara-no-Michizane (about 850). It
was founded some nine hundred years
ago, and was frequently destroyed. The
present buildings are a fine specimen of
Shinto architecture.
Kofuku-ji, Bud. temple, Nara. Built by
Fujiwara-no-Fubito and others in the
second Wado of the reign of Empress
Gemmyd (710). In those days it consisted of a complete set of " The Seven
Sacred Buildings," and was of excep5i

tional magnitude and splendor.
All
these buildings were subsequently destroyed, and the present Nan-yen-do was
renovated in the first Kwampo (1741)
and the three-storied pagoda in the second Kochi (1143) There are preserved
in the temple images by Joch5, Unkei,
Koben, Yasuami and some Chinese artists.
Kotohira-jinja, Shinto shrine, Province of
Sanuki. Founded by Kobo Daishi early
in the ninth century; taken possession
of by the Shintoists about 1872, when
Buddhist buildings were destroyed and
replaced by Shinto edifices. Commonly
called Kompira-jinja.
Kogawa-dera, Bud. temple. Founded in the
first Hoki (770) in the reign of Emperor
Konin ; belongs to theTendai Sect. Destroyed by Hideyoshi and renovated some
time after the Era of Keicho (1596).
Kongobu-ji, Bud. temple, Mt. Koya. More
commonly known as Koya-san, conspicuous for its founder, Kobo Daishi, eminent
priest and inventor of the hirakana syllableary; founded in the seventh Konin
(816). The distance between the main
gate and the Tomb of Kob5 is about
three miles, along which stand thousands
52

of tombstones and monuments raised to
the memory of the dead believers. There
are about sixty temples. The main edifice, or Hond5, is a magnificent building,
and there stands a pagoda near the edifice. There is also a statue of Kobo,
which is stated to have been graven by
himself. The monastery was frequently
visited by fire, and gradually diminished
in size and splendor. There is an enclosure near the Tomb of Kobo, containing a number of Imperial sepulchres
Kuon-ji, Bud. temple, Province of Kai.
Otherwise called Minobu-san, famous for
its founder, Nichiren Shonin, who resided
here for the most part of his life ; destroyed by a fire and rebuilt quite recently. The temple is a good specimen
of the modern Buddhist architecture.
Koryu-ji, Bud. temple, Kyoto. Also called
Uzumasa Koryu-ji; founded by Sh5tokuTaishi in the twelfth year of the Empress
Suiko (604) ; belongs to the Shingon
Sect; renovated in the thirteenth Enryaku (794) by a bonze called Dosho. The
image of Yakushi deposited in the main
edifice is said to resemble those of the
ancient Persian and Syrian kings, and
that it is identical in form and expres53

sion to the wall picture representing an
image in the sanctuary of Horyu-ji.
There are many objects of interest in the
temple.
Kiyomizu-dera, Bud, temple, Kyoto. Built
in the second Enryaku (783) ; belongs
to the Hoso and Shingon Sects. The
roof is covered with the bark of cedar,
while the shrine itself was built after the
model of Shishin-den Palace. Among
the panels hung on the wall there are
many objects of art of importance
Kuno-jinja, Shinto shrine, near Shizuoka.
This was the mausoleum of Iyeyasu before its removal to Nikko. As all available means were resorted to to adorn the
last resting place of the illustrious man,
the shrine presents a very imposing appearance.
Kwan-ei-ji, Bud, temple, Tokyo. Founded
by Jigen Taishi by order of Tokugawa
Iyemitsu in the Era of Kwanei (1624).
Formerly there stood thirty-six temples,
most of which were razed to the ground
on the occasion of the battles fought there
at the beginning of the Meiji Era
The
temple ground and the neighboring places
have since been converted into a park.
Kyoto Palace, Kyoto. Built in the thir54

teenth Enryaku (794) when the Emperor
Kwammu removed his capital there from
Nara. It was built, with some modifications, from the capital of the Sung Dynasty in China. The palace was surrounded by massive walls, with gates;
the roofs were covered with tiles, and
the pillars and columns painted gorgeously ; frequently destroyed by fire and
as many times renovated, but gradually
diminishing in size and splendor. The
present buildings, built in the Ansei Era,
cover an area of 26 acres Before the
transfer of the capital to Tokyo, the
palace was surrounded by the residences
and villas of Imperial princes, nobles and
government officials of high rank. The
most noteworthy buildings are the Seiry5-den, Shishin-den and Tsune-no-goten.
Mampuku-ji, Bud. temple. The head temple of the Obaku-ha, belonging to the
Zen Sect; founded by a Chinese priest,
Ingen, a native of Fukien Province;
came over to Japan in the third Sho-o
(1654) ; erected in the third Kwanbun
(1663). The style of architecture was
adopted from the Ming Dynasty of
China.
Minobu-san, Bud. temple. See "Kuon-ji."
55

Momoyama Palace, Fushimi, near Kyoto.
Built by Hideyoshi in the third Bunroku
(1594). After his death the palace was
long occupied by Iyeyasu, who having in
the fifteenth Keicho left for Yedo, it was
garrisoned by Tori-i Mototada. It was
subsequently attacked and destroyed by
Mitsunari. The remains of the palace
testify to its former splendor
Mukahara-dera, Bud, temple. When Buddhism was first introduced into Japan from
China by way of Korea in the thirteenth
year of the reign of the Emperor
Kimmei, Soga-no-Iname, then Minister
President, converted his residence into
a place of worship, and gave it the
name of Mukahara-dera. From what is
recorded in history we can glean that the
temple was in the Japanese style then in
vogue. A pagoda erected by Soga-noUmako, the Prime Minister in the reign
of the Emperor Bitatsu (585), is likely
to be the first specimen of the pure
Buddhist building of Japan. This pagoda was built at a place called Ono-nooka. The above two buildings were destroyed long ago
Myoshin-ji, Btid temple, Kyoto. A head
temple of the Zen Sect; formerly a de56

tached palace of the ex-Emperor Hanazono (1334), who ordered the priest
Kwanzan to become its founder. The
gates, edifices, belfry, and Hodo are still
in existence. There is a room in the
temple formerly occupied by Hogan
Motonobu, a well known painter. Works
by the same artist and many others are
kept in the temple.
Nanzen-ji, Bud, temple, Kyoto. Formerly
a detached palace of the Ho-o Kameyama;
converted into a temple in the Sho-5 Era
(1290) when some additional buildings
were erected. All these buildings were,
however, destroyed by a fire during the
Onin insurrection. The present temple
was since reconstructed; the main edifice
was again destroyed by a fire in the
Meiji Era.
Nijo Detached Palace, Kyoto. Built by
Oda Nobunaga in the twelfth Eiroku
(1569); destroyed by Akechi Mitsuhide
in the tenth Tensho (1582), and rebuilt
by Iyeyasu in the seventh Keicho (1602).
The palace is now under the jurisdiction
of the Imperial Household Department.
Nikko Mauselea, Province of Shimozuke.
" Never say Kekko (magnificent) unless
you have seen Nikko ! " is an old saying.
57

Nikko is noted not only for its buildings,
but also for the beautiful sceneries it
possesses. There are mountains, lakes,
cascades, rapids, trees and forests, all of
which are dear to the lovers of scenic
charms. In the seventeenth century the
mausoleum of Iyeyasu, founder of the
Tokugawa family, was removed here from
Kunosan, and the whole Empire poured
out her wealth to beautify the last restingplace of this illustrious personage. Afterwards another mausoleum was added for
Iyemitsu, grandson of Iyeyasu.
T o describe Nikko from the artistic point
of view, even in its briefest outline, is
practically beyond the limits of this
pamphlet; so we proceed to give a short
sketch of the mausoleum of Iyeyasu.
The first gate, which stands on the top
of a flight of steps, is granite, about
twenty-seven feet high, the diameter of
the columns being a little less than four
inches. The tablet hung on the gate
bears an inscription of the Emperor
Gomizuno. In a court-yard just beyond
the gateway stand three handsome storehouses, with roofs of bronze tiles. One
of these store-houses is conspicuous for a
pair of elephants curiously carved in re58

lief in its gable, with flowers and grasses
in harmonious colors. Close by is a
stable where a live pony dedicated to
Iyeyasu is kept, the panels just under
the roof being decorated with peony,
pine, bamboo, etc., carved and treated
in colors. The head of each nail visible
from outside is gilded and mounted
with the crest of the Tokugawa family.
Farther on there stands a granite water
cistern of an extraordinary size. Another
flight of stone steps lead to another court,
in front of which there is a stone fence
over which a pair of lions are in the act
of leaping. It should be noted that this
fence, with its lions, is carved out of one
large rock of granite — a wonderful specimen of stone sculpturing. There on the
right are a belfry, surrounded by a stone
railing; a bronze candelabrum presented
by the king of Loochoo, and a large bell
given by the king of Korea; while on
the left stands a bronze lantern from
Korea; a candelabrum from Holland,
and a drum-tower. In those days Korea
and Loochoo were considered the vassal
states of Japan. In the court-yards there
are more than one hundred stone lanterns presented by the feudal lords. On
59

a platform on the top of the stone steps is
the second gate, called Yomeimon, popularly known as " ^g^ashi-no-gom^on/'
or " The Gate where one stands admiring till the sun goes down." The roof
is covered with bronze tiles, the columns
and pillars being ornamented with the
carved figures of children at play, dragons, flowers and grasses. From the four
corners of the roof hang four small
golden bells. The dragon painted on
the ceiling is by Kano Motonobu. The
panels that beautify the kairo or the
winding hall on either side of the gate
are decorated with birds and flowers,
elaborately carved and finished in rich
pigments. The gate, in short, is covered
from top to bottom in all sorts of design
and represents a perfect type of the
so-called Rokoko architecture. Passing
through the Yomei gate we come to the
third, called Karaki-gomon, or Chinese
wood gate, which, as the name indicates, is made of woods brought from
China. The gables are done in Chinese
style, the outer pillars being inlaid with
dragons, plum trees and bamboos, and
the inner pillars with dragons and lions
There are carved figures under the roof,
60

representing the Chinese sages and the
Seven Gods of Happiness. The ceiling is
decorated with a carved figure of Buddhist angel, the doors with arabesques of
peony, chrysanthemum, plum tree, etc.
Passing through the gate we are led to
the spacious Hai-den, or the Hall of
Worship, with an ante-chamber on each
end Just under the roof there are some
phoenixes carved in relief and painted,
while on the panels hang thirty-six tablets containing poems of the thirty-six
poet laureates, the poems having been
written by Emperor Gomizuno and the
pictures by Tosa Sh5kwan. The ceilings
of the ante-chambers are both painted
with the figure of a Buddhist angel.
Between the Hall of Worship and the
main shrine is a chamber paved with
stone, supported by four pillars, painted
bright red, each of which is said to have
cost 80,000 ryo (about $10,000). The
main shrine or Hon-den is a chastely
decorated chamber, the beams, panels,
etc, being carved and painted in harmonious colors. In the eastern side of
the gallery is a door, over which sleeps
a wooden cat, one of the best works of
Hidari Jingoro. A flight of stone steps
61

lead to another Hall of Worship, behind
which stands the tomb of Iyeyasu, in
the shape of a pagoda. The tomb is a
bronze casting.
Nagoya Castle, Nagoya. Built in the sixteenth Keich5 (1611). The five-storied
tower was erected by Kato Kiyomasa,
one of the chief generals of Hideyoshi
Two gold dolphins, the landmark of the
city, are surmounted on the top of the
tower. Before the Restoration, the Castle
was occupied by the Tokugawa family.
Nammyo-ji, Bud% temple', Nara. Founded
in the second Hoki (771); belongs to
the Shingon Sect. The buildings, more
than one thousand years old, are preserved in good condition. Many images
by famous artists are in the temple.
Nishi-Hongwan-ji, Bud. temple, Kyoto. The
head temple of the Shin Sect; founded
by the abbot Shinran Shonin; destroyed
by a fire in 1617 and the main edifice
was reconstructed the year following.
An image of Buddha by Kasuga Busshi
is enshrined in Ami-da-do. The Karawon (Chinese gate) was removed here
from Juraku Palace, while the Hiunkwaku Pavilion was transferred from
Momoyama Palace.
62

Okadera, Bttd. temple. Province of Yamato.
Otherwise called Ryugai-ji, built in the
second year of the reign of the Emperor
Tenchi (663). The Hondo which now
exists was probably built at that time.
The images of Ni-o are stated to have
been graven by Unkei
Okayama Castle, Okayama. Founded in
the Tembun Era (2192). Several generations afterwards the Castle was owned
by the House of Ikeda until the Restoration, when it was handed over to the
Mikado. The castle tower still retains
much of its former splendor.
Osaka Castle, Osaka. Built in the eleventh
Tensho (1583) by Hideyoshi, and was
one of the grandest buildings of the
time. It was several times destroyed
and as often rebuilt. The present castle,
which is occupied by the fourth division
of the army, is but a shadow of its
former splendor.
Raiko-ji, Bud. temple> Sakurai, Yamato
Province. Founded by Shaku Ryosho,
in the twelfth Tensho (1584); belongs
to the Yuzu Sect. There are many old
images preserved in the temple.
Rokuon-ji, Bud. temple. See "Kinkwakuji.63

Ryugai-ji, Bud. temple. See " Okadera."
Saidai-ji, Bud. temple, Nara. One of " The
Seven Great Temples of Nara," founded
by the Empress Koken in the first Tempyo Shoho (749). The work took seventeen years to complete. Formerly it
consisted of forty-nine edifices and pagodas and over three hundred temples; frequently were made a prey to the flames,
and the images are the only relics now in
preservation
The temple was since rebuilt, but is far less imposing.
Sanju-sangen-dd, Kyoto. An edifice containing several hundreds of Buddhist
images; belongs to the monastery of
Enryaku-ji, Tendai Sect. In the first
Chosho (1132) the ex-Emperor Gotoba
erected an edifice and deposited there
one thousand images, an example followed in the first Chokwan (1163) by
the ex-Emperor Goshirakawa, who built
another edifice containing the same number of images. These two buildings,
standing side by side, were destroyed by
a fire in the second Hoji (1248). Eighteen years afterwards, or in the third
Bun-ei (1230), the present edifice was
built with a little less than one thousand
images. The temple measures sixty-six
64

ken (500 feet) from North to South with
a pillar in every second ken; hence the
name Sanju-sangen-d5 (the Hall of
Thirty-three Ken ). The principal image
of a thousand-handed Kwannon was graven by Kokei. There are also preserved
works by Unkei, Ryokei and Ko-ei.
Sanzen-in, Bud. temple, Kyoto. Before the
Restoration, the rectorship was held by
a Priest Prince ; founded by Eshin Sozu,
by order of the Emperor Kwazan in the
third Eikwan (985). The style of architecture is somewhat different. There are
some images 1200 years old.
Senshu-ji, Bud. temple, Province of Ise.
The head temple of the Takata Sect;
founded by Shinran Jonin in the first
Karoku; formerly erected in Shimotsuke
Province; transferred here in the sixth
Kwansho (1465.)
Sengen-jinja, Shinto shrine, city of Shizuoka. The shrine is a magnificent threestoried building. Built by Tategawa
Washiro
Shi-tenno-ji, Bud. temple, Osaka. The head
temple of the Tendai Sect, founded and
built by Shotoku Taishi in the second
year of the reign of Emperor Yomei,
thirteen hundred years ago. Probably
65

the first Buddhist temple built in Japan,
the second being Horyu-ji, in Yamato.
Has frequently been ruined. The present buildings were renovated in the
fourth Kwanbun (1664) by Shogun Iyetsuna. Though battered by time there
are some noteworthy objects of art, such
as the five-storied pagoda, the main edifice, the lecture hall and the gates, one
of which is decorated with the figure of
a cat carved by Hidari Jingoro.
Shin-yakushi-ji, Bud. temple. Province of
Yamato. Still extant; built in the seventh Tempyo (735) in the reign of
Emperor Shomu (745 A D ) . The main
edifice, with its image graven by the illustrious priest Gyoki, is noteworthy.
Belongs to the Shingon Sect.
Shogo-in, Bud. temple, Province of Yamato.
Founded by Chisho Daishi Prior to
the Restoration of the Imperial power
(1868), an Imperial Prince was always
appointed rector. Belongs to the Tendai Sect.
Shoren-in, Bud
temple, Kyoto.
Also
called Awatano-miya, founded by Denkyo Daishi, an Imperial Prince being
always appointed rector. Destroyed by
fire in the twenty-sixth Meiji (1893), the
66

present temple being since rebuilt. Belongs to the Tendai Sect.
Shugwaku-in Detached Palace, Kyoto
Otherwise known as Ochaya; built by
Emperor Gomizuno (1611-80), and was
made a pleasure resort of the succeeding
rulers. Made a Detached Palace of the
present Emperor some time after the
Restoration of 1867.
Sumiyoshi-jinja, Shinto shrine> near Osaka.
A Government shrine ; supposed to have
been founded in the eleventh year of
Empress Jingo (200 A. D ) The shrine
consists of four principal edifices enclosed
by a fence. The structuie is refined and
chaste.
Taema-dera, Bud temple. Province of Yamato. This temple was first built in the
twentieth year of the reign of Empress
Suiko (613), in the Province of Kawachi,
by the instruction of Shotoku Taishi, but
was transferred to the present site in the
second Haku-ho of the reign of Emperor
Temmu (673). This monastery once
consisted of more than sixty pagodas and
edifices and thirty-six temples, Conflagrations, however, destroyed all these
buildings during the Tembun Era (153254) excepting a few pagodas and edifices
67

The existing temple was built in the thirteenth Tenshd (1585), and contains some
images by Shotoku Taishi, Eshinsozu,
etc The temple belongs to the Shingon
and Jodo Sects
Tenryu-ji, Bud. temple, Kyoto. The head
temple of the Zen Sect, and was founded
by Muso Kokushi; built by Ashikaga
Takauji in the first Teiwa (1345) in
memory of Emperor Go-daigo It was
since destroyed by fire, and there remains nothing worthy of notice
Todai-ji, Bud temple, Nara. The head
temple of the Kegon Sect, and is one of
" The Seven Great Temples of Nara "
Built by the priest Ryoben by an Imperial order in the Era of Tempyo (about
740), The buildings were several times
destroyed by fire excepting the Nan-daimon (Great Southern Gate), which was
spared from destruction. This gate was
built in the reign of Shomu. Inside the
gate there stand the " Ni-5 " (Two Celestial Kings)
The one standing to the
left is by Tankei, and the other by Unkei The names of the two sculptors
were immortalized by these superb works
The huge image of Roshanabutsu (Vairocha) in the Kondo measures as follows :
68

height, fifty-five feet; length of face,
eighteen feet; length of eye, four feet;
1 ength of middle finger, five feet; diameter of halo, one hundred and twenty feet.
The materials used are: Copper, about
four hundred tons; silver, about sixty
tons; gold, 10,446 Ryo, about $12,115,000 ; quick silver, 58,620 Ryo, about
$300,000. The work was commenced in
the fifteenth Tempyd, and was crowned
with success in the fourth Tempy5 Shoho
(752). The house covering the image was
often destroyed by conflagration, and the
present one was built between 1701 and
1708. The Nigwatsu-do was built in the
fourth Tempyo Shoho (752), destroyed
by fire during the Kwanbun Era, and
the present building was erected by Tokugawa Iyetsuna in 1669. There are many
famous images and other works of art.
Tofuku-ji, Bud. temple', Kyoto. The head
temple of Zen Sect; built in the seventh
Kencho (1255) ; destroyed by fire during the Meiji Era, excepting the main
gate, the Tsuten bridge and a pagoda
dedicated to the founder of the temple
To-ji, Bud. temple. See " Gokoku-ji "
Toshodai-ji, Bud. temple', Nara One of
" T h e Seven Great Temples of Nara/'
69

founded by Kwanshin, in the reign of
the Emperor Junnin (759). TheKondo
is one of the oldest structures in Japan,
representing the style of architecture
adopted in the period of Shdmu. The
other buildings were since rebuilt. There
are images and other objects of art produced during the Era of Tempyo
Toyokawa Inari, Province of Mikawa. Belongs to the Myogen-ji temple of the Zen
Sect.
Tsurugaoka Hachiman-gu, Shinto shrine,
Kamakura. Founded in the sixth Kohei
(1063) ; renovated by Yoritomo in the
fourth Chisho (1180) ; there are many
objects of art preserved in the shrine
Yakushi-ji. The Emperor Kammu's consort was of extremely delicate health, and
the Emperor dedicated this temple to
Buddha, with the petition that his wife be
soon restored to health Built in the ninth
Haku-5 (680). Subsequently, the Empress Gensho gave an order to the priest
Gyoki to transfer the temple to the present site, which took place in the second
Yor5 (718)
At the time of the transfer the temple was noted for its magnificent appearance, but was since repeatedly
destroyed by fire, excepting the Eastern
70

pagoda and the T5indo. More than ten
edifices were since rebuilt. The bronze
(with an alloy of gold) statues of Yakushi, Nikko and Gekko are of exceptional
merit. According to Mr. Fenolossa, a
good authority on Japanese art, they are
the best productions of the kind in the
world. A wooden image by Gyoki and
other old images and paintings are also
preserved. This temple is one of " The
Seven Great Temples of Nara."
Yasaka-jinja, Shinto shrine, Kyoto. Better
known as " Gion-no-yashiro," built in the
Tenkei Era in the reign of the Emperor
Suzaku (940). The plan of the building is almost the same as that of a
Buddhist temple. The origin of this
shrine dates as far back as the eighteenth
Teikwan (876), when the Capital was
visited by a pestilence. A man named
Hiyoshimaru, leading a large crowd of
men and women, drove the God of Pestilence to a place called Shinsenyen, when
it was enshrined. This ceremony has
since been followed every year on the
seventeenth of June with great festivity,
and even now one can see the procession
of monstrous cars decorated with large
life-like papier-mache heroes and real
7i

pine trees drawn along the streets of
Kyoto.
Yedo Castle, Tokyo Founded by one Ota
Dokwan in the Kosei Era ; entirely rebuilt and enlarged by Iyeyasu in the
eighteenth Tensho (1590). The castle
was the residence of the Tokugawa Government nearly three hundred years.
Once there stood a stately pavilion inside
the castle, but was destroyed by fire long
ago, while the castle itself was reduced
to ashes in the third Bunkyu (1863).
In the first Meiji, when the Capital was
transferred to Tokyo, this was made the
Imperial Palace.
Yodo Castle, Yamashiro. Built by Iwanari
Sukemichi, in the Era of Tenshd (about
1580) ; subsequently occupied by Hideyoshi, whose wife, Yodo, resided here ;
hence the name of Yodo Castle In the
Genna Era the Castle of Fushimi was removed here by the Tokugawa. Before
the Restoration the Castle was occupied
by the House of Inaba, but is now almost
ruined.
Zojo-ji, Bud, temple', Shiba, Tokyo. Stands
at the foot of Maruyama Hill, Shiba
Park; a head temple of the Jodo Sect.
The sole benefactors were the House of
72

Tokugawa, so that the remains of the
succeeding Shoguns were interred alternately at this temple and the Kwan-ei-ji
in Uyeno. The splendor of the buildings
can only be compared with the Nikko
creations. There are mausolea of the
second, sixth and eighth Shoguns. The
main edifice was reconstructed in the
twenty-third Meiji (1890). The interior
of the mausolea is lavished with silver
and gold, painted gorgeously, with carvings of all sorts.
Zenko-ji, Bud. temple. Province of Shinano.
One of the largest temples of the Tendai
Sect. The main edifice contains an image
of Amida (Amit&bha)—"immeasurable
light." Tradition goes that this image
at the time of the great persecution, now
more than one thousand years ago, was
thrown into a river in Naniwa. For
days it laid in the river bottom until
one day a pious soul, Zenko, directed by
the Amida himself, lifted and brought
back the sacred image to his native
village in Shinano, where it rests in peace
and is worshipped.

73

A BRIEF BIOGRAPHY
OF EMINENT

ARCHITECTS AND SCULPTORS.
Benkichi, a native of Kaga, flourished between 1789 and 1800; Buddhist sculptor to the Zuiryu-ji temple of the Lord
Mayeda family. He was noted for rarama
(ventilating panel) carving. His style
was not too elaborate nor too simple, but
was refined in taste.
Chikahisa, a Buddhist sculptor, flourished
in the Era of O-ei (1394-1427).
Choemon. See, Hori Choemon.
Doan. See, Nishi Ddan.
Etchu Bansho, the name of a school of
architects, also applied to the individual
architects belonging to the school. The
founder of the school is Tamura Rihachi,
a special carver to the Higashi Hongwan-ji. His descendants used to come
up to Kyoto whenever their skill was
required. They lived in the Province of
Etchu.
Gensai. See, Komatsu Gensai.
Genshun (about 1630) was a carver in
74

Osaka. The plan of most of the temples
in Osaka was designed by him. He also
superintended carpenters on such occasions.
Gorosaku. See, Yoshishige Gorosaku.
Gozan. See, Matsuda Gozan.
Gyoki, an eminent priest who lived in the
reign of the Emperor Sh5mu (about
740). He was also noted for his skill
in sculpturing Buddhist images. There
are many of his works still extant.
Hanzan
See, Mochizuki Hanzan.
Hasegawa Itchosai, flourished during the
Genroku Era (1688-1703), lived in
Koyasan. He carved ramma (ventilating panel) of the Kongobu-ji and other
temples.
Hayashi Tomokazu, a native of Kaga, was
noted for carving and especially for painting ramma (ventilating panel). Flourished in the Era of An-ei (1772-1780).
Hida-no-Takumi, one of the greatest architects of Japan, flourished during the
reigns of Ninmei and Buntoku (about
850 ) A story is told of Takumi, who
once asked his contemporaneous painter,
Kudara-no-Kawanari, to paint the wall of
a house which he had built. Kawanari
at once repaired to where the house stood
75

and found it to be a small building with
doors on four sides. The doors had been
open when he approached, so he tried to
enter from the southern side, when, to
his great astonishment, the door suddenlyshut on its own accord, and would not let
him in Kawanari then tried the western
side, and no sooner had he touched the
door than it was closed as before and, at
the same instant, the southern door flew
open He tried the other two sides and
met the same rebuff; thus he kept on
walking round the house for some time.
Takumi, who had been watching, burst
out laughing and begged forgiveness for
his apparent rudeness.
His descendants always lived in Hida
and during the Tokugawa government
frequently visited Kyoto to build temples
and court-houses, many of which are preserved to this day.
Hidari Jingoro, a great sculptor and architect, lived in Fushimi, near Kyoto, and
was called Hidari (left) on account of his
being left-handed. He was a man of
simple character, and lived from hand to
mouth. He would not work unless compelled to do so from the want of common
necessaries Once he fell in love with a
76

lady, but he was too poor even to pay
respects to her. One day, however,
when walking along a street he met the
object of his love, and immediately
followed her. The lady dropped her
mirror by chance, which she had kept
between the folds of her sash. This
Jingor5 picked up and hastened home.
He at once undertook to carve her image,
and when it was done he put the mirror
in the sash worn by the image and lo!
the image began to move, talk with the
sculptor and even confided her love to
him. This pretty story is sometimes
played by famous actors and is very popular. Among his most celebrated works
there may be mentioned the panels and
ramma of Momoyama and Juraku Palaces
and the Sleeping Cat of Nikko Mausoleum. He died in the eleventh Kwan-ei
(1634). He had a son named Soshin,
who died in the fifteenth Genroku (1702),
while his grandson Masakatsu died in
the twelfth Kyoho (1727)
The descendants of Jingoro, from Waemon, his
great grandson, down to Kahei, lived in
Kyoto under the family name of Hidari,
and produced works not unworthy of
their ancestor.
77

Hori Choemon, a native of Nagoya, the
originator of the carving of Hori school.
Among his productions there are many
works worthy of posterity. Flourished
during the Bunkwa Era (1804-1817).
Hori Magobei, younger brother of Hori
Choemon ; lived in Echizen. He was a
great architect who flourished about
1800.
Hori Magohachi, son of Choemon Hori,
was a noted carver who flourished during
the Tempyo and Kokwa Eras (1830-47).
Ichi-o See, Yoshimura Ichi-o.
Ichiro. See, Shiba Ichird.
Ihachi. See, Tamura Ihachi.
Ikeda Koju, a native of Kyoto, was a
ramma carver. His works can still be
seen at Hongwan-ji temple and some
other temples in Kyoto. Died second
Tempo (1831).
Inabe Momoyo. When the Emperor Shomu
built the Todai-ji temple he and Masuda
Nawate were appointed the chief architects. The existing Hoke-do belonging
to the Todai-ji was built by Momoyo.
Inso, a special Buddhist sculptor to the Todai-ji temple, Nara. He was distinguished
for the fineness and force of his execution. Flourished about 1400.
78

Issai. See, Murakami Issai
Itchosai. See, Hasegawa Itchosai.
Jakushi Kaemon, a carver in Nagasaki;
studied Chinese style, and was noted for
his chaste design and execution. His
style was subsequently called Jakushi
style Flourished about 1652.
Jokei, a Buddhist sculptor, lived in Kyoto
between 1688 and 1735. Some of his
works are still preserved in the temples
of Kyoto, and are much prized by the
students of art.
Jocho, son of the Buddhist sculptor Kosho,
is noted for the Buddhist images sculptured by him for the great temple of Hosho-ji and other edifices. In the second
Chian (1022), a rank of Hokyd was
conferred upon him in recognition of his
services rendered to Hosho-ji. He was
also noted for carving masks used for
the performance of " No." His son, Kwakujo, was also a distinguished sculptor
and the Court granted him the rank of
Hokyo. Jocho's descendants also prospered, among whom may be mentioned
Raijo, Injo, Kojo, Kocho, Inkwaku, Incho
and Inson. It may be added that Chosei,
a pupil of Jocho, was also a great sculptor
and was appointed Hoin. His son Ensei,
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grandsons Chuen, Choen and Ken-en
also succeeded the profession of their respective predecessors.
Juma Takumi-no-Kami, a special carver to
the Prince of Himeji. There are many
of his works in the Castle of Himeji.
Died 1645.
Kaemon. See, Jakushi Kaemon.
Kobo Daishi, or Kukai, visited China in
804 to study the tenets of the Shingon
Sect of Buddhism. On his return, he
founded a monastery on the summit of
Mt. Koya, and gave it the name of Kong5bu-ji. He was extraordinarily learned
and accomplished, and graved Buddhist
subjects, some of which are still preserved, such as the image of Fudo in
To-ji. He also composed himkana syllableary.
Kojo, lived in Nara, flourished about 1650;
noted for graving Buddhist subjects.
Koju. See, Ikeda Koju.
Komai Ryucho, flourished in the Era of
Horeki (1751-1763) and was a Buddhist
sculptor.
Komatsu Gensai, a native of Ise, resided in
Kyoto. His works can be seen at Hokoku-jinja, built in the Keicho era. Died
in the fourth Kwan-ei (1627) at the age
8o

of 72 His descendants now live in
Osaka and are noted for building cars
used in festivals
Kudara Mita graved the principal image of
the Se-son temple in Yamato, by order of
the Emperor Kiminei (553).
Kurabe Tasuna, son of Kuratskuribe-no-Suguri Shiba-tatto, carved a Buddhist image, seventeen feet in height, for the
Emperor Yomei (586).
Kuratsukuribe-no-Suguri Shiba-tatto, a native of the Southern Leang, China
Came over to Japan in the sixteenth
year of the reign of the Emperor Keitai
(522) ; built a meagre abode in Saka-taga-hara, county of Takaichi, Yamato
Province, and worshipped Buddha, depositing an image in his house. This is
the first Buddhist devotee in Japan. His
descendants were all Buddhist sculptors,
so that he is called the Father of the
Buddhist sculptors in Japan.
Kuratsukuri-no-Tori, son of Tasuna, flourished during the reign of Empress Suiko (about 600). He is otherwise called
Tori Busshi, or the Buddhist Sculptor
Tori.
Kur5. See, Matsuda Kurd.
Magobei. See, Hori Magobei
8i

Magohachi. See, Hori Magohachi.
Matsuda Gozan, a native of Owari, was a
carver who was in the service of the
Tokugawa family.
Flourished in the
Bunkwa Era (about 1804).
Matsuda Kuro, a native of Ki-i, flourished
during the Enho and Teikyo Eras (16731687). He was a special carver to Ki-i
Dainagon (Prince of Kishu), and engaged in the construction of a palace in
the Wakayama castle.
Matsundo. See, Miyake Matsundo.
Michihisa. See, Terauci Michihisa.
Mita. See Kudara Mita.
Mitsutada, a native of Kyoto, was a noted
ramma (ventilating panel) carver of the
era of Genroku (1688-1703)
His favorite figures were men, flowers, and
grasses. He was also famous for producing colors for painting his subjects
Miyake Matsundo, a native of Kamakura.
His house had been noted for Kamakura
lacquering, and Matsundo made a new
departure in this art. His descendants
are still following the same profession.
Flourished about 1800.
Miyata Yasuhei> a native of Owari, was
noted for building temples.
Mizuma Sagami-no-Kami, a native of Hida,
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was a noted sculptor who frequently
came to Kyoto to superintend the construction of court-houses. In recognition of his services the Court granted
him the honorary title of Sagami-noKami. Flourished about 1648.
His
predecessors were all architects.
Mochizuki Hanzan, who flourished during
the Kyoho Era (1716-1735) was a disciple of Haritsu, and noted for painting.
Momoyo. See, Inabe Momoyo.
Murakami Issai, a native of Nagoya, was a
famous carver. Frequently came to Kyoto to carve Buddhist paraphernalia He
was afterwards employed by the Prince
of Kaga, and resided in Kanazawa. His
descendants are still pursuing the same
profession.
Nakanishi Shigetsugu, a special sculptor to
the Lord of Owari. Lived in his lord's
dominion. Died in the fourth Kwansei
(1792) at the ripe age of sixty-two.
Naomasa. See, Yanagida Naomasa.
Nara Sotei, a special carver to the Shogun
Iyemitsu (1624-1643), was the originator
of Nara carving.
Nishi Do-an, who flourished in Kyoto during the Genroku Era, was noted for wood
carving to be coated with gold as well as
83

for ramma (ventilating panel) and Buddhist paraphernalia. Many of his works
are kept in the temples in Kyoto
Nonoguchi Ryuho, or Sho-o, was a native
of Kyoto He was a painter and carver,
studied painting under Tannyu and was
influenced by some of the characteristics
of Sot^tsu. The design and execution of
his carvings was extremely refined and
chaste. He was also a good carver of
netsuke and small images of court nobles
and ladies, for the latter of which he was
nick-named Hinaya Riuho Died ninth
Kwanbun (1669) at the age of seventyfive.
Nishi Goro, a native of Shinano, was a pupil
of Suwa Washiro. Engaged in the construction of the Sengen-jinja The design
of ramma carving is original. Flourished
about 1780
Ota Yosuke, a native of Hida, lived during
the Enhd Era (about 1680). He was a
famous ramma carver, who frequently
visited Kyoto to exhibit his skill in the
construction of Buddhist temples. The
style of his painting is refined and extremely chaste.
Ogawa Ritsuo, better known as Haritsu, a
native of Ise, was a poet, painter and
84

lacquer er. He was especially fond of
painting, and studied under Itch5. He
also studied the pictures of the Kano
school, and was skilled in applying colors.
He inlaid in lacquer work such materials
as pottery, wood, lead, tin, ivory and bone.
This kind of work is called Haritsu-zaiku.
Died in the fourth Enkyo (1747) at the
ripe age of eighty-five.
Okuchi. See, Yamaguchi-no-Atae Okuchi.
Ryucho. See, Komai Ryucho.
Ryuho
See, Nonoguchi Ryuho.
Ryukei See, Shimizu Ryukei.
Sanko-bo, who flourished during the Era of
Bunkyo (1469-1486) ; first lived in Echizen and then in Omi and Yamashiro. He
was a famous carver of " No " masks.
San-un, a Buddhist sculptor of Kyoto. Once,
when he visited the Rakan-ji temple in
Buzen, a thought struck him, and there
and then he determined to spend his life
by carving the images of Rakan's " Arhats " Thereupon he proceeded to Edo
in the Era of Teikyo (1684-1687) and
settled in Asakura, where he succeeded
in carving five hundred different images
of Rakans. Died in the seventh Hoei
(1710) at the age of sixty-three.
Seibei, a native of Kyoto, flourished during
85

the Kyoho Era (1804-1817). H e was
an architect by profession, but was also
skilled in carving, and especially of ramma. During the Genroku Era, Yodoya
Tatsugoro, a merchant prince of Osaka,
entrusted him with the construction of
his residence, the magnificence of which
excelled even that of a noble's residence.
Tatsugoro was addicted to luxury and extravagance so much that the government
demolished his residence, confiscated his
property and drove him out of Osaka.
So, with the punishment of Tatsugoro,
the works of art on which the great artist
lavished all his energy disappeared, to
the great regret of the admirers of his
works.
Sei-emon, a native of Kaga, was a skilled
ramma carver who flourished during the
Horeki Era (1744-1762).
Seihichi. See, Takaoka Seihichi.
Sessai. See, Shima Sessai.
Shiba Ichiro, a native of Wakayama, was a
special carver to the Lord of Kishu, and
flourished during the Kyowa Era. He
was especially skilled in coating (hakue).
Shiba-tatto. See, Kuratsukurike-no-Suguri
Shiba-tatto.
Shigetsugu. See, Nakanishi Shigetsugu.
86

Shima Sessai, a native of Echizen, was a
special carver to the Lord of Fukui.
Many of his works are studied and followed by the modern artists. His descendants now live in Osaka, pursuing
the same profession. Flourished about
1848.
Shimizu Ryukei, a native of Kyoto, was a
disciple of Tankai Risshi, and was a famous Buddhist sculptor. He was granted
the honorable title of Hogan.
Shuzan, a native of Osaka, flourished during the Myowa and An-ei Eras. He
studied the painting of the Kano school
under Motonobu, and was noted for the
skill with which he applied colors. He
was also an expert in carving, the design
of which was original and painting delicately refined. H e carved netsuke, for
which he has been made almost immortal.
Sotei. See, Nara Sotei.
Takaoka Seihichi (1744), a native of Etchu,
was a skilled carver. He was a special
carver to the Temple of Hongwan-ji in
Kyoto.
Takeda Yugetsu (about 1800), a native of
Kanazawa, was a special carver to the Lord
of Kaga. His works are characterized by
their originality of design and skill of
execution.
87

Tamura Ihachi, son of Hori Choemon, was
a native of Nagoya. He flourished during the Eras of Tempo and Kokwa
(1830-1847).
Taniguchi Gon-no-Kami, a native of Hida,
was a special carver to the Imperial
Court, who flourished during the Horeki
Era (1751-1763).
Tankai Risshi, an eminent follower of
Buddha, was a native of Ise, and was
also called Hozan. He was a painter,
carver and sculptor, and he excelled
in the last. He built the Hannya-Kutsu
on Mt. Ikoma. His first sculpture was
that of a Fudo, which he engraved in the
first Genna. Most of his great productions are preserved in Hozan-ji of Mt.
Ikoma.
Tansh5, a native of Edo, was a special
carver to the Shogun of his time.
Flourished about 1600.
Tasuna. See, Kurabe Tasuna.
Tatekawa Washiro, or Suwa Washiro— for
his being a native of Suwa in Shinano.
He built a part of Sengen-jinja, and is
also a noted ramma carver. Flourished
in the Enkyo and Horeki Eras (17441763).
Terauchi Michihisa, a native of Kyoto, was
88

a special Buddhist sculptor to the Higashi Hongwan-ji in Kyoto. He was also
noted for ramma carving Died in 1718
at the age of 71.
Tomokazu. See, Hayashi Tomokazu
Tori Busshi. See, Kuratsukuri-no-Tori.
Toshikazu, See, Ota Toshikazu.
Unkei, a Buddhist sculptor of the Kamakura period, is indeed one of the most
famous artists of Japan. He was the
son of Hogan (an honorary title) K5kei,
and was otherwise called Bitchu Hoin.
Among the disciples of Kokei there were
Kwaikei and Yasuami, both of whom were
as noted as Unkei. These three were
called the greatest of the great sculptors
of the age. The images of Nio, which
are now deposited in the Great Southern
Gate of Todai-ji in Nara, were graven by
Unkei and Kwaikei. Among the descendants of Unkei are Hokyo (honorable
title) Jokaku, Hoin (honorable title)
Tankei, Koun and Hoin Koen. Hogan
Koben was called the Great Buddhist
Sculptor of Kasuga, and is famous for his
works in Kofuku-ji.
Washiro. See, Tategawa Washiro.
Yamaguchi-no-Atae Okuchi carved one
thousand images for the Empress Ko89

toku in the year 650. H e also graved
one of the four images which are now
preserved in the main temple of Horyu-ji,
Nara.
Yanagida Masanao (1710), an architect who
lived in Kyoto. He is said to have designed and superintended the construction of the court-houses. He was also a
noted carver, his favorite subject being
lions.
Yasuhei. See, Miyata Yasuhei.
Yasuhide, who flourished during the O-ei
Era (1394-1427), was a special Buddhist
sculptor to the To-ji temple. His son,
Kosei, was known as Bungo-no-Hoin, and
his grandson, Kosei. These two descendants were both carvers to the To-ji temple.
Yoshimura Ichi-o lived in Nara and was a
famous carver, especially of ramma. His
works were elaborate and handsome. H e
did not paint his works, but mostly used
gold foils. He studied painting under
Tanniu. Died second Tenna (1682) at
the age of 65.
Yoshishige Gorosaku, the originator of the
Kashu-bori (Kashu carving), flourished
during the Sh5ho Era (1644).
Yosuke
See, Ota Yosuke.
Yugetsu. See, Takeda Yugetsu
90

Zekan, the favorite carver of Hideyoshi,
who granted him the title of " The Greatest Carver of the World." He was also
skilled in carving " N o " masks. His
masks bear the inscription of "Tenkaichi Zekan," meaning " The Greatest
Carver of the World." Died second
Genna (1616).

91

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