Dogu Fingurine

Jomon

c. 8000 - 250 BC

Jomon = cord pattern, Vary in sizes, emp on the eyes, breast, wide hips, could be a sign of fertility, androgynous, decorated with spiral patterns, tattoo? image of diety? sympathetic magic (voodoo) because of torn off arm? it could be a phallic figure

Dotaku

Yayoi

c. 3rd c. BC - 3rd c. AD

Bronze bell, maybe used for long distance communication, generally in this shape: oval bottom, tapered, maybe suspended, exposed flanges, spiral symbols w/ waterflow designs, register might contain symbols of seasons, some show daily activities of people, hunting scene: half pictorial, maybe a symbol

Haniwa Warrior

Kofun

c. 3rd - 6th c. AD

found on perimeters/base of Emp. Nintoku's tomb, haniwa=circles of clay, maintained tube, might have kept earth in place, or symbollic protectors, or lamps, hand-built terra cotta, hollow, painted perhaps, tend to be more simplistic, the material dominates the figure

Temple Compound at Horyu-ji

Asuka

c. 6th - 7th c. AD

in Chinese style brought by the Koreans = wall and pagoda, axially aligned, main image hall = kondo, monks live in halls = kodo, asymmetrically aligned gives prominence to the pagoda, one of the oldest wooden buildings in the world

Bodhisattva's Sacrifice from Tamamushi Shrine in Horyu-ji

Asuka

c. 6th - 7th c. AD

Jade Beetle Shrine covered in beetle wings, Bodhisattva of Compassion = Guanyin = Kannon (Japanese), made from wood, painting done in lacquer, mitsuda-e = lead w/ oil based painting, simultaneous, serial/continual narrative in three episodes, reflections of elongated style, linear motifs, depicts a jataka tale

Shaka Triad by Tori Busshi in Horyu-ji

Asuka

c. 6th - 7th c. AD

bronze, inf. by the elongated style = elongated face, fleshier, more archaic, body is determined by drapery, Christmas tree drapery and waterfall drapery, Shaka = Shakyamuni, pointed mandorla that's heavily decorated

Guardian Figure in Todai-ji

Nara

c. 7th - 8th c. AD

inf. of Esoteric buddhism, expanded dieties, rep. of one of the guardians of four directions, guardian of the south?, clay sculpture, protects against evil-doers, scary/intimidating features, posture is based on diagonals, much more dynamic, on a platform, framework was used inside the sculpture, kept in a tabernacle

Illustrated Sutra of Cause and Effect

Nara

c. 7th - 8th c. AD

sutra on a handscroll = e-makimono, depicts the temptation of Buddha, landscape used to set scene and separate stories, inf. of Tang naturalism, figures look more realistic, sutra = buddhist holy text

Seated Shaka

Early Heian

c. 8th - 9th c. AD

At the Muro-ji, carved out of wood = ichiboku technique, from a tree trunk, therefore lim. in size, originally painted, getting kind of heavy, heavy = symbol of power, face is more internally orientated, drapery is created in artificial pattern = hompa shiki pattern = wave patterns

Red Fudo Myo-o

Early Heian

c. 8th - 9th c. AD

King of Brightness, angry manifestation of Dainichi Buddha, Fudo = the Immovable one who directs his anger at evil-doers and nonbelievers, red = anger, sword with dragon = power to menance, rope = power to restrain, mandorla is a fire = death, he's on a rock, everything is compressed, about to jump out, hompa shiki folds

Phoenix Hall

Late Heian

c. 9th - 12th c. AD

at the Byodo-in, arch. becomes more symmetrical, bronze phoenix on the roof, suggests great bird in flight, artificial pond rep Amida Buddha = presides over western paradise, the Pureland sect, one is rewarded to be born into the western paradise, all you need to do is chant, Mappo (armageddon) was going to happen, but it didn't, therefore this was built

Amida Buddha by Jocho

Late Heian

c. 9th - 12th c. AD

From phoenix hall of Byodo-in, yosegi technique = multiple hollowed out block wood, jo-in mudra = amida buddha, mandorla contains raigo = personal escort to pureland paradise, amida seated on the lotus throne

Death of the Buddha

Late Heian

c. 9th - 12th c. AD

Hanging scroll on ink, body is done in gold leaf, diff people/animals/Bodhissatvas, the higher up you are to enlightenment the less expression you hold, various states of grief, Queen Maya is in the sky taking witness to Buddha's death, Tang inf.

Guardian Figure by Unkei

Kamakura

c. 12th - 14th c. AD

Kongo-rishiki from Todai-ji, Nio = paired guardians, located on the southern gate entrance, Unkei founded the Kei school style, wood structure emp. on realism, yosegi style, yakshi influence, dramatic gestures and swirling drapery suggesting dynamism

Ladies of the Court from "Tale of Genji" scrolls

Late Heian

c. 9th - 12th c. AD

Ghost style to symbolize fragility, voyeur scene, onna-e style = women's style, the steeper the diagonals the more tension, screens break the composition, yamato-e = the art of careful placement and juxtaposition of colors and texture

Flying Granary from "Shigisan Engi"

Late Heian

c. 9th - 12th c. AD

about Myoren monk performing miracles, grainary being taken by people, Otoko-e style = men's style, more expression, more lively, humor is def an element of men's style, quicker, more calligraphic, very dramatic cropping, yamato-e = Japanese painting, emaki = legendary or historical narratives

Monkey Worshipping a Frog from "Scrolls of Frollicking Animals"

Late Heian

c. 9th - 12th c. AD

otoko-e style, expressive, calligraphic lines, humorous, choju-giga = animal caricatures, frog Buddha, sly/trickster animals, sattires against some of the people in clergy, sattrizing against politics, certain people/clans

Burning of the Sanjo Palace from "Heiji Monogatari"

Kamakura

c. 12th - 14th c. AD

tales of the historical, otako-e style = motion, onna-e = color, esp with fire

Horse Headed Demons from "Hell Scrolls"

Late Heian

c. 9th - 12th c. AD

hell of esoteric Buddhism, depiction of Karma, primarily otako-e, seen in action and linework, heavy lines w/ horses, thin lines = fragility

Catching a Catfish w/ a Gourd by Josetsu

Muromachi

c. 14th - 16th c. AD

increase interest in Chinese style, Zen came in Japan in Chan painting, temple painter, on large handscroll, calligraphic brushwork, assymetric, foreground carries a lot of space, simple, mood of mystery, symbolic, subject matter was for the sake of teaching, sense of humor, visual koan, humor brings spontaneous moment of enlightenment

Ama No Hashidate by Sesshu

Muromachi

c. 14th - 16th c. AD

Gyo style = more wash, monochrome sym. of muromachi period, more representational, more sense of reality, senses of real places, actual scenic site w/ jetty that goes into a lake

Hatsuboku Landscape by Sesshu

Muromachi

c. 14th - 16th c. AD

Hatsuboku = splashed landscape, monochrome, So style = soft, wet, explosive and ultra-simplified style, flash of enlightenment = chan buddhism, draws you in because you look for it, one is emptied and only calm remains

Eka and Daruma by Sesshu

Muromachi

c. 14th - 16th c. AD

Daruma = Bodhidharma, founder of Zen Buddhism, imp. not taking figures of history seriously, exaggerated facial features, big eyes/nose rep. foreigner, Eka brought his hand, more of the Shin style = sharp, angular, and relatively complex brushwork, dramatic geometric brushstroke

Himeji Castle

Momoyama

c. 16th - 17th c. AD

thick walls and stone for protection, minimal windows = minimal light, return to gold leaf for illuminating and visability, high contrast

Cypress Tree by Kano Eitoku

Momoyama

c. 16th - 17th c. AD

8 fold screen, took elements of earlier Kano paintings, isolated to make high contrast, rich in brown and reds, gold leaf in applied to the surface, large silhouettes on a background of gold, a little more realistic, cypress tree = symbol of power and longevity, ambiguoity of space, Momoyama decorative style

Pine Wood by Tohaku

Momoyama

c. 16th - 17th c. AD

formed another school inf. by Sesshu rival to Eitoku, monochrome, bold lines very incomplete and simple, wash is used to inspire fog, space is implied via change in tone, scrubbing motion w/ brush, sort of like 6 persimmons by Mu Qi, repetition of form

Deer Handscroll by Koetsu & Sotatsu

Edo

c. 17th - 19th c. AD

Koetsu = calligrapher, Sotatsu = painter, members of Rimpa = school of painters for the common people, decorative style, inf. by yamato-e style = japanese style of the Heian/Kamakura period, decorated paper, calligraphic brushwork on both, heavy cropping with deer practically jumping off the scroll

God of Thunder by Sotatsu

Edo

c. 17th - 19th c. AD

Part of the God of Thunder and Wind, there's a sense of tension between the two, strong sense of dynamism emp. on action, hint of tarashikomi = wet pigment on puddles of water inspired by hatsuboku style of Sesshu, creator of technique

Iris Screens by Korin

Edo

c. 17th - 19th c. AD

other master of the Rimpa style, byobu = folding screen, assymetrical composition w/ rhythmic forms, tarashikomi techniques w/ iris, emphasis on outline and even application of color

Evening Snowfall by Buson

Edo

c. 17th - 19th c. AD

Nanga style = southern style painting/literati/ Chinese inf., coldness, quietness, unified under snow, very bold lines, last thing they wanted to do is look professional, personal expression, spontaneous, careless inktones in the sky, very playful

Daruma by Hakuin

Edo

c. 17th - 19th c. AD

Zenga = Zen painting, Rinzai Zen, dramatic cropping w/ Black background, emp. on everything you need is in your heart, strokes look like character for heart, powerful, broad brushstrokes

Matsuura Screens

Edo

c. 17th - 19th c. AD

Activities of women, displayed fashion, ukiyo-e = paintings of the floating world, impermanent world of pleasures

Bust of a Beautiful Woman by Utamaro

Edo

c. 17th - 19th c. AD

Beauty from "Types of Physical Beauty", one breast is exposed, shows daily life or sexual life, patterns and thin hairs are expressive, nishiki-e = brocade prints w/ multiple colors and blocks, tinted mica background

The Actor Otani Onji by Sharaku

Edo

c. 17th - 19th c. AD

Kabuki Actor, him at his most dramatic moment = mie, background is mica / textured background, aggressive, not so popular prints

The Great Wave by Hokusai

Edo

c. 17th - 19th c. AD

from the "36 Views of Fuji-san", high point of Ukiyo-e, Mt. Fuji is doubly represented, very dramatic with juxtapositions of Fuji-san and fishermen

Rain Shower on the Onashi Bridge by Hiroshige

Edo

c. 17th - 19th AD

from the "100 Views of Edo", recognize the tone of Blues and Greens