• "Flame-like Ornamentation Vessel"
• Jōmon Period
• Clay vessel, perhaps used for ritual/religious ceremonies
• Clay vessel was not spun, but coiled.

• Dogū (Clay Figure) 
• found complete, not fragmented or broken
• Human figure w/ Jomon pattern on body and clothing
• very abstract or geometric figure (not natural)
•  eyes closed: perhaps a funerary object
• Ornamental designs and headdress

• Dōtaku (bell-shaped bronze)
• Yayoi period
• individual registers (2x3) on each side depict humans and animals such as reptiles, birds, and deer
• Humans are doing tasks such as hunting, pounding grain, and depicts a granary  (noting its importance)
• was used in ritual, elite purposes. 

• Clay jar from the Yayoi Period (5th c-3rd c BCE) 
• Less ornamented, very simple striations 
• Probably used for ordinary use, not ritualistic
• redish color from silt/other substances

• King of Na Gold Seal 
• Yayoi Period
• Offered to Han Dynasty as a peace offering (paying clemency)
• Evidence of two regions connective and sharing cultural aesthetics 

• Tomb of Emperor Nintoku
• Kofun Period/Late 4th c CE
• Keyhole shaped tomb w/ natural features

• Haniwa of Warrior
• Kofun Period
• Clay figures used as funerary objects or ritual objects
• Geometric body w/ detailed armor and helmet

• Decorated Sue Jar
• Clay; Kofun period
• Means "offering"—used for rituals
• Features nursing animals, figures wrestling, and carrying objects
• Thin clay, therefor was spun, not coiled

• "Shaka Triad" by Tori Bushi 
• 623 CE, bronze (Asuka Period)
• From Hōryūji Temple
• Buddha represents a saint-like Buddha that stays behind to help people from suffering
• Thin central figure has hair in top bun, dot on forehead, and has their hand open and pointed towards us

• Yumedono Kannon, Early 7th C (Asuka Period)
• Gilt Wood Statue found in the Hōryūji Temple
• Elongated figure w/ flowing clothing and holding a sacred jewel 
• Single figure w/ teardrop mandala 
• Is a Kannon, or a "half male/half female Bodhisattva/Buddha figure

• Kudara Kannon (Asuka Period)
• Mid-7th C; Painted wood statue
• At Hōryūji Temple
• Brought from Korea (exchanging  w/ other countries)
• Very elongated body, but naturalistic

• Tamamushi Shrine
• 650 CE
• Mini shrine found in Hōryūji Temple
• Includes "Hungry Tigress Jātaka Panel", which is a narrative painting w/ a continuous story of sacrifice. 

• Amida Triad from the Tachibana Shrine
• 700-800 CE (Hakuhō Period)
• 3 figures sit atop lotus flowers, the central figure, the Amida Buddha represents good karma and the path to paradise. 
• More naturalistic figures
• Landscape background

• Amida Triad Painting from Hōryūji Temple
• 710
• Hakuhō Period
• Wall painting w/ individualized figures
• More fluid movement in comparison to Buddha statues 

• Yakushi Triad w/ Medicine Buddhas 
• More movement in the flanking Buddhisatvas 
• Influence from Indian Buddhism and aesthetic 
• Hakuhō Period (Early 8th C)

• Lady Under a Tree
• 756, Nara Period
• Screen Panel 
• Tang Dynasty influence in "chubby" figure
• Only face and neck are colored (unfinished?)
• Long robes and turban-like headpiece

• Ise Grand Temple 
• Heian Period 
• Gate separates the earthly world and the divine
• Dedicated to the sun goddess 

• Phoenix Hall (Hōdō)
• 1053 (Heian Period)
• Private villa converted into a Buddhist Temple 
• Built by Kagiwara Clan 
• Inside included the an Amida Buddha Shrine (1053) by Jōchō. 

• Amida Buddha Shrine by Jōchō
• 1053 (Heian Period)
• In the Phoenix Hall Temple
• Wood and gold leaf
• Thin, tight draped clothing, and a round, symmetrical face. 

• Amida Raigo Triptych (Welcoming Approach)
• Late 11th C, (Heian Period)
• Amida Buddha reps. good karma and a path to paradise, which this painting attempts to represent.
• Figures have Tang Dynasty influenced look of tight clothes and round face.
• Includes lotus motifs, a celestial clouds, and a large Amida Buddha, surrounded by dozens of other bodhisattvas, many playing music. 

• Chōjū jinbutsu giga (Picture scrolls of frolicking animals)
• 12th C (Heian Period) 
• Monochrome linework of a narritive handscroll
• Buddhist narrative and features rabbits, frogs, monkeys, and deer doing activities such as: swimming, archery, playing, and wrestling (perhaps for kids)

• Jigoku Zōji (Hell Scroll)
• 12th C (Heian Period)
• narrative picture scroll that depicts the 16 Lesser Hells in Sutra of the World Arising. 
• Includes violent and bloody scenes of the Hells of Bugs, Hells of Flaming Hair, and Lakes of Lava. 
• Many people being tortured and attack, and was used as religious propaganda to strike fear. 

• Heiji Monogatari (Events of the Heiji Period)
• The Burning of the Sanjo Palace
• 13th C, Kamakura Period 
• Depicts the destruction of the Sanjo Palace and the death of the Emperor, and a battle between two rival clans. 
• The continuous narrative follows along with the two clan leaders as they break through and burn the palace down. 

• Machaku and Seshin by Kōkei 
• 1212 (Kamakura Period)
• Two monks that flank the Miroku Buddha
• Wood w/ paint and gold leaf
• Very naturalistic and realistic
• Two brother monks who went up to heaven and met Miroku 

• Miroku Buddha Triad by Unkei
• 1212 (Kamakura Period)
• Wood and gold leaf
• Miroku is the "future Buddha", which political leaders claimed to be to consolidate power. 
• Tang Dynasty style 

• "Pair of Niō Figures" Agyō and Ungyō by Unkei and Kaikei 
• 1203 (Kamakura Period) at Tōdaiji Temple
• Two guardian statues at the gates of the Tōdaiji Temple, would ward of evil spirits at the temple gate

• Hachiman in the Guise of a Monk 
• Late 12th C (Kamakura Period)
• Is a Kami, which blends Shinto and Buddhist practices
• Technically a Shinto sculpture although its in the Tōdaiji Temple 

• Flowering Peach Blossom and Dove
• Attributed to Emperor Huizong of China's Song Dynasty 
• 1107 (Muromachi Period)
• Natural subject with naturalistic figures
• Seal balances the frame 
• Zen Art?

• Crane, Kannon, and Monkey by Muqi
• 13th C (Muromachi Period)
• Hanging scroll, ink on silk 
• Zen Art: China Song's Academy Style
• iconography to help gain enlightenment
• Crane = longevity, often a companion of Buddhist dieties
• Monkey = symbol of human kind, maternalism 

• Splashed Ink Landscape by Sesshū Tōyō
• 1495 (Muromachi Period)
• Zen Art: Apparition, or Ghost painting
• Very abstract landscape painting 
• Given as a gift, includes 5 blocks on inscriptions written by viewers of the painting

• Himeji Castle 
• 1601-1609 (Azuchi-Momoyama Period)
• Was made as a permanent stronghold or fortress
• Includes watchtowers and a wall
• Also called White Heron 

• Cypress, Kano School
• 8 panel byōbu
• 1509 (Azuchi-Momoyama Period)
• Color, ink, and gold leaf on paper
• Private function, shows off status 

• Winter Landscape w/ Waterfall by Kano Mitsunobu
• 1600 (Azuchi-Momoyama Period)
• Guestroom byōbu 
• Continuous narrative of the changing seasons 

• Plum Blossoms, Camellias, Pines, Cedars, and Cherry Blossoms by Kanō Mitsunobu
• 1600 (Azuchi-Momoyama Period)
• Represents spring 
• Ink, color, and gold leaf on paper

• Pine Forest by Hasegawa Tōhaku
• Monochrome ink on paper, 6 panel byōbu
• Late 16th C (Azuchi-Momoyama Period)
• Similar to zen art's apparition style
• Various shades of ink with sparatic and sketchy brushwork
• Very detailed, yet empty 

• Taian Teahouse by Sen no Rikyo
• 1582 (Azuchi-Momoyama Period)
• small, close, and intimate space
• has crawl hole entrance to humble those who enter

• The beauty of simplicity seen in austerity, age, and imperfection.

• Tea Ceremony Water Jar
• Type: Shino Mino Ware
• 16th C (Azuchi-Momoyama Period)
• Wabi Sabi
• white glaze w/ painted motifs of plants 

• Lobed dish 
• Oribe Mino Ware
• Early 17th C
• Natural flow and glaze creates an asymmetrical and imperfect look (Wabi Sabi)
• Natural motifs of honeycomb pattern w flowers inside, and long stemmed leaves 

• Tea Bowl, Raku Ware
• Early 17th C (Azuchi-Momoyama Period)
• Nickname: Mt. Fuji, resembles a snowcapped mountain
• cup-shaped, simple, earthy, and grainy, very naturalistic reflects the Wabi Sabi influence 

• God of Wind and God of Thunder by Tawaraya Sōtatsu
• After 1621 (Edo Period)
• pair of 2 panel byōbu
• Patrons of Sōtatsu were often middle-class
• Figures are 2 of the oldest Shinto Gods
• Wind: holds sack of wind
• Thunder: uses drums that surround him to make thunder
• cartoonish and grotesque figures 
• Less natural/nature-based, more abstract figures and spaces

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• Tale of Ise by Tawaraya Sōtatsu 
• Top: "Akutagawa"
• Bottom: "Tori no Ko" Shows a woman lost in thought, contemplating the constancy of her lover's feelings for her.
• Early 17th C (Edo Period)
• Love story based album of paintings 
• Reflects a similar style/aesthetic to the Tale of Genji. 
• Secular subject

• Deer Scroll by Sōtatsu 
• Handscroll, ink, silver, and gold, on paper
• 1615 (Edo Period)
• Images of deer accompanied by poems that fill the empty space and reflect the emotion, movement, or message of the image.

• Irises at Yatsuhashi (Eight Bridges), by Ogata Kōrin 
• Ink, color, and gold leaf on paper, 2, 6 panel byōbu 
• Extremely vivid and bright colors
• Connection to a poem within the "Tales of Ise"

• by Moronobu
• 1680 ink and color on silk handscroll
• Depicts people gathering for a boat ride, and includes food, music, and group dancing
• bright colors on clothing
• emphasis on feminine beauty in young men
•  

• Beauty Looking Back by Moronobu 
• 1680 (Edo Period)
• hanging scroll 
• Female object of desire

• By Moronobu 
• 1680 (Edo Period)
• Hanging Scroll
• Mirrors hairstyle from The Tale of Gengi 
• Ideals of beauty

• By Moronobu
• 1680 (Edo Period)
• Hanging scroll, color on silk

• Street Scene at Yoshiwara by Moronobu
• 1680 (Edo Period)
• Monochrome woodblock print
• Leisure, everyday life is shown: music, food, and conversation in depicted

• The Poem of the Pillow by Utamaro
• 1788 (Edo Period)
• Nishiki-e (woodblock print)
• Very private and intimate moment 
• Naturalistic vs Realistic?
• From the Erotic Book  

• Thirty-six Views of Mt. Fugi: The Great Wave of Kanagawa, by Kokusai
• 1830-1832 (Edo)
• Nishiki-e
• Aimed at everyday people and tourists (postcard)
• Simple, but lots of dynamic movement 
• Mt. Fugi blends with the large wave

• Fifty-Three Stations of the Tōkaidō Road: Shōno (Rainstorm) by Hiroshige
• 1833-34 (Edo)
• Nishiki-e 
• Linear and Atmospheric perspective 
• Tōkaidō is a busy-travelled road that connects Edo to Kyoto. 

• Evening Showers on Ohashi Bridge, by Hiroshige 
• 1856-1859 (Edo)
• From One Hundred Views of Edo
• Suggestion of landscape
• Similar use of rain in Shōno (Rainstorm

• The Barrel-Maker by Kōkan 
• 1789
• Western, Non-Japanese Figure
• linear perspective
• Use of shadow and highlight
• Very unique style

• Sanjusangendo in Kyoto, by ōkyo
• 1763 (Edo)
• Nishiki-e
• meant for peep-box

• Album of Sketches by ōkyo 
• Late 17th C
• Detailed and very realistic 
• Not outlined
• Did a study on insects