This video is part 2 of 2 for art history
of the Heian period. If you haven’t already
watched part 1, please click on the annotation
to watch the introduction and early Heian
period. This video will cover the mid- and
late Heian period.
Remember how in the Nara period, lands were
taken back under direct imperial control and
reformed? Well by the Heian period, the land
had largely been gifted to these aristocratic
clans, particularly to the Fujiwara.
The Fujiwara clan, who had taken an active
and dominant role in the imperial government,
was a powerful political force until the middle
of the twelfth century. Thus, the Middle Heian,
during which they were at the height of their
influence, is often referred to as the Fujiwara
period.
In 858, the Fujiwara established a new form
of government where they appointed themselves
as regents, called sessho, and civil dictators,
called kanpaku. Though these roles, they ruled
in the name of the emperor. By this time,
they had intermarried with the Yamato so extensively
that the head of the Fujiwara clan was usually
the grandfather or uncle, and maybe father-in-law
of the emperor. What this means is that when
a Fujiwara consort of the emperor produced
an heir apparent, the emperor was encouraged
to abdicate and his Fujiwara father-in-law
was named sessho for the new emperor, and
then kanpaku when the young ruler came of
age. Needless to say, they had a lot of control
on the government.
Powerful clan leaders and Buddhist temples
also pressed the emperor to have their shoen,
or estates, taxes exempt. The shoen land owners
stayed close to the capital, while affairs
were increasingly left to local estate managers.
Under these managers were the peasant farmers,
who worked their land more or less as bonded
serfs. As land holdings were originally imperial
“gifts” and changed hands with intermarriage
and inheritance, the Fujiwara carefully maneuvered
control over the best sources of revenue at
the time.
During this time, Japanese culture flourished.
It was largely a peaceful time, and the aristocracy
has the leisure time and financial means for
aesthetic pursuits, such as writing poetry,
playing instruments, blending incense, and
religious activities like copying Buddhist
sutras and putting on elaborate Buddhist ceremonies.
These times have been described by the art
historian Sir George Samsom, as “The Rule
of Taste” .
Previously, due to the strong influence of
the Chinese style, Japanese painters copied
the tall, rugged mountains of China, despite
the fact that Japanese topography was completely
different from China’s. As the Japanese
shifted away from their Chinese models, paintings
began to reflect Japan as the Japanese people
saw it.
The mid-Heian period is seen as the golden
age of Yamato-e. They began to distinguish
between Japanese style and Chinese, referred
to as kara-e and Yamato-e. Yamato meaning
Japan and Kara meaning China.
Yamato-e is distinguished by a softer landscape
and rich, but not brash palette of colors.
The landscapes are of lower hills and gentle
valleys, much like the area around Heian.
In contrast, Kara-e images continued in Chinese
narrative themes, ferocious mythical creatures
and landscape of rugged mountains.
E-toki is a form of picture telling that developed
to explain Buddhist principles. Using an emaki,
or hand picture, or a painted hand scroll,
or rooms with paintings called a picture hall,
a monk would point to a picture and explain
the story of either Shakyamuni, the historical
buddha, or another important Buddhist monk,
most notably Prince Shotoku who is often attributed
with bringing Buddhism to Japan from China.
The earliest examples of etoki were performed
to small groups of the ruling class upon special
request. Later it would move out of picture
halls and became more of a public performance
around 11th c. Music would be composed for
specific stories. Monks often performed etoki
in exchange for gifts of money or food. Traveling
etoki performing monks would set up and preach
on bridges or roadsides for any audience.
It was a way to teach the illiterate about
the religion in an entertaining form of storytelling.
The Shotoku taishi eden illustrated the events
in the life of Prince Shotoku in a group of
ten paintings in a geographical sequence (rather
than in a chronological one). Read right to
left, each episode labeled in a cartouche
affixed to the painting. The narrative elements
are fitted into pockets of open space between
mountains, rocks and trees, and the vertical
composition is held together by the landscape,
which flows around the episodes and leads
the eye.
This use of mountian defined space to unify
a composition, while at the same time separating
figurative passages, is a Chinese pictorial
convention seen frequently in paintings of
the Tang dynasty.
While using a Chinese pictorial convention,
the artist makes sure to make a clear distinction
between the landscape of Japan and China.
In the two panels of Shitennoji is shown in
the lowlands of Naniwa, in what is now called
Osaka. On the left side are the mountains
of China, tall and irregularly massed together,
some of them displaying the sharply undercut
faceting frequently seen in kara-e landscapes
but seldom in yamato-e. At the top is a magical
flying chariot, where Shotoku travels across
the sea to China. Thus, this work is an interesting
use of a Chinese pictorial convention, but
using it to illustrate a secular, native theme
(the prince’s biography) with new elements.
In the 10th century, with the rising importance
of Pure Land sects of Japanese Buddhism, The
focus of aristocratic worship in the Middle
Heian period shifted from Dainichi Nyorai
and the mandalas of Shingon Buddhism to a
belief in the rebirth in the Western Paradise,
or Pure Land, of one of the Dainichi’s transcendental
Buddhas, Amida.
New image-types were developed to satisfy
the devotional needs of these sects. These
include the raigōzu, which depict Amida Buddha
along with attendant bodhisattvas, Kannon
and Seishi, descending from heaven to welcome
the souls of the faithful departed to Amida's
Western Paradise.
In contrast to the complex and straight disciplines
and rituals of the Shingon school, anyone
who sought salvation merely had to repeat
the nenbutsu mantra, “Namu Amida Butsu”,
or “Hail to Amida Buddha” to be reborn
in Amida’s paradise. Not bad, huh? Well
lots of people thought so, too.
This teaching didn’t just spread though
the aristocracy, but Amida was the first sect
to extend to the lower ranks of society - aka
the vast majority of the population.
Prior to this Buddhism required reading of
Chinese texts, so common people who didn’t
posses this skill (pretty much anyone who
wasn’t an aristocratic male), saw Buddhism
simply as magic rituals to prevent calamities,
promote a good harvest, and ease the path
of their loved ones into the next world - not
really reaching nirvana as you’d pretty
much need to be a monk and dedicate your life
to that. Instead, the nenbutsu mantra promised
a better afterlife, where even a peasant would
live like an aristocrat in Amida’s paradise
- an irresistible offer at a time when the
gap between an aristocrat and commoner was
perhaps never bigger.
A noted early example of a raigozu is the
Phoenix Hall of the Byōdō-in, a temple in
Uji, Kyoto. The site was originally a summer
home, but was converted into a temple in 1052,
and in 1053, the Hoodo was dedicated. When
looked at across the pool, with its reflection
in the waters, the building’s architecture
is basically meant to look like Amida’s
paradise.
When walking into the Hoodo, you are surrounded
by images of raigozu: At the center is an
over-life lized Amida Buddha on a tall lotus-blossom
pedestal. On the upper part of the walls are
small wooden images of celestial nymphs, called
tenin, monks and musicians. The figures on
the walls sit or stand on cloud forms, some
playing musical instruments or dancing.
The Amida image was created by the foremost
sculptor of the period: Jocho. Jocho created
new proportions for the amida image, using
the height of the head from the chin to the
brow as a basic unit for the entire figure,
and the vertical projection of the statue
from the bottom of the legs to the hairline
is exactly equal to the distance between both
knees. The image gives off a remarkable feeling
of stability and calm.
The image is sculpted using yosegi, or multiple
blocks, a technique probably developed from
the Chinese split and rejoin method of construction.
Created with 53 pieces of wood, the multiple
block technique did not allow deep carving
of the drapery of facial details, but Joochoo
used this limitation to his advantage, creating
a style of sculpture that was light and ethereal,
rather than heavy and overbearing like the
Jingoji Yakushi
The multiple-block technique allowed for more
dynamic movement - not really showcased in
this particular sculpture - but it also facilitated
the production of a work in the studio tradition.
The master could sketch the image, indicate
the joining parts, and have the apprentices
make the preliminary sculpting of various
parts. Then, it may be transported to the
site, assembled, and finished by the master
sculptor.
The figure is accompanied by an openwork gold
halo that meets a round canopy at the top.
The detail work contrasts with the smooth
surface of the Amida, underlining the calm,
quiet demeanor of the image itself.
In the late Heian period, the imperial clan
began to actively wrest control of the government
from the Fujiwara, to rebuild its own financial
strength.
Emperor Go Sanjo was the first emperor in
many decades to be born of a non-Fujiwara
mother, so he was able to resist many of the
Fujiwara demands. He established a concept
called insei, or government by cloistered,
retired emperors.
His idea was this: He would abdicate the throne
and become a monk at a Buddhist temple he
founded. He would continue to govern the country
though his son, the reigning emperor, but
since he would no longer be holding an official
position, he could receive donations of land.
This way, they would collect the income generated
through these lands, as well as from the intermediary
of temples that he and his family had founded.
However, emperor Go Sanjoo died shortly after
abdicating the throne and was never able to
put his plan to action. Instead, his son Shirakawa
followed his lead with great success. Along
with his son Toba, the period of these two’s
rule out rivaled the opulence of even the
most powerful Fujiwara members.
The chief focus of the imperial family, as
you can guess, was on the founding of Yamato
clan temples. between the late eleventh and
middle of the twelfth century, the retired
emperor and his kin and loyal subjects dedicated
a new Shinto worship hall every year and founded
a Buddhist temple every five years.
Unfortunately, none of the temples built for
Shirakawa, Toba, or their relatives and devoted
subjects have survived.
The Sanjusangendo is perhaps most impressive
for housing a thousand and one images of the
eleven-headed, thousand armed Senju Kannon.
The original hall was destroyed in a fire,
but rebuilding began immediately, to house
the images that were saved from the fire.
The simplicity of the architecture, with exposed
beams, contrasts with the complicated details
of the myriad of Kannon images, and statues
of Kannon’s attendants.
One hundred and fifty-six Kannon sculptures
were saved, and they formed the nucleus of
the Sanjusandendo installation. They’re
mostly in a frontal position, with the largest
pair of arms pressed together in prayer. Another
set of arms rest just below the waist, and
a third pair holds a monk’s staff and a
trident-topped staff, a symbol of the defence
against evil. The rest of the arms are separate,
some holding more objects , The skirts and
scarves are shallowly carved and fall in soft
folds over the body.
The later, 13th century additions are attributed
to Tankei, have heavier drapery folds over
the legs and patterns created by the garments
flow over the entire area between the waist
and feet. There’s also a greater gradation
of the size of arms - demonstrating the new
interest in volumetric figures realistically
presented which developed in the Kamakura
period. At the same time, they maintain a
fidelity to the older forms for a uniform
look. Upon encountering the images, one is
faced with a sea of figures too vast to be
comprehended from any single view.
A great deal of time and money were devoted
to secular projects as well.
There are two distinct painting styles of
these schools, referred to otoko-e, men’s
pictures, and onna-e, or women’s pictures.
While otoko-e came to refer to monochrome
or lightly colored pictures that relied on
the Chinese style of calligraphic line to
convey visual image, Onna-e was a reaction
to this genre and leaned towards more yamoto-e
style of painting.
The Genji Monogatari emaki, an example of
Onna-e, would’ve been an ambitious project
completed by five teams, each team including
an aristocrat noted for his calligraphy and
cultural sophistication, the principal artist
(called the sumigaki, or painter who draws
in the black ink), and artists who specialized
in the application of traditional pigments.
It’s suspected that all fifty four chapters
of Genji Monogatari was illustrated, with
one to three paintings per chapter, in a set
of ten scrolls. Today only twenty pictures
survive.
The sumigaki would plan the composition and
sketch it on paper in fine black ink lines.
At the same time he would make notes on the
sheet about the colors he wanted. And then
the pigment specialists would apply each layer
of paint, within but obscuring the original
outlines. In the final stage, the sumigaki
would review the illustration, perhaps changing
a few details, and paint in the face details.
This painting technique of applying layers
of paint over an underdrawing is called tsukuri-e,
meaning “made-up” or “construction”.
A major theme in the Genji Monogatari is the
concept of mono no aware, translated as “the
pathos of things” or “the moving quality
of experience”. It's an awareness of the
impermanence or transience of things, which
heightens appreciation of their beauty and
evokes a gentle sadness at their passing.
The illustrations use pictorial conventions
to help illustrate these moments of high emotional
intensity. The fukinuki yatai, or blown off
roof and odd angle of perspective not only
seamlessly depicts indoor and outdoor activity,
but also provides a better view of the space,
much like a rake or inclined stage. The presence
or absence of space in which the figures could
move also contributes insight into their feelings.
Colors and patterns heighten the mood of the
scene. All the elements together create for
a strong impression of mono no aware.
A second major theme is the chain of karmic
consequences Genji generated when he committed
one great sin against his father. In his youth,
he fell in love with his father’s youngest
wife. A child was born from their liaison,
and the baby boy was passed off as the emperor’s
own son - In other words, Genji’s son became
Genji’s brother.
When Genji is middle age, his youngest wife
has an extramarital affair that results in
a son that Genji decides he must publically
accept as his own, just as the old emperor
had done with Genji’s son.
The illustration of this scene would've been
unveiled from right to left as the image is
rolled open. First you see the empty courtyard,
originally painted silver but now tarnished.
The veranda placed at a sharp angle is almost
keeps us out. With the peak of the edge of
twelve-layer robe, we tread carefully through
the curtains into the room. You get the sense
of entering this very private space and moment.
The sharp angle and edge of the painting makes
the room small, and almost claustrophobic.
The red lacquered plates filled with food
indicate that a ceremony is in place. Genji
at the top is holding a baby, while ladies
in waiting are below. At the extreme upper-left
corner is the baby's mother, her presence
depicted by a mound of fabric. Genji, uncomfortable
with the ritual, aware that the attendants
know the baby is not his, is also physically
awkward, jammed into this constricted corner
of the image.
Like the pressure of society forcing him to
put a good face on a bad situation, the architecture
forces Genji into a cramped position
In the Minori (or The Rites) chapter, Genji's
true love, Lady Murasaki, is dying. Genji's
daughter by another wife, who Lady Murasaki
raised as her own, comes from the imperial
palace to be with her. One stormy evening
Genji visits Murasaki, and the three sit together,
watching the wind whip the shrubs and grasses
in the garden. When Genji first built his
mansion he planted this garden to be beautiful
year round, reaching peak in the springtime,
Murasaki's favorite season. Now as they gaze
at it, it seems to be nothing but a tangled
mass of vines.
Again the architecture plays an important
role. As Genji knowns Murasaki is gravely
ill, he dreads that she will die and senses
his grief will be nearly too much to bear.
The angles are just as steep as the previous
image, but unlike that one, the figures appear
almost immediately as the scroll is unrolled.
Murasaki is near the top, leaning on an armrest.
Her adopted daughter just below in the angle
formed by the upper beam of the wall and the
cloth curtain of state. Genji appears at the
bottom of the incline, nearest to the veranda.
Lastly as the architecture disappears, it
leads to the wind-ravaged garden. His anguish
over Murasaki as she drifts towards death
is suggested by the space he occupies, between
the imminent death and the tangled shrubbery
in the cold.
The Shigisan engi emaki (translated to the
Scroll of the Legend of Mount Shigi) is one
of the earliest examples of a type of narrative
that became very popular in the late Heian
and Kamakura periods. The engi is the history
of the founding of a particular Buddhist establishment.
This one is about a temple called Chogosonshiji,
deep in the mountains north of Nara, and the
magical tales of its founder, a monk named
Myoren.
The first two scrolls depict the miracles
Myoren wrought: chastising a wealthy and greedy
farmer by making his granary fly through the
air to the top of the mountain. Then he heals
Emperor Daigo when all other attempts had
failed, causing a rare Buddhist entity, a
sword boy, to appear to the emperor.
The text serves as a legitimization of the
temple, indicating that worshippers there
would benefit from the magical powers of its
founder.
This engi is in the otoko-e style, made by
first painting the outlines of the figures
and the natural scenery in dark-grey brush
strokes. For colors, he used thin pigments
that did not obscure his earlier lines. This
allowed him to depict figures in active stances
and utilize the calligraphic strokes to suggest
movement. This gives the illustration a lively,
fresh quality in perfect harmony with its
subject matter.
Another major emaki surviving from the Late
Heian period is the Ban Dainagon ekotoba.
Attributed to Tokiwa no Mitsunaga, it tells
the story of the Oten Gate of the imperial
palace burning down in 866. It was later proved
that the fire was set by the head of the Otomo
clan in an attempt to discredit a court rival,
the Minister of the Left, Minamoto no Makoto.
Found guilty, Lord Otomo was sent into exile.
An excellent example of narrative painting,
this image illustrated the surprising way
that the truth comes out with amazing economy
of space. Rather than each scene having its
own panel, the events unfold right next to
each other.
One day in the market district, two boys begin
to fight. One boy’s father, a retainer of
Lord Otomo rushes out to break them apart.
Underneath this, the illustrations shows how
the father beats the other child severely.
The second boy’s father, a low-ranking government
worker, rages at the first boy’s father
for hurting his son. beside himself with anger,
the second father blurts out that if the world
knew what he knows about the retainer and
his master Lord Otomo, they would be severely
punished.
Heard by everyone in the neighborhood, the
threat was discussed in whispers until it
finally comes to the attention of the metropolitan
police. The second father tells the authorities
that he saw the retainer and Lord Otomo climb
down from the palace gate just before it burst
into flames.
While the conversation between the fathers
isn't shown, there are people grimacing as
he beats the child. The figure with his mouth
wide open shows how the rumor spreads by word
of mouth, passing from person to person.
This emaki is an interesting blend of the
tsukuri-e seen in the Genji Monogatari emaki,
and the free otoko-e style of the Shigisan
engi emaki. The artist uses an elegant and
controlled calligraphic line to sketch out
his figures, but also thickly applies bright
colors.
The unidealized human behavior central to
both the Shigisan engi and Ban Dainagon demonstrate,
perhaps a new awareness and interest outside
of the aristocratic circle.
By the end of the Heian period, the cloistered
world of the court was beginning to collapse,
and perhaps these works, at least on the part
of some of the aristocracy, were an attempt
to break through the bars of their gilded
cage.
After Toba’s death in 1156, disputes over
succession between the imperial Yamato and
the Fujiwara clans resulted in two rebellions:
The Hogen in 1156,
The Heiji or Heike in 1160.
The two opposing clans sought help from the
military clans, the Taira and the Minamoto.
The disputes concluded with the Genpei Civil
War, which lasted from 1180 to 1185. The war
was fought throughout the country but ended
with an epic sea battle that almost completely
wiped out the Taira clan and women of the
Taira clan leap to their watery graves, clutching
the infant Emperor Antoku.
So traumatic was this loss, that there are
even ghosts stories about their death. You
can check one out over here.
The victorious Minamoto established a new
form of military dictatorship, the bakufu,
in which a military clan oversaw the governing
of the nation until 1868 and the imperial
restoration. - And we’ll cover that in the
next video.
Thanks so much for watching this video! I’m
doing a whole series on Japanese art - everything
from prehistoric to Heian period; modern Japan
to contemporary art and pop culture. Besure
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And I’ll see you guys next time with the
Kamakura Period!
