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| SOUL AND BEAUTY OF JAPAN | |
Soul and Beauty of Japan
Masterpieces from the Tokyo National Museum
The Great Collections
29 August 2003 – 26 October 2003
Masterpieces from the Tokyo National Museum
The Great Collections
29 August 2003 – 26 October 2003
An array of 117 important
works of art from the Tokyo National Museum collection will be presented
in this exhibition. The chronological range of exhibits reaches from
the Middle Ages to Early Modern times, guiding the visitor through
a world of Classical Japanese art rarely seen in Europe, introducing
a view of Japanese art and culture different from the well known and
somewhat clichéd views of later times. Among the works shown
are several items classified as "National Treasure" and
"Important Cultural Property". A collection of this high
quality is being shown for the first time in post-war Germany as well
as an exclusive exhibition of the Tokyo National Museum being the
first ever in the West. The exhibition offers a rare opportunity to
experience Japanese art of greatest refinement.
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| The Golden Middle Ages and the Culture of Shoin
The statue of the first shogun of Japan welcomes the visitor in the shoin room, the first theme of this exhibition: Minamoto no Yoritomo, the founder of the Minamoto shogunate. This outstanding sculpture from the 13./14. century is one of the oldest exhibits shown. It not only impresses with its realistic work highlighted by the crystal eyes so typical for its time, it also symbolises the beginning of Japan’s Golden Middle Ages through the rise of the new social class of the knights. During the following Muromachi Period (1392-1573) a specifically Japanese aesthetic unfolds. This period typifies a high culture that consciously introduced foreign elements in order to refine these in its own fashion, merging the best ingredients of adaptation and originality. The shoin culture emerged during the Muromachi Period and developed to become one of the most influential aspects of Japanese art history. |
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| Seated
wooden figure with colour pigments and gyokugan crystal inlaid eyes
Kamakura period, 13th-14th century Important Cultural Property © Tokyo National Museum |
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| Kyoto The culture of the imperial capital of Kyoto is commonly seen as the culture of traditional aristocracy. Kyoto has been the cultural centre of Japan for more than 1000 years. Poetry and calligraphy played major roles in the culture of Kyoto in the most important periods such as Heian (794-1185) and Muromachi. Aristocratic literature such as the “Tale of Genji” is celebrated as the oldest novel in the world. Yet, the true character of Kyoto is its complexity, amplified by contributions from the aristocracy, warrior class, monks, and merchant townsmen. Throughout history, Kyoto has been the cradle for countless new artistic movements. The calligraphies exhibited here show the two mainstreams of aristocratic and clerical writing. Several masterpieces of calligraphy, among them works by the Zen monk Ikkyū Sōjun, demonstrate the stylistic and spirited nature of Zen calligraphy. While the writings of aristocratic poets convey romantic or playful moods, the selected lacquer writing boxes with their rich gold decorations embody the sumptuous, yet refined elegance of Japan’s Golden Age. |
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| The Tea ceremony during the Momoyama Period The social system had been radically changed during the Momoyama period (1568/73 – 1616). Old hierarchies were abandoned, a peasant could rise to become a shogun dominating the entire country. The lifestyle and ambition of a new society gaining material wealth and power provided the breeding ground for the exuberant and dynamic art of the Momoyama - kenran. This third room presents the art of the tea ceremony beginning with the tea Master Sen no Rikyū. Opposed to the shoin style of tea-gatherings from early Muromachi times, the new wabi tea that developed in the Momoyama period turned its back on Chinese art as well as the opulence of Momoyama kenran culture. The Japanese affection for nature had existed before, yet within the context of wabi it was new. Cha no yu or the way of the tea is strongly leaning towards the simplicity of nature, even within the cultivated surrounding of a city. These aesthetics are reflected in the abstract ceramic works such as the Iga vase with handles. This striving for spiritual simplicity and naturalism was a conscious statement against the materialism of the time. |
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| Tea
bowl “Hashihime” (princess of the bridge) Mino ware, Shino type Momoyama period, 16th – 17th century © Tokyo National Museum |
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| Noh Theatre Noh theatre as it is known today was formed during the Muromachi period, its roots reaching back into pre-medieval times. As the political power in Japan shifted gradually from the emperor to the shoguns, popular dance forms also gained acclaim. Combining elements of popular and religious performances, Zeami Motokiyo (c. 1363-1443) completed Noh. The stories rendered in Noh theatre are based on the most ancient of Japanese tales, they speak of gods and men, of the drama of fate between fear and longing. Closely connected to the spirit of Noh is the central expression of aesthetics in the Muromachi period, yūgen. Yūgen describes a deep, concealed and mysterious form of beauty. It also fused with the notion of transience from Zen Buddhism and was later tainted by the despair of continuous warfare during the 15th century. Today it is the main term to describe the world of Noh as a whole and also a word that conjures up the beauty of medieval Japan. The fourth section devoted to traditional Noh theatre presents outstanding masks and costumes visualising the grand splendour of medieval elegance yūgen. |
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Warrior Culture "“Samurai” is a well-known term in the West today, associated with the ideal of the Japanese knight. Actually, bushi, the medieval knight of Japan, comes closer to this ideal than the “Samurai”, the “servant” of early modern Japan. The ascent of these warriors began with the decline of imperial power at the end of the 12th century. Despite their martial occupations, they were not only integral to the cultural development of Japan but one of its major pillars. Even through their prowess in warfare, they enjoyed highly sophisticated poetry, art and literature. At times even their warrior codex appears profoundly poetic. The exhibits shed light on the culture of the bushi covering the warring nature through the arms and armours as well as their aesthetics represented by paintings, utensils of daily use and clothing. The Japanese sword blade is unique as it is understood as a work of art and even as a living soul. Among the blades presented is the tachi blade known as Daihan’ya Nagamitsu (National Treasure). Large screens like the “Cypress Tree” by Kanō Eitoku (National Treasure) visualise the iconography of power as seen in the audience halls of a shogun’s residence. Kimonos of both the warriors and their dames inspire through their poetic motifs and refreshing modern appearance. |
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| “Armour
of Domaru type” Lacquered leather with strings and metal Edo period, 17th century © Tokyo National Museum |
| Rinpa In the final section of the presentation, the school of Rinpa artists strikes a particularly topical chord, whilst also remaining faithful to the orthodox tradition. Rinpa art bases its motifs on the old aristocratic art of the Heian period. At the end of the 17th century, the first Rinpa artists initiated a Renaissance of Japanese Classicism reinventing the aesthetics through modern interpretations and techniques. The most famous and influential masters of this school were Hon'ami Kōetsu and Tawaraya Sōtatsu, later Ogata Kōrin (1658-1716) and Ogata Kenzan (1663-1743). Works by these artists, such as the screens “Wind God and Thunder God” by Kōrin, and paintings by Sōtatsu are on display. Another essence of Rinpa art is its diversity, a characteristic that highlights the school's nature as one of the first design schools. They not only created paintings like other art schools of their time, but with their lacquer works, ceramics, tea utensils, costumes, calligraphy and paper production, they enabled one to form an entire lifestyle in the style of Rinpa. The tradition of Rinpa is still continued today. Inherited by individual artists by choice, it embodies a sense of timeless beauty. |
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| “Wind
and Thunder God”, By Ogata Korin Pair of screens, colour on paper Edo Period, 18th century Important Cultural Property, © Tokyo National Museum |
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