Storytelling in Japanese Art
86 49210184-e848-49d6-8c00-a2cacaf687a7
60013232
Illustrated Legends of the Kitano Tenjin Shrine

Illustrated Legends of the Kitano Tenjin Shrine

Period:
Kamakura period (1185–1333)
Date:
13th century
Culture:
Japan
Medium:
Set of five handscrolls; ink, color, and cut gold on paper
Dimensions:
a): 11 5/16 in. x 22 ft. 7 7/16 in. (28.8 x 689.4 cm) b): 11 5/16 in. x 28 ft. 3 3/4 in. (28.8 x 763 cm) c): 11 5/16 in. x 22 ft. 10 1/8 in. (28.8 x 696.3 cm) d): 11 5/16 in. x 18 ft. 8 15/16 in. (28.8 x 571.4 cm) e): 11 5/16 in. x 29 ft. 4 3/16 in. (28.8 x 894.5 cm)
Classification:
Sculpture
Credit Line:
Fletcher Fund, 1925
Accession Number:
25.224a–e

Description

Belief that tormented human spirits animate unpredictable forces of nature underlies this illustrated tale of the origin of the Kitano Tenjin shrine in Kyoto, dedicated to the ninth-century scholar and statesman Sugawara Michizane (845–903). Michizane died in exile, having been slandered by enemies at court. A series of natural disasters and plagues then caused the untimely deaths of his detractors. Michizane’s spirit revealed his wish to be enshrined in the northwestern section of the capital. First deified as god of agriculture and patron of the falsely accused, he is now venerated as the Shinto god of literature and music.

Illustrated Legends of Kitano Shrine
Scroll a

Sugawara Michizane (845–903) was not born in the usual way but appeared miraculously as a grown boy. His talents as a poet were revealed early on. He would become a distinguished statesman, enjoying great favor with the Emperor Daigo (885–930), which roused the jealousy of other aristocrats. Michizane’s political rival, the courtier Fujiwara no Tokihira (871–909), slandered him to the emperor and persuaded him to banish Michizane to Dazaifu, in Kyushu.


Scroll b

Michizane was thus forced to sail with his entourage away from his home. He appealed his innocence to heaven, but to no avail: he died of a broken heart on the twenty-fifth day of the second month of 903. As the carriage was transporting his body to his grave, the ox suddenly stopped at Tsukushi and refused to move any farther. Michizane’s retainers interpreted this to mean that his soul wished to be buried there, and they complied.

Extraordinary natural disasters followed the death of Michizane, whose vengeful spirit, in the guise of the Thunder God, unleashed hail, lightning, and gales of wind against his slanderers. Kintada, a courtier who had been miraculously revived from death, visited Emperor Daigo to report that he had seen Michizane in the underworld, appealing his innocence to the King of Hell. The repentant emperor granted Michizane a posthumous promotion and then devoted himself to life as a Buddhist monk. In the end, however, Daigo was unable to save himself.

Scroll c

The tale now shifts to the itinerant monk Nichizo, who made a circuitous journey through paradise and hell. Tragically, Nichizo fell ill and died while in the midst of his religious practice, but water from the hand of a mysterious priest revived him. Afterward, he was led by monks into the mountains, where he met Sugawara Michizane’s spirit in the guise of the illustrious general Dajo Itokuten. Together, they traveled to the general’s palace.



Scroll d

Nichizo journeyed through Tsushita Heaven, encountering many celestial beings before descending into hell. Beyond a gate guarded by an eight-headed beast was a terrifying inferno, in which he saw the Emperor Daigo and his servants being tormented by flames and blackbirds. The besieged emperor explained to the monk how to pacify Michizane’s angry spirit, and Nichizo reported back to the imperial court upon his return to the human realm.


Scroll e

Other oracles delivered messages similar to Nichizo’s, claiming that the only way to pacify Michizane was to build a shrine in his honor. Michizane’s spirit, however, remained unsatisfied. When the imperial palace mysteriously burned down, a wooden plant appeared in its place. It was inscribed with a poem from Michizane, who vowed to repeatedly raze the palace until he was fully avenged. Michizane was thus conferred the high ministerial post of Dajo-daijin (Chancellor of the Realm), and he was named a tenjin, or heavenly spirit. His anger finally quelled, peace returned to Kyoto. Thereafter, the tenjin of Kitano Shrine was worshiped as the god of learning and calligraphy, as well as a protector of the unjustly persecuted.

60050326
Scene from The Legend of Kitano Tenjin Engi

Scene from The Legend of Kitano Tenjin Engi

Period:
Kamakura period (1185–1333)
Date:
1277
Culture:
Japan
Medium:
Fragment of a handscroll mounted as a hanging scroll; ink and color on paper
Dimensions:
Image: 12 1/4 x 32 3/4 in. (31.1 x 83.2 cm) Overall with mounting: 47 3/4 x 38 1/4 in. (121.3 x 97.2 cm) Overall with knobs: 47 3/4 x 40 5/8 in. (121.3 x 103.2 cm)
Classification:
Painting
Credit Line:
Lent by Jane and Raphael Bernstein Collection

Description

On view installation I, November 19, 2011 through February 5, 2012

The monk Ninshun is accused falsely of immoral conduct with a woman. He prays for the intercession of the tenjin, or heavenly spirit, of Kitano Shrine, who reveals his slanderer to be a half-naked madwoman. She confesses her slander and begins dancing wildly. Ninshun is ordered to perform rites that will break the spell cast upon her, for which he receives a fine horse as a gift from the emperor.

In this fragment, unlike in the Metropolitan Museum's version of the Kitano legend (25.224a–e), Ninshun's prayers to pacify the madwoman are not witnessed by a courtier. As the text does not mention the presence of such an observer, his inclusion was left to the discretion of the scroll's painter, whose depiction of the madwoman is livelier than that of her counterpart in the Metropolitan's version.

There are more than thirty extant sets of handscrolls recounting Michizane's life and the miracles that led to the establishment of the cult of the Kitano tenjin. This fragment originally belonged to a set known as the Kenji version, which is dated to 1277.

60007503
High-Footed Bowl

High-Footed Bowl

Period:
Momoyama period (1573–1615)
Date:
early 17th century
Culture:
Japan
Medium:
Negoro ware; red lacquer on black lacquer
Dimensions:
H. 7 3/8 in. (18.7 cm ); Diam. 14 3/4 in. (37.5 cm)
Classification:
Lacquer
Credit Line:
Promised Gift of Florence and Herbert Irving
Accession Number:
L.1996.47.66
60007511
Pair of Candlesticks

Pair of Candlesticks

Period:
Momoyama period (1573–1615)
Date:
16th century
Culture:
Japan
Medium:
Negoro ware, red lacquer
Dimensions:
H.16 1/2 in. (41.9 cm)
Classification:
Lacquer
Credit Line:
Lent by Florence and Herbert Irving
Accession Number:
L.1996.47.72
60012691
Portrait of En no Gyôja

Portrait of En no Gyôja

Attributed to Jakusai (Japanese)

Period:
Muromachi period (1392–1573)
Date:
late 14th–15th century
Culture:
Japan
Medium:
Hanging scroll; ink and color on silk
Dimensions:
36 1/8 x 15 1/4 in. (91.8 x 38.7 cm)
Classification:
Painting
Credit Line:
H. O. Havemeyer Collection, Bequest of Mrs. H. O. Havemeyer, 1929
Accession Number:
29.100.442

Description

En no Gyôja, the legendary founder of Shugendô, a sect of mountain-dwelling religious practitioners, is said to have lived during the seventh century on Mount Katsuragi, near the ancient capital of Nara. En no Gyôja is believed to have conjured Zaô Gongen of Mount Kinpusen, the tutelary deity of Shugendô.

In this portrait, En no Gyôja is portrayed in his conventional hood, monk's robe, straw mantle, and wooden sandals. He usually holds a vajra (thunderbolt sword) and a shakujô (jeweled staff with six rings). Here, however, he holds a rosary, while one of his two servant-demons holds the shakujô instead. These demons, one red and one green, were, according to legend, ordered by En no Gyôja to serve him. Had they refused, he had the power to bind them with a spell. The landscape suggests a high mountain with a stream and hovering clouds.

60023717
Zaô Gongen

Zaô Gongen

Period:
Muromachi period (1392–1573)
Date:
14th century
Culture:
Japan
Medium:
Wood, gilt bronze, colored beads, and crystal
Dimensions:
H. 30 in. (76.2 cm); W. 24 in. (61 cm)
Classification:
Sculpture
Credit Line:
Gift of Marielle Bancou-Segal, in memory of the vision of William Segal, 2002
Accession Number:
2002.446a–c

The exhibition is made possible by The Miriam and Ira D. Wallach Foundation.

Additional support is provided by the Japan Foundation.

Storytelling in Japanese Art

November 19, 2011–May 6, 2012

Accompanied by a publication and an Audio Guide

Welcome to the endlessly fascinating world of Japanese storytelling. Japan has a long and rich history of pairing narrative texts with elaborate illustrations—a tradition that continues to this day with manga and other popular forms of animation. Featuring more than sixty works of art in a range of mediums and formats, this exhibition invites you to explore myriad subjects that have preoccupied the Japanese imagination for centuries—Buddhist and Shinto miracle tales; the romantic adventures of legendary heroes and their feats at times of war; animals and fantastical creatures that cavort within the human realm; and the ghoulish antics of ghosts and monsters.

From illustrated books and folding screens to textiles and even playing cards, the objects on view, which date from the twelfth to the nineteenth century, vividly capture the life and spirit of their time. Central to our exploration of this subject is the illustrated handscroll, or emaki, a narrative format that is essential not only to the dissemination of Japanese tales but also to the very ways in which they are crafted. The more than twenty handscrolls on view in the galleries demonstrate the many ways in which the pictorial space of the emaki is designed to draw viewers directly into a story, offering a rare opportunity for visitors of all ages to experience the pleasures and intellectual challenges inherent in Japanese narrative painting.

Narrative Flow: Muromachi Tales and the Handscroll Format

Japanese storytelling reached its apogee during the Nanbokuchō and Muromachi periods (1336–1573). The more than four hundred tales that emerged during the Muromachi period are known collectively as otogi zōshi. Ranging widely in theme, from religious parables to capricious fables, these short, often didactic stories are a world apart from the courtly romantic tales of the Heian period (794–1185), the heyday of aristocratic society. Many of the plots stem from the epics of the Kamakura period (1185–1333), a time of marked military ascendancy and the rise of a powerful warrior class.

Contributing significantly to the development and dissemination of otogi zōshi was the handscroll, a major vehicle for painting and writing throughout East Asia. Illustrated handscrolls, or emaki (picture scrolls), first emerged in Japan in the eighth century. They generally measure about one foot high and can extend for more than thirty feet. Emaki are meant to be unrolled laterally, from right to left, and read in sequential segments of about two feet each. Usually, text sections are interspersed with images, with the narrative preceding the related illustration. A scroll is unrolled with the left hand, while the right hand rolls the part already viewed, allowing the story to emerge from the left and disappear to the right. With the freedom to move through the scenes at his or her own pace, the viewer physically experiences the progression of time and space as the past is rolled away, the present is slowly uncovered, and the future waits to be seen.

Related Events

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February 25, 2012 | Free, but registration is required
Howl's Moving Castle (2004)
February 25, 2012 | Free with Museum admission
A Happy Ending to a Sad Story: Rediscovered Illustrations for A Long Tale for an Autumn Night
February 26, 2012 | Free with Museum admission
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