🏯Art and Architecture in Japan Unit 3 – Early Buddhist Art in Asuka & Nara Japan

Historical Context

• Buddhism introduced to Japan from Korea in the 6th century during the Asuka period (538-710 CE)
• Adoption of Buddhism by the Japanese imperial court led to the construction of numerous temples and monasteries
  • Supported by the powerful Soga clan who sought to establish Buddhism as the state religion
• Rise of the Fujiwara clan in the late 7th century further promoted Buddhist art and architecture
• Nara period (710-794 CE) marked the establishment of Japan's first permanent capital and the flourishing of Buddhist art
  • Capital moved from Asuka to Nara in 710 CE
• Influence of Chinese Tang dynasty art and culture on Japanese Buddhist art during this period
• Patronage of Buddhist art by Emperor Shōmu (r. 724-749) and Empress Kōmyō led to the creation of iconic works (Tōdai-ji, Tōshōdai-ji)

Key Concepts and Themes

• Fusion of indigenous Japanese beliefs (Shintō) with Buddhist teachings and iconography
• Emphasis on the concept of mappō, the decline of the Buddhist dharma in the latter days
  • Belief in the saving power of devotion to Amida Buddha and the Pure Land
• Depiction of Buddhist deities, bodhisattvas, and guardian figures in sculpture and painting
• Incorporation of Chinese and Korean artistic styles and techniques
• Use of Buddhist art as a means of political legitimization and cultural unification
• Significance of the Silk Road in the transmission of Buddhist ideas and artistic motifs to Japan

Influential Buddhist Texts

• Lotus Sutra (Saddharma Puṇḍarīka Sūtra) emphasizes the universality of Buddha nature and the path to enlightenment
  • Basis for the development of Tendai and Nichiren schools of Buddhism in Japan
• Amitābha Sutra (Sukhāvatīvyūha Sūtra) describes the Pure Land of Amida Buddha and the practice of nembutsu (recitation of Amida's name)
  • Foundation for the Pure Land school of Buddhism
• Vimalakīrti Sutra presents the teachings of the layman bodhisattva Vimalakīrti and the concept of non-duality
• Flower Garland Sutra (Avataṃsaka Sūtra) expounds the interconnectedness of all phenomena and the path of the bodhisattva
  • Influential in the development of the Kegon school of Buddhism
• Heart Sutra (Prajñāpāramitā Hṛdaya) encapsulates the essence of Mahayana Buddhist teachings on emptiness and wisdom

Major Artistic Styles

• Tori style, named after the sculptor Kuratsukuri no Tori, characterized by elongated proportions and linear drapery
  • Exemplified in the Shaka Triad at Hōryū-ji temple
• Hakuhō style, influenced by Tang dynasty China, featuring more naturalistic and voluminous figures
  • Seen in the clay sculptures of the Kondo at Hōryū-ji and the Yakushi Triad at Yakushi-ji
• Tenpyō style, a refinement of the Hakuhō style with increased elegance and softness in sculptural forms
  • Represented by the Fukūkensaku Kannon at Hōryū-ji and the Rushana Buddha at Tōdai-ji
• Painting styles influenced by Chinese and Korean traditions, such as the use of mineral pigments and silk or paper supports
  • Wall paintings at Hōryū-ji and Hōrin-ji showcase the adaptation of continental styles

Notable Artworks and Monuments

• Hōryū-ji temple complex in Nara, oldest surviving wooden structures in the world
  • Kondō (Golden Hall) houses the Shaka Triad and clay sculptures
  • Five-story pagoda, an iconic example of Japanese Buddhist architecture
• Tōdai-ji temple in Nara, commissioned by Emperor Shōmu as a symbol of imperial power and national unity
  • Great Buddha Hall (Daibutsuden) houses the colossal bronze statue of Vairocana Buddha
• Yakushi-ji temple in Nara, known for its symmetrical layout and the Yakushi Triad in the main hall
• Tōshōdai-ji temple in Nara, founded by the Chinese monk Jianzhen (Ganjin) and known for its unique architectural style
• Shūmisen (Sumeru) world map mandala at Hōryū-ji, an early example of Japanese Buddhist cartography

Techniques and Materials

• Sculpture techniques include wood carving, dry lacquer (kanshitsu), and bronze casting
  • Dry lacquer technique involves layering hemp cloth soaked in lacquer over a clay core, allowing for lightweight and hollow sculptures
• Use of gold leaf and pigments to decorate sculptures and architectural elements
• Painting techniques include the use of mineral pigments on silk or paper, as well as wall paintings executed directly on plaster
• Architectural techniques include the use of wooden frames, tiled roofs, and stone foundations
  • Development of the hidden roof (nokishita) style, where the roof extends beyond the walls to protect the structure from the elements
• Incorporation of symbolic elements in temple layout and design (pagodas representing the Buddha's relics, garan layout representing the Buddhist cosmos)

Cultural and Religious Significance

• Buddhist art and architecture served as a means of spreading Buddhist teachings and values throughout Japan
  • Visual representations of Buddhist deities and narratives made the religion more accessible to the general population
• Temples and monasteries functioned as centers of learning, culture, and political power
  • Attracted scholars, artists, and aristocrats who contributed to the development of Japanese art and literature
• Buddhist art objects used in religious rituals and devotional practices
  • Sculptures and paintings venerated as embodiments of the divine and as aids to meditation and visualization
• Patronage of Buddhist art by the imperial court and aristocratic families demonstrated their piety and legitimized their authority
• Syncretism between Buddhism and indigenous Shintō beliefs led to the creation of unique artistic forms and iconography (shinbutsu shūgō)

Legacy and Later Influences

• Asuka and Nara period Buddhist art laid the foundation for the development of Japanese art and architecture in subsequent eras
  • Heian period (794-1185) saw the emergence of new Buddhist schools (Tendai, Shingon) and artistic styles (jōdai-yō)
• Iconographic and stylistic elements established during this period continued to influence Japanese Buddhist art for centuries
• Techniques and materials developed in the Asuka and Nara periods, such as dry lacquer sculpture and bronze casting, were refined and adapted over time
• Buddhist art and architecture of this period have become iconic symbols of Japanese cultural heritage
  • Hōryū-ji and Tōdai-ji are recognized as UNESCO World Heritage Sites
• Revival of interest in Asuka and Nara period art during the Meiji period (1868-1912) and the development of art historical scholarship in Japan
  • Okakura Kakuzō's "The Ideals of the East" (1903) and Fenollosa's "Epochs of Chinese and Japanese Art" (1912) introduced Japanese art to Western audiences