2. Goggle-Eyed Dogū, excavated from the
Tsurugaoka site, Aomori prefecture, 1000-400 BC,
Jōmon period, earthenware, 36.7 cm.
3. Goggle-Eyed Dogū, excavated from the
Tsurugaoka site, Aomori prefecture,
1000-400 BC, Jōmon period,
earthenware, h. 36.7 cm.
4. Goggle-Eyed Dogū, excavated from the
Tsurugaoka site, Aomori prefecture,
1000-400 BC, Jōmon period,
earthenware, h. 36.7 cm.
Woman of Willendorf, 30,000-25,000 BC,
limestone, h. 11 cm.
5. Goggle-Eyed Dogū, excavated from
the Tsurugaoka site, Aomori
prefecture, 1000-400 BC, Jōmon
period, earthenware, h. 36.7 cm.
Dragon Quest IV (video game, 1990);
“Ancient Japan attacked by Aliens,” a
children’s book, 1970s; a monster character
from a live action TV series, 2000s.
6. Storage Jar, 100-300 AD, Yayoi period,
earthenware with incised decoration, h. 25.4 cm;
diam. 22.9 cm.
7. Haniwa figurines
From left (clockwise): Haniwa Warrior, 6th century,130.5 cm; Monkey,
6th century, 27.3 cm; House, 5th century, 54.5 cm; Dog, 6th century,
47.1 cm; Dancing People, 6th century, 64.1 cm; 57 cm, Kofun period,
earthenware.
8. Arrangement of haniwa
on the roof of a kofun
(old mound) tumulus
Key hole shaped kofun
Tomb of Emperor Nintoku
(d.399), Sakai, Osaka, 5th
century, Kofun period, main axis
length 486 m; h. 35 m.
9. Haniwa Warrior (from Izuka-chō, Gunma
prefecture), 6th century, Kofun period,
earthenware, 130.5 cm.
10. Haniwa Warrior (from Izuka-chō, Gunma
prefecture), 6th century, Kofun period,
earthenware, 130.5 cm.
Terracotta Soldiers, from the tomb of
Qin Shihuangdi, c. 210 BC,
earthenware, life-size.
12. Shinmei zukuri 神明造り
• 3 bays wide and 2 bays deep
• Entrance on the long side
• Built on a raised floor,
supported by round pillars
(hottate bashira)
• Surrounded by a veranda
• The entire bottom part is
capped by the gabled roof
• Pillars on short ends support
the roof
• No windows and the interior
contains only one room
Main Hall, Inner Shrine of Ise Shrine, Mie
prefecture, last rebuilt 2013.
13. Hōryūji temple, Ikaruga, Nara prefecture, original 607 (destructed in
fire 670), reconstructed c. 711, Asuka-Nara period.
14. Aerial view of Hōryūji temple, c. 711;
reconstruction view of original Hōryūji
temple, 607.
Plan of Hōryūji temple, as it is
today.
17. Tori Busshi, Shaka Triad, Golden Hall, Hōryūji
temple, Ikaruga, Nara, 623, Asuka period, gilt
bronze, 116.8 cm.
18. Tori Busshi, Shaka Triad, Golden Hall, Hōryūji
temple, Ikaruga, Nara, 623, Asuka period, gilt
bronze, 116.8 cm.
Shakyamuni Buddha group, Binyangdong,
Longmen cave temple, Henan, 6th c., late
Northern Wei dynasty, stone.
19. Tori Busshi, Shaka Triad, Golden Hall, Hōryūji
temple, Ikaruga, Nara, 623, Asuka period, gilt
bronze, 116.8 cm.
Meditating Buddha, Koguryo, Korea,
6th c., gilt bronze, 6.6 cm.
20. Jātaka Tale of Hungry Tigress, on the
side panel of Tamamushi Shrine, Hōryūji
temple, c. 650, lacquer on wood.
Tamamushi Shrine, Hōryūji temple, c.
650, Asuka period, cypress and camphor
wood with lacquer, 233 cm.
21. Jātaka Tale of Hungry Tigress, on the
side panel of Tamamushi Shrine, Hōryūji
temple, c. 650, lacquer on wood.
22. Yakushi Triad, Golden Hall, Yakushi-ji temple, Nara, late 7th-early 8th c., Nara
period, bronze, h. Yakushi (center), 254 cm; Nikkō (right), 317.3 cm; Gakkō (left),
315.3 cm.
23. Gakkō (Moonlight) Bodhisattva, Yakushi Triad,
Golden Hall, Yakushi-ji temple, Nara, late 7th-early
8th c., Nara period, bronze 315.3 cm.
Buddha, late 1st-3rd c., Gandhara, Kushan
period, Phyllite, 182.9 cm.
24. Gakkō (Moonlight) Bodhisattva, Yakushi Triad,
Golden Hall, Yakushi-ji temple, Nara, late 7th-early
8th c., Nara period, bronze 315.3 cm.
Attendant Bodhisattva, from the
Vairocana Buddha group, Longmen cave
temple, 672-675, Tang dynasty, stone.
25. Tori Busshi, Shaka Triad, Golden Hall, Hōryūji
temple, Ikaruga, Nara, 623, Asuka period, gilt
bronze, h. 116.8 cm.
Yakushi (Medicine) Buddha, Golden Hall,
Yakushi-ji temple, Nara, late 7th-early 8th c.,
Nara period, bronze, h. 254 cm.
26. Vairocana Buddha, Longmen cave temple,
672-675, Tang dynasty, stone, 13.37 m.
Yakushi (Medicine) Buddha, Golden Hall,
Yakushi-ji temple, Nara, late 7th-early 8th c.,
Nara period, bronze, h. 254 cm.
27. Greek “grape vines” motif
Persian “lotus flower” motif
Indian “yaksha” figures
4 Chinese mythological animals:
- Blue Dragon (east)
- White Tiger (west)
- Red Phoenix (south)
- Black Turtle/snake (north)
The base of Yakushi Buddha, seen from the west.
28. A scene from Kashiwagi chapter, The Tale of Genji Scrolls, 12th c., Heian period,
handscroll; ink and color on paper, 21.9 x 41.9 cm.
29. Kana かな (平仮名)
The development of
kana phonograms,
abstracted from
kanji (Chinese
characters).
47 kana phonograms in modern standard forms
30. Emaki-mono 絵巻物 (Illustrated Narrative Handscroll)
Meant to be unrolled from
right to left and read/viewed
in segments of about 2 feet
each.
31. A scene from Kashiwagi chapter, The Tale of Genji Scrolls, 12th c., Heian period,
handscroll; ink and color on paper, 21.9 x 41.9 cm.
32. Formerly attributed to Toba Sōjō, details of Frolicking of Animals, volume 1, 12th c.,
Heian period, handscroll; ink on paper, 31 cm x 1150 cm.
33. Detail of Night Attack on Sanjō Palace, from The Tale of Heiji Scrolls, second half of
13th c., Kamakura period, handscroll; ink and color on paper, 45.9 x 774.5 cm.
34. Detail of Night Attack on Sanjō Palace, from The Tale of Heiji Scrolls, second half of
13th c., Kamakura period, handscroll; ink and color on paper, 45.9 x 774.5 cm.
The inscription on the reverse side of the halo: the deaths of two court ladies and the illness of Prince Shōtoku and his consort in 621 motivated Empress Suiko to commission Tori Busshi to create this triad; votive offering to promote Shōtoku’s recovery, and his rebirth in paradise.
The inscription on the reverse side of the halo: the deaths of two court ladies and the illness of Prince Shōtoku and his consort in 621 motivated Empress Suiko to commission Tori Busshi to create this triad; votive offering to promote Shōtoku’s recovery, and his rebirth in paradise.
The inscription on the reverse side of the halo: the deaths of two court ladies and the illness of Prince Shōtoku and his consort in 621 motivated Empress Suiko to commission Tori Busshi to create this triad; votive offering to promote Shōtoku’s recovery, and his rebirth in paradise.