This is a long horizontal scroll with several calligraphic inscriptions on the right portion of the paper. On the left are 3 figural scenes. The one closest to the writing shows a male figure wearing a large headdress seated in the lotus position within a circle. Next there is a figure with four arms who stands on the back of a dragon. Two people stand on either side- one a short blue-skinned man who holds a bowl and the other a smaller figure who holds a brush and paper. The third scene shows a male figure, seated in the lotus position, who holds a sword, a wheel, a brush and paper in his four hands.
Subject Matter
In esoteric Buddhism and other Buddhist sects, chanting sutras is an important part of spiritual practice. The central deity depicted in this sutra is Suiten, the god of waters known in Hindu as Varuna. In Japan, Suiten was associated not only with the sea, but also with fishermen and a variety of mythical water creatures, including dragons and snakes. Here, Suiten is astride a giant water dragon. The fierce deity on the far left clasps a wheel of dharma (associated with the law but also with the concept of fate) and a sword for vanquishing evil. He also holds a brush and scroll, characteristic of Komokuten, one of the Mantra Kings in esoteric Buddhism, known for their wisdom and responsibility. Komokuten represents limitless vision and is commonly depicted with nagas, or serpents like the ones writhing outwards from his hair.
Label Copy
In esoteric Buddhism and other Buddhist sects, chanting sutras is an important part of spiritual practice. The word sutra comes from the Sanskrit root meaning “to sew”; thus, a sutra is a thread of discourse or teachings. For centuries, sutras have been studied and recited in order to attain an understanding of the Buddhist way. They have also been copied or commissioned as an act of merit.
The central deity depicted in this sutra is Suiten, the god of waters known in Hindu as Varuna. In Japan, Suiten was associated not only with the sea, but also with fishermen and a variety of mythical water creatures, including dragons and snakes. Here, Suiten is astride a giant water dragon. The fierce deity on the far left clasps a wheel of dharma (associated with the law but also with the concept of fate) and a sword for vanquishing evil. He also holds a brush and scroll, characteristic of Komokuten, one of the Mantra Kings in esoteric Buddhism, known for their wisdom and responsibility. Komokuten represents limitless vision and is commonly depicted with nagas, or serpents like the ones writhing outwards from his hair.
Fall 2010 Gallery Rotation Natsu Oyobe April 2010
Gallery Rotation Fall 2010
Suiten kyô (Sutra of Varuna, Deity of the Waters)
Japan, late Kamakura Period (1288–1339) to Nambokuchô Period (1336–92)
circa 1300–1335
Handscroll, ink, and color on paper
Gift of Harold Phillip Stern, presented in memory of Archibald Gibson Wenley, 1964/2.104
In esoteric Buddhism and other Buddhist sects, chanting sutras is an important part of spiritual practice. The word sutra comes from the Sanskrit root meaning “to sew”; thus, a sutra is a thread of discourse or teachings. For centuries, sutras have been studied and recited in order to attain an understanding of the Buddhist way. They have also been copied or commissioned as an act of merit.
The central deity depicted in this sutra is Suiten, the god of waters known in Hindu as Varuna. In Japan, Suiten was associated not only with the sea, but also with fishermen and a variety of mythical water creatures, including dragons and snakes. Here, Suiten is astride a giant water dragon. The fierce deity on the far left clasps a wheel of dharma (associated with the law but also with the concept of fate) and a sword for vanquishing evil. He also holds a brush and scroll, characteristic of Komokuten, one of the Mantra Kings in esoteric Buddhism, known for their wisdom and responsibility. Komokuten represents limitless vision and is commonly depicted with nagas, or serpents like the ones writhing outwards from his hair.
Inscription
Suiten line 6 vam pra line 7 vam Myoken line 2 a Shingon (lines 13-14) (13) Mu ti te tu su stu a tya mi sta u tu stu ku ki stu bha ru te stu (14) ya vi nya stu u tu stu ku ra ra te stu ki stu ma ta svaha.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
This is a long horizontal scroll with several calligraphic inscriptions on the right portion of the paper. On the left are 3 figural scenes. The one closest to the writing shows a male figure wearing a large headdress seated in the lotus position within a circle. Next there is a figure with four arms who stands on the back of a dragon. Two people stand on either side- one a short blue-skinned man who holds a bowl and the other a smaller figure who holds a brush and paper. The third scene shows a male figure, seated in the lotus position, who holds a sword, a wheel, a brush and paper in his four hands.
Subject Matter
In esoteric Buddhism and other Buddhist sects, chanting sutras is an important part of spiritual practice. The central deity depicted in this sutra is Suiten, the god of waters known in Hindu as Varuna. In Japan, Suiten was associated not only with the sea, but also with fishermen and a variety of mythical water creatures, including dragons and snakes. Here, Suiten is astride a giant water dragon. The fierce deity on the far left clasps a wheel of dharma (associated with the law but also with the concept of fate) and a sword for vanquishing evil. He also holds a brush and scroll, characteristic of Komokuten, one of the Mantra Kings in esoteric Buddhism, known for their wisdom and responsibility. Komokuten represents limitless vision and is commonly depicted with nagas, or serpents like the ones writhing outwards from his hair.
Label Copy
In esoteric Buddhism and other Buddhist sects, chanting sutras is an important part of spiritual practice. The word sutra comes from the Sanskrit root meaning “to sew”; thus, a sutra is a thread of discourse or teachings. For centuries, sutras have been studied and recited in order to attain an understanding of the Buddhist way. They have also been copied or commissioned as an act of merit.
The central deity depicted in this sutra is Suiten, the god of waters known in Hindu as Varuna. In Japan, Suiten was associated not only with the sea, but also with fishermen and a variety of mythical water creatures, including dragons and snakes. Here, Suiten is astride a giant water dragon. The fierce deity on the far left clasps a wheel of dharma (associated with the law but also with the concept of fate) and a sword for vanquishing evil. He also holds a brush and scroll, characteristic of Komokuten, one of the Mantra Kings in esoteric Buddhism, known for their wisdom and responsibility. Komokuten represents limitless vision and is commonly depicted with nagas, or serpents like the ones writhing outwards from his hair.
Fall 2010 Gallery Rotation Natsu Oyobe April 2010
Gallery Rotation Fall 2010
Suiten kyô (Sutra of Varuna, Deity of the Waters)
Japan, late Kamakura Period (1288–1339) to Nambokuchô Period (1336–92)
circa 1300–1335
Handscroll, ink, and color on paper
Gift of Harold Phillip Stern, presented in memory of Archibald Gibson Wenley, 1964/2.104
In esoteric Buddhism and other Buddhist sects, chanting sutras is an important part of spiritual practice. The word sutra comes from the Sanskrit root meaning “to sew”; thus, a sutra is a thread of discourse or teachings. For centuries, sutras have been studied and recited in order to attain an understanding of the Buddhist way. They have also been copied or commissioned as an act of merit.
The central deity depicted in this sutra is Suiten, the god of waters known in Hindu as Varuna. In Japan, Suiten was associated not only with the sea, but also with fishermen and a variety of mythical water creatures, including dragons and snakes. Here, Suiten is astride a giant water dragon. The fierce deity on the far left clasps a wheel of dharma (associated with the law but also with the concept of fate) and a sword for vanquishing evil. He also holds a brush and scroll, characteristic of Komokuten, one of the Mantra Kings in esoteric Buddhism, known for their wisdom and responsibility. Komokuten represents limitless vision and is commonly depicted with nagas, or serpents like the ones writhing outwards from his hair.
Inscription
Suiten line 6 vam pra line 7 vam Myoken line 2 a Shingon (lines 13-14) (13) Mu ti te tu su stu a tya mi sta u tu stu ku ki stu bha ru te stu (14) ya vi nya stu u tu stu ku ra ra te stu ki stu ma ta svaha.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
This is a vertical format painting surrounded by green and gold fabric. It is painted in tones of black with some areas of pink and blue color. It depicts a landscape scene with a cluster of small houses nestled in a craggy mountainous area. There is a river that runs through the landscape with two figures crossing a small footbridge. Other figures are shown in the open area of the village. The trees and vegetation are painted with short abbreviated brushstriokes.
Subject Matter
This painting was once attributed to Hasegawa Nobuharu (Tôhaku), one of most celebrated painters of the Momoyama Period, whose large workshop of artists decorated the walls and screens of castles occupied by flamboyant military leaders. The rocky outcroppings and dotted outlines in this painting reveal his style, but it is more likely that this work was done by one of his pupils.
Label Copy
This small village tucked in the mountains is brimming with life. Travelers carry loads with pack animals on the bottom right, and two figures trudge across a waterfall bridge with their backs bent—indicating the weight of old age or hard work. The theme of meeting recurs in the painting, as figures bow to one another in both the foreground and middleground. The majestic mountains tower upwards and seem to disappear in the skillfully suggested mist. In the background, mountain peaks created by subtle washes of blues recede into the distance.
This painting was once attributed to Hasegawa Nobuharu (Tôhaku), one of most celebrated painters of the Momoyama Period, whose large workshop of artists decorated the walls and screens of castles occupied by flamboyant military leaders. The rocky outcroppings and dotted outlines in this painting reveal his style, but it is more likely that this work was done by one of his pupils.
(Japanese Gallery Rotation, Fall 2010)
Gallery Rotation Fall 2010
Formerly attributed to Hasegawa Nobuharu (Tôhaku)
Japan, 1539–1610
Mist Clearing Over a Mountain Village
Japan, Momoyama Period (1583–1615)
late 16th–early 17th century
Hanging scroll, ink, and light color on paper
Museum purchase made possible by the Margaret Watson Parker Art Collection Fund, 1967/2.5
This small village tucked in the mountains is brimming with life. Travelers carry loads with pack animals on the bottom right, and two figures trudge across a waterfall bridge with their backs bent—indicating the weight of old age or hard work. The theme of meeting recurs in the painting, as figures bow to one another in both the foreground and middleground. The majestic mountains tower upwards and seem to disappear in the skillfully suggested mist. In the background, mountain peaks created by subtle washes of blues recede into the distance.
This painting was once attributed to Hasegawa Nobuharu (Tôhaku), one of most celebrated painters of the Momoyama Period, whose large workshop of artists decorated the walls and screens of castles occupied by flamboyant military leaders. The rocky outcroppings and dotted outlines in this painting reveal his style, but it is more likely that this work was done by one of his pupils.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
Among the upper-class samurai of Edo-period Japan (1615–1867), marriages were negotiated between families and arranged to suit political or economic concerns. Families invested considerable resources in the education and material comfort of their daughters. Lavish bridal trousseaus, once a luxury reserved for daughters of court aristocrats or the most powerful warlords, became a social necessity for any high-ranking samurai family.
A standard trousseau would include a custom-made set of over forty items, made of lacquered wood and adorned with the family crests of the bride and groom. This piece is one part of a set in the UMMA collection of items used in personal grooming: a mirror stand, a washbowl, and several cosmetic cases. The love for seasonal motifs appears here as a lively floral scroll, centered on a crest of stylized paulownia blossoms, that meanders across every object in the trousseau. There are two additional family crests scattered among the scrolls, one a chrysanthemum and the other an abstract geometric design based on the character i , for “well”.
Maribeth Graybill
“Four Seasons In Japanese Art”: Special Installation of Japanese Gallery at UMMA: Object Labels
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
Sugai lived and worked as painter, sculptor and print maker in Paris from 1952. His work is shown in major museums world-wide. He started print-making in 1952 after which it became a major part of his oeuvre. He produced some 400 prints. His style showed a major change from around 1962 when he adopted 'hard-edge' geometric imagery in contrast to he previous oriental calligraphy-influenced brush like style. [Source: http://www.wolman-prints.com/pages/artistbiog/all/s/117.html, 9/21/06]
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
The lacquer box which serves as the mirror stand usually includes a group of smaller cases to form a women's toilet set. The smaller cases hold combs, powders, brushes, and other grooming objects. The set was a necessary part of a bride's dowry which would have been carried with a bamboo pole from her home to that of her future husband.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
A native of Nagasaki, Japan, Kakutei (1722-1785) became a Zen monk in the Ôbaku School, which had been founded by emigré monks from China in the mid-seventeenth century. While he was a resident of the Seifuku-ji monastery in Nagasaki, Kakutei studied painting with Kumashiro Yûhi (1693/1713–1772), who in turn had studied Chinese decorative bird-and-flower painting with Shen Nanpin, a merchant-artist who had visited Nagasakin in the early 1770s. When Kakutei was later promoted to a position at Shiun'in, a subtemple within the vast Obaku headquarters monastery of Manpukuji, he brought the new style to the Kyoto region. He became close friends with Yanagisawa Kien (1706–58), who would inscribe many of his paintings. Kien in turn had an major influence on the growth of Chinese-style painting in 18th century Kyoto. Kakutei died in Edo (modern Tokyo).
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
