individuals. Unlike the Genji scrolls, short segments of text and pic-
tures do not alternate. Instead, the painters took advantage of the
scroll format to present several scenes in a long, unbroken stretch.
For example, the first scroll shows the same travelers at several stages
of their journey through a continuous landscape.
The Mount Shigi scrolls illustrate three miracles associated with
a Buddhist monk named Myoren and his mountaintop temple. The
first relates the story of the flying storehouse (FIG. 8-15) and depicts
Myoren’s begging bowl lifting the rice-filled granary of a greedy
farmer and carrying it off to the monk’s hut in the mountains. The
painter depicted the astonished landowner, his attendants, and sev-
eral onlookers in various poses—some grimacing, others gesticulat-
ing wildly and scurrying about in frantic amazement. In striking
contrast to the Genji scroll figures, the artist exaggerated each feature
of the painted figures, but still depicted the actors and architecture
seen from above.
Kamakura Period
In the late 12th century, a series of civil wars between rival warrior
families led to the end of the Japanese imperial court as a major po-
litical and social force. The victors, headed by the Minamoto family,
established their shogunate (military government) at Kamakura in
eastern Japan. The imperial court remained in Kyoto as the theoret-
ical source of political authority, but actual power resided with the
shoguns.The first shogun was Minamoto Yoritomo, on whom the
emperor officially bestowed the title in 1185. The ensuing period of
Japanese art is called the Kamakura period (1185–1332), named for
218 Chapter 8 JAPAN BEFORE 13338-15The flying storehouse, fromLegends of Mount Shigi,Heian period, late 12th century. Handscroll, ink and colors on paper, 1–^12 high.
Chogosonshiji, Nara.
This Heian handscroll is very different from the Genjiscroll (FIG. 8-14) in both subject and style. The artist exaggerated each feature of the
gesticulating and scurrying figures in this Buddhist miracle story.
the locale. During the Kamakura shogunate, more frequent and pos-
itive contact with China brought with it an appreciation for more re-
cent cultural developments there, ranging from new architectural
styles to Zen Buddhism.SHUNJOBO CHOGEN Rebuilding in Nara after the destruc-
tion the civil wars inflicted presented an early opportunity for archi-
tectural experimentation. A leading figure in planning and directing
the reconstruction efforts was the priest Shunjobo Chogen (1121–
1206), who is reputed to have made three trips to China between
1166 and 1176. After learning about contemporary Chinese archi-
tecture, he oversaw the rebuilding of Todaiji, among other projects,
with generous donations from Minamoto Yoritomo. Chogen’s por-
trait statue (FIG. 8-16) is one of the most striking examples of the
high level of naturalism prevalent in the early Kamakura period.
Characterized by finely painted details, a powerful rendering of the
signs of aging, and the inclusion of such personal attributes as
prayer beads, the statue of Chogen exhibits the carving skill and style
of the Kei School of sculptors (see “Heian and Kamakura Artistic
Workshops,” page 219). The Kei School traced its lineage to Jocho, a
famous sculptor of the mid-11th century. Its works display fine
Heian carving techniques combined with an increased concern for
natural volume and detail learned from studying, among other
sources, surviving Nara period works and sculptures imported from
Song China. Enhancing the natural quality of Japanese portrait stat-
ues is the use of inlaid rock crystal for the eyes, a technique found
only in Japan.1 in.8-16AUNKEI,
Agyo, Todaiji,
1203.8-16BKOSHO,
Kuya preaching,
early 13th
century.