NOte S ・ This catalogue accompanies the exhibitionJapanese 外ーれ 5 な 2 化 5- / 0 ーんど外 / 4 ゞィ / 、お / 〃ど , の・な , お加〃 , held at the Tokyo National Museum from March 20 [ 0 June 10 , 2012 , an exhibition also held atthe Nagoya/Boston Museum ofFine Arts from June 23 [ 0 September 17 , 2012 and 丘 om September 29 [ 0 December 9 , 2012 ; atthe Kyushu NationaI Museum fromJanuary 1 to March 17 , 2013 ; and at the OsakaCityMuseum offineArts 丘 om April 2 toJune 16 , 2013. ・ catalogue numbers correspond [ 0 the exhibition labels but not necessarily [ 0 the order 0f display in the exhibition. ・ The objects in the List ofWorks appear in the following order: catalogue number, title, artist, quantity, material and production technique, dimensions in centimeters), periOd and date, and collection. ・ Object commentaries were written by the following persons, as indicated by the name following each entry: Anne Nishimura Morse, ldo Misato, and Wu Chinghsin ofthe Museum ofFine Arts, Boston; Okimatsu Kenjiro, Oyama Yuzuruha, Kanai Hiroko, Kunigo Hideaki, Sakai Motoki, Tazawa Hiroyoshi, and Maruyama Shiro ofthe Tokyo NationaI Museum; Kobayashi Tatsuro ofthe National Research lnstitute for CuIturaI Properties, Tokyo; lnoue Hitomi ofthe Nagoya/Boston Museum ofFine Arts; Hata Yasunori, Morizane Kumiko, and Washizu Katsura ofthe Kyushu National Museum; and Chinen Satoru ofthe Osaka City Museum offine Arts. ・ Thematic essays were written by Anne Nishimura Morse, Tsuji Nobuo (Director ofthe MIHO MUSEUM), and Tazawa Hiroyoshi. ・ Chapter essays were written by lnoue Hitomi, Okimatsu Ke 可 iro, Kanai Hiroko, Kunigo Hideaki, Chinen Satoru, Tazawa Hiroyoshi, and Sakai Motoki. ・ Feature columns were written by Philip Meredith and Tanya Uyeda of the Museum ofFine Arts, Boston, lnoue Hitomi, Kanai Hiroko, Kunigo Hideaki, Chinen Satoru, Tazawa Hiroyoshi, and Sakai Motoki. ・ Japanese translations are by lhara Rieko and English translations are by Maik0 Behr. ・ The majority ofphotographic images were provided by and reproduced with the permission ofthe Museum ofFine ArtS, Boston. ・ This catalogue was edited by the Tokyo National Museum, Nagoya/Boston Museum ofFine Arts, Kyushu National Museum, Osaka City Museum offine Arts, Museum ofFine Arts, Boston, NHK, and NHKPromotions lnc.

JAPANESE MASTERPIECES FROM THE MUSEUM OF 日 N を ARTS, BOSTON TOkyo Exhibition Tokyo National Museum Tuesday, March 20—Sunday,June 10 , 2012 Organized by T0kyo National Museum, Museum ofFine Arts, Boston, NHK, NHK Promotions lnc. , and The Asahi Shimbun Nagoya Exhibition Nagoya/Boston Museum ofFine Arts First period: Saturday,June 23—Monday, September 17 , 2012 Second period: Saturday, September 29—Sunday, December 9 , 2012 Organized by Nagoya/Boston Museum ofFine Arts, Museum ofFine Arts, Boston, NHK Nagoya Station, and NHK PlanNet, lnc. Chubu Branch Office Fukuoka Exhibition Kyushu National Museum Tuesday,January 1—Sunday, March 17 , 2013 Organized by Kyushu National Museum, Museum ofFine Arts, Boston, NHK Fukuoka Station, NHK PlanNet, lnc. Kyushu Branch Office, and The Nishinippon Shimbun Osaka Exhibition Osaka City Museum offine Arts Tuesday, April 2—Sunday,June 16 , 2013 Organized by Osaka City Museum offine Arts, Museum 0fFine Arts, Boston, NHK Osaka Station, NHK PlanNet, lnc. Kinki Branch Office, and The Asahi Shimbun Supported by The Ministry ofForeign Affairs ofJapan and Embassy ofthe United States inJapan Sponsored by SompoJapan lnsurance lnc. , Dai Nippon Printing Co. , Ltd. , Toyo い Motor Corporation, Mizuho Bank, Ltd. , and Mitsui & Co. , Ltd.

FROM = 円 1 - T れ is ex れわめ n was 0 「 0 Qf Fine Arts, Boston nd the TOkyo NationaI Museum. d Osaka City M useum Of fine ArtS. リ八にな ) ・第Ⅳ『い BOSTON

JAPANESE MASTERPIECES FROM THE MUSEUM OF 日、 E ARTS, BOSTON Publishedon March20, 20 に Edited by Tokyo NationalMuseum,Nagoya/BostonMuseum ofFincArts, Kyushu National Museum, OsakaCityMuscum offineArts,Museum ofFineArts, Boston,NHK,andNHK PromotionsInc. Translated by lhara RiekoandMaiko Bchr Designed by D CODE lnc. Printed by Dai Nippon PrintingCo. ,Ltd. Published by NHKand NHK l)romotionslnc. @2012-2013TokyoNationalMuscum.Nagoya/BostonMuseumofFineArts.KyushuNationalMuseum, OsakaCityMuseumoffineArts,MuseumofFineArts, Boston,NHK,andNHK Promotionslnc. Allrightsreserved. AII oranypartofthispublicationmaynotbereprintednorreproducedwithoutpcrmission fromthepublishers. AllphotographsofobjectsinthecollectionoftheMuseumofFineArts,Boston @2012-2013MuseumofFincArts, Boston. TextsbyAnneNishimuraMorsc, PhiIipMcrcdith,TanyaUyeda,IdoMisato,andWuChinghsin 020 に一 20 い Mu 、 eum ( ) 「ト incA 「い , Boston.

Message The Museum of Fine Arts, Boston is privileged to have the most extensive collection of Japanese art in the West. Our holdings first achieved prominence in the late nineteenth and early twentieth centuries through the leadership of a group of far-sighted New England collectors and curators. Edward Sylvester Morse, Ernest Francisco Fenollosa, William Sturgis Bigelow, and Charles G0ddard Ⅵ ld , and their Japanese colleague Okakura Kakuzo were passionate not only about acquiring the best possible examples of Japanese art but also about ensuring their collections would promote understanding Of Japan's rich cultural heritage. TOday our Museum continues tO share these aspirations and strives tO make our holdings available tO the public through exhibitions, publications, and the worldwide web. We are pleased tO present such great masterworks in this exhibition. The preparations for the show began over fifteen years ago when teams Of Japanese scholars came tO BOSton tO collaborate with our curators in recataloging our paintings, sculptures and decorative arts through support from the Kajima Foundation for the Arts. The surveys confirmed the importance Of many works and brought attention tO several Others that are exhibited here for the first time: the thirteenth-century painting 行 ro たリ , the B0d 覊なⅧ可 the F 尾 , の 1 イ Two A な e 〃 d ロ〃な , the fan compositions attributed tO Kano Motonobu and Kano Shoei, the seventeenth- century screen House 可刊 e 肝 e , and the fusuma 0f Dragon の C10 リホ by Soga Sh0haku. During the last five years our conservation staffhas also worked closely with colleagues from Japan in the meticulous treatment and remounting Of the works Of art. ln organizing this exhibition we have greatly enjoyed working in partnership with NHK, NHK Promotions lnc. and the T0kyo National Museum, as well as the Nagoya/ Boston Museum Of Fine Arts, Kyushu National Museum, and Osaka City Museum offine Arts. Thirty years ago the Museum of Fine Arts sent an exhibition of our masterworks tO Japan. At that time a young student came down from Sendai t0 T0kyo specifically t0 take notes on one 0f our screens. T0day that student has gone on tO become the primary co-curator for this exhibition. He recounts that on that occasion he was particularly inspired by viewing another work ⅲ that exhibition, the twelfth-century handscrolls イⅲな t K ル Ad 怩れ r おⅲ C んれロ . Ⅵ are thrilled to be able to send these handscrolls again together with many Of our Other treasures and sincerely hope that this shOW will likewise enthuse a new generation oflovers ofJapanese art. MaIcolm Rogers AnnandGraham GundDirector MuseumofFineArts, Boston

Fore 、 lt gives us great pleasure tO present the exhibition / ロ 2 れおビイロ e 叩 c い 0 川 the レ se レ川 OfFine Arts, B05 れ , which brings together the finest examples Of Japanese art from the monumental Asian art collection ofthe museum. Highlights 0f this exhibition include two 0f the greatest Japanese illustrated handscrolls outside 0f Japan, 石れな r K Ad 怩れル r ぉⅲ C んれ 4 and the 月ん計 ra d Scrolls 可 e お怩れな可 e Heiji Era, which will be shown ⅲ their entirety; as well as the priceless Nara-period Buddhist painting S 〃ロた 4 , the H な c 記 Buddha, P 尾“ん〃 g 0 れⅥ市肝 e Pe ん ; masterworks 0f medieval ink painting exemplified by Sh0kei's ん 4 れホ c 叩 e ; and gems 0f early modern painting by masters such as Hasegawa T0haku and Ogata Korin. lndeed, this is truly the largest-scale exhibition 0fJapanese art from the Museum of Fine Arts, Boston, ever t0 be held. William Sturgis Bigelow was a major contributor to the formation Of the Boston Museum Of Fine Arts' Japanese collection, which now exceeds 100 , 000 works 0f art. Through the cooperation 0f Japanese and American specialists, the Museum Of Fine Arts has conducted a major conservation and restoration project over the past five years t0 mark the hundredth anniversary 0f Bigelow's gift ofhis collection t0 the museum. The current exhibition unveils the fruits of this project t0 the world for the first time. Among the works deserving special mention are the thirteenth-century Four G レ 4 れ Kings by Chomyo, which have been restored to their vivid former colors, and the eighteenth-century genius Soga Sh0haku's Dragon 4 れ d C10 リホ , which has regained its dynamic original form as mounted / レ 5 リ″ za panels. Reviving these works Of Japanese art that have left our shores and reintroducing them t0 the public not only broadens the reach of Japanese culture overseas, but alSO encourages amicable relations abroad through international cultural exchange. The current exhibition will travel across Japan over the course Of approximately fifteen months, starting at the Tokyo National Museum and continuing to the Nagoya/Boston Museum of Fine Arts, Kyushu National Museum, and Osaka City Museum offine Arts. We hope that you will enjoy the once-in-a-lifetime opportunity tO view this outstanding assemblage Of enchanting treasures Of Japanese art that once made their way across the sea. ln closing, we would like t0 extend our heartfelt gratitude t0 the Museum 0fFine Arts, Bost011' for lending its treasured collection, and tO the many Others whose support' assistance' and cooperation have made this exhibition possible. TheJapanese Organizers

( ) Morse. Japan Day byDay, vol. 2. p. 223. 『日本その日その日 3 』五四頁。 ( 幻 ) William Sturgis BigeIow to Henry Cabot Lodge, 30 September. 1883 published in Akiko Murakata,"Selected Letters of Dr. WiIIiam Sturgis BigeIow" (Ph. D. diss., George Washington University. 1971 ). p. 67 ・ 68. ( ) Museum Fine Arts BuIletin, no. xxiv (December 1926 ). p. 76. ( 幻 ) Description Collection ofJapanese swords (Boston: press of Coburn Bros 年 Snow 」 885 ) が、その展一小目録である。 ( 2 ) Journal of Charles A. Longfellow, Archives of Longfellow National Historic Site. Cambridge. Massachusetts cited in a letter from Christine W. Laidlaw to Frederic A. Sharf. 2 October. 1997. Archives of Art of Asia. Oceania. and Africa. Museum of Fine Arts. Boston. ( % ) Ogawa Morihiro, Japanese SWOI ・ ds 2 一】 d Sword Furni ・ ture the Museum of Fine ・ ts Boston. translated by W. Chie lshibashi (Boston: Museum of Fine Arts. Boston. 1987 ). p. 37. 。ー」『在外日本の至宝』別冊、毎日新聞社、一九八〇年、二一頁。 ( % ) 山口静一「アメリカへの移動ーー明治期・フェノロサを中心に ( ) Ernest Francisco FenoIIosa to Martin Brimmer. 12 September 1889. Tomita Kojiro papers. The Art Complex Museum, Duxbury. Massachusetts. フェノロサ自身は手書きのメモに「到達した」と記しているが、公式のタイ。フした書類では、より 控えめに「目指した」とある。 ( ) Ernest Francisco FenoIIosa to Martin Brimmer, 12 September 1889. Tomita KOjiro Papers. The Art Complex Museum. Duxbury. Massachusetts. これは同日二通目の書簡である。 ( 四 ) "Report of the Committee on the Museum," Annual Report of the Museum 0f Fine Arts, Boston ( 1890 ). p. 10. ( ) Ernest Francisco FenoIIosa, "Art Museums and their Relation tO the People. ' The LO ( os. no. 11 (May 1896 ). p. 845 ・ 846. ( 引 ) William Sturgis BigeIow and John EIIerton Lodge. "Okakura-Kakuzo 1862 ー 1913J Museum of Fine 」 Arts Bulletin, 11. no. 67 (December 1913 ). p. 79. ( ) paul Chalfin,"Report of the Curator of the Chinese and Japanese Department," Annual Report Of the Museum 0f Fine 」 A s. Boston ( 1904 ). や 66. ( ) Memorandum of Okakura's Conversation with E. R.. 13 February 1905. Archives. Museum of Fine Arts. Boston. ( 引 ) Okakura Kakuzo to John EIIerton Lodge, 4 May 1913. Archives. Museum of Fine Arts, Boston. ( ) Notes of Address Delivered by Mr. Okakura to the Committee on the Museum. 23 February 1905. Archives. Museum of Fine Arts. Boston. 024

Prologue: The Birth ofthe Collection The Japanese art collection ofthe Museum of Fine Arts, Boston, first took shape through the contributions oftwo Bostonians, Ernest Francisco Fen0110sa ( 1853 ー 1908 ) and WiIIiam Sturgis Bigelow ( 1850 ー 1926 ) , who came to Japan ⅲ quick succession in the late 1870S and 1880S. During their time in Japan, they conducted surveys ofJapanese antiquities and acquired art with intense energy. Their collections encompassed a broad range ofperiods and genres, from eighth-century Buddhist images t0 paintings by medieval, early modern, and even Meiji-era artists, as well as ukiyo-e prints, Buddhist sculptures, swords, textiles, and more. After returning to the United States, FenoIIosa became the curator ofJapanese art and Bigelow a trustee Ofthe Museum of Fine Arts, Boston, and their extensive collections were gifted tO the museum. ln 1904 , Okakura Kakuzo (Tenshin, 1863 ー 1913 ) , who had trained under Fenollosa, took a position at the museum, where he worked tirelessly tO expand the Asian art collections as head ofthe Chinese and Japanese Art department. Through the efforts ofthese three figures— Fen0110sa, Bigelow, and Okakura—a foundation was built for the Museum ofFine Arts collection, upon which it would rise tO become what is now considered the premier collection ofJapanese List ofWorks art held outside ofJapan. 1 (lnoue Hitomi) Portrait ofWiIIiam Sturgis Bigelow Attributed [ 0 Kobayashi Eitaku ( 1843 Hanging scroll;ink on silk 56.7X41.6 cm Meijiera, 1882 ー 89 (Meiji 15 ー 22 ) WiIIiam Sturgis BigeIow CoIIection 11.9221 2 Portrait ofOkakura Kakuzo By Hiragushi Denchu ( 1872 ー 1979 ) Wood with bamboo Height offigure: 112.0 cm Showa era, dated 1963 (Showa 38 ) Gift ofHiragushi Denchu 63.2397 3 Landscape: Scenes along the River By Kano Hogai ( 1828 ー 88 ) ー 90 ) Panel; ink on paper 61.6x 136.7 cm Meiji era, dated about 1885 (Meiji 18 ) FenoIlosa-Weld Collection 11.4805 4 Benzaiten, the Goddess ofMusic and Good Fortune, a ByHashimoto Gaho ( 1835 ー 1908 ) Panel; ink, C010r , and gold on paper 119.4x 76.9 cm Meiji era, dated about 1886 (Meiji 19 ) WiIIiam Sturgis Bigelow Collection 11.8728 Part I: Buddhist Deities and Shinto Manifestations The Buddhist art collection of the Museum of Fine Arts, Boston, is widely celebrated for its preeminent quality among Western collections. There are 260 Buddhist paintings—including syncretic images—comprised 0f a total 0f326 individual objects and ranging from the Nara period t0 the Meiji era, with works from the Bigelow and Fen0110sa-WeId collections at their core. An additional eighty-four Buddhist and ShintO sculptures comprised ofninety-seven individual objects date from the Asuka period tO the Meiji era and came to the museum primarily from the Bigelow collection and donor gifts. lncluded among both the paintings and sculptures are major works obtained for the museum by Okakura Kakuzo through funds dedicated specifically for the acquisition 0f Chinese and Japanese art. The stunning discernment not only of Okakura, but also ofBostonians BigeIow and Fenollosa is evident in this exceptional selection ofmasterpieces, many ofwhich, had they remained in Japan, would surely have merited designation as National Treasures or lmportant CulturaI Properties. This section of the exhibition presents seventeen Buddhist paintings, including S んロ , the H なね c 記 B リイ d 〃ロ , P 尾“ん 0 〃Ⅵ市肝 e Peak ( Ho ん do た 0 叩 0 れ川のロ ra , NO. 5 ) , and four sculptures, including the standing M 炉レ , the B んなⅧ可 e 様化 ( No. 23 ) by Kaikei. (Okimatsu Kenjiro) 5 Shaka, the Historical Buddha, Preaching on Vulture Peak panel; ink, color, and gold on ramie 107.1 x 143.5 cm Nara period, 8th century WiIIiam Sturgis Bigelow C011ection 11.6120 6 Nyoirin Kannon, the B0dhisattva of Compassion with the Wish-grantingJeweI and the Magic Wheel panel; ink, C010r , gold and silver on silk 98.8X44.7cm Heian period, 12th century Fenollosa-Weld Collection 1L4032 Mandala ofthe Hosso School Panel; ink, C010r , gold, and silver on silk 89.2X58.3 cm Heian—Kamakura period, latter halfofthe 12th century Fenollosa-Weld Collection 11.4053 10 Bishamonten, the Guardian ofthe North, with his Retinue PaneI; ink, color, go 旧 , and silver on silk 119.1X68. lcm Heian—Kamakura period, late 12th—early 13th century SpeciaI Chinese and Japanese Fund 05.202 11 lchiji kinrin, the Cosmic Buddha ofthe Golden Wheel Panel; ink, C010r , gold, and silver on silk 117.9X78.5 cm Kamakura period, beginning ofthe 13th century Fenollosa-Weld Collection 11.4039 12 7 Bato Kannon, the Horse-headed Bodhisattva ofCompassion Panel; ink, color, gold, and silver on silk 166.1 X82.7cm Heian period, mid-12th century Fenollosa-Weld Collection 11.4035 8 Fugen enmei, the B0dhisattva 0fUniversal Virtue who Prolongs Life Panel; ink, color, gold, and silver on silk 141.7X88.3 cm Heian period, mid-12th century Fenollosa-Weld Collection 11.4036 9 Daiitoku myoo, the Wisdom King ofGreat 、 ve-inspiring Power Panel; ink, color, gold and silver on silk 113.3X65.2 cm Kamakura period, first halfofthe 13th century Fenollosa-Weld Collection 11.4037 Miroku, the Buddha ofthe Future, and Two . Attendants Panel; ink, C010r , and gold on silk 110.0X56.1 cm Kamakura period, 13th century Special Chinese and Japanese Fund 06.1903 14 Miroku, the Bodhisattva ofthe Future, and TWO 、 Attendants Hanging scroll; ink, color, and gold on silk 115.8x51.7cm Kamakura period, first halfofthe 13th century WiIIiam Sturgis Bigelow CoIlection 11.6182 lconographic Drawing ofMiroku, the Buddha ofthe Future PaneI; ink and color on paper 92.6 x 80 cm Kamakura period, first halfofthe 13th century WiIIiam Sturgis Bigelow Collection 11.6237