8 3 White figured silk satin with pine needle, arabesque and bamboo circle design Figured silk satin; tie-dyeing; embroidery; ん地 20 川ビ Length: 161.8 cm; center back t0 wrist: 63.9 cm Ed0 period, 18th century WiIliam Sturgis Bigelow C011ection 11.3905 8 4 んな房 BIue-and-white ramie with pleasure b0 , plum and bamboo design Ramie; yuzen dyeing; embroidery Length: 162.6 cm; center back tO wrist: 58.9 cm Ed0 period, 18th century WiIIiam Sturgis Bigelow C011ection 21.1134 BIack silkcrepe with cherryblossom and mapleleaf design SiIk crepe; embroidery Length: 156.6 cm; center back tO wrist: 59.4 cm Meiji era, 19th century WiIIiam Sturgis BigeIow Collection 11.3867 86 No robe ofthe 0 type Light green silk twill with undulating stripe and peony design SiIk twill with supplementary silk and gilt-paper wefts tied Length: 143.2 cm; center back t0 wrist: 69.5 cm Ed0 period, 17th—18th century WiIliam Sturgis Bigelow Collection and Julia Bradford Huntington James Fund 15.1155 87 No robe ofthe 0 type Red silk twill with stream, reed, chrysanthemum and water-wheel design Silk twill with supplementary silk and gilt-paper wefts tied Length: 142.9 cm; center back t0 wrist: 70.0 cm Ed0 period, 18th century WiIIiam Sturgis BigeIow Collection 11.3811 8 8 No robe ofthe 0 type GoId silk twill with butterfly and alpine flower design SiIk twill with supplementary silk and gilt-paper wefts tied Length: 153.7 cm; center back t0 wrist: 77.2 cm Meiji era, 19th century William Sturgis BigeIow C011ection 21.180 89 No robe ofthe 訪 0 んど〃 type purple silk gauze with fan, wisteria and stream design Silk gauze with silk and gilt-paper patterning wefts Length: 108.5 cm; center back tO wrist: 105.7 cm Meiji era, 19th century WiIIiam Sturgis BigeIow Collection 11.3887 90 No robe ofthe 〃″訪ん″ type White, red and light blue silk satin with alternating blocks and swallow, flowers and れ 05 ん design Silk satin; tie-dyeing; embroidery; stenciled gold leaf Length: 148.4 cm; center back tO wrist: 69.0 cm Ed0 period, 18th century WiIIiam sturgis Bigelow Collection and Julia Bradford Huntington James Fund 15.1160 91 No robe ofthe んの・切″ type Dark blue satin with go brocade with plum tree and paulownia roundel design satin gold brocade with supplementary silk and gilt- paper wefts tied Length: 148.1 cm; shoulder width: 39.4 cm; sleeve width: 77.8 cm Ed0 period, 18th-19th century WiIIiam Sturgis BigeIow Collection 11.3877 92 No robe ofthe れなな type Red and dark blue silk twill with alternating blocks and Buddhist gong and flower-centered, tortoise-shell design Silk twill with supplementary silk and gilt-paper wefts tied Length: 144.1 cm; center back t0 wrist: 72.2 cm Ed0 period, 19th century William Sturgis Bigelow C011ection 1L3799 Ⅸ

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.

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

Four Guardian Kings By Chomyo (active 1233 ー 95 ) Four panels; ink, color, gold, and silver on silk Tamonten, the Guardian ofthe North 148.3 X73.2 cm Komokuten, the Guardian ofthe West 148.7X72.3 cm Zochoten, the Guardian ofthe South 148.8 X72.7cm Jikokuten, the Guardian ofthe East 147.1 x 72.4 cm Kamakura period, dated about 1253 (Kench0 5 ) Fenollosa-Weld Collection 11.4061 ー 4064 The Descent 0fJuichimen Kannon, the Eleven- headed Bodhisattva ofCompassion Hanging scroll; ink, color, and gold on silk 69.5 X26.6 cm Kamakura period, 13th century Fenollosa-Weld Collection 11.4046 Mandala ofKichijoten, the Goddess ofGood Fortu ne Panel; ink, C010r , and gold on silk 82.8 x 39.1 cm Kamakura period, 14th century Gift ofMrs. 、 V. Scott Fitz 08.132 Mandala ofKumano Shrine Hanging scroll; ink, C010r , and gold on silk 102.9X40.5 cm Kamakura period, latter halfofthe 13th century Special Chinese and Japanese Fund 05.201 20 19 Mandala ofKasuga Shrine Panel; ink, C010r , and gold on silk 146.3 X90.5 cm Nanbokucho period, 14th century WilIiam Sturgis BigeIow CoIIection 11.6261 21 le Burning Cauldron, a section from the Hell Scrolls Section from a handscroll; ink and C010r on paper 25.6X52.0 cm Heian period, 12th century WiIIiam Sturgis BigeIow Collection 11.6254 22 Bodhisattva Japanese cypress with polychrome; single woodblock construction Height offigure: 176.5 cm Heian period, end ofthe 8th-early 9th century SpeciaI Chinese and Japanese Fund 12.128 23-1 Miroku, the Bodhisattva ofthe Future ByKaikei (active 1189 ー 1223 ) Japanese cypress with gold and inlaid crystal; split-and- )Oined construction Height offigure: 106.4 cm Kamakura period, dated 1189 (Bunji 5 ) Special Chinese and Japanese Fund 20.723a ー b 23-2 Scroll ofthe 外石ん″ノ 0 訪 0-00 and the 〃 00 房〃 イ〃 / originally enshrined in the statue HandscroII; ink on paper 25.8X491.5cm Kamakura period, dated 1190 (Bunji 6 ) Special Chinese and Japanese Fund 20.723C 24 le Shinto Deity Hachiman in the Guise ofa Buddhist Monk By Koshun (active 1315 ー 28 ) Japanese cypress with polychrome and inlaid crystal; jOined woodblock construction Height offigure: 81.3 cm Kamakura period, dated 1328 (Karyaku 3 ) Maria Antoinette Evans Fund and Contributions 36.413 25 Jizo, the Bodhisattva ofthe Earth Matrix By Enkei (dates unknown) Japanese cypress with polychrome and inlaid crystal; jOined woodblock construction Height offigure: 82.6 cm Kamakura period, dated 1322 (Genk0 2 ) Special Chinese and Japanese Fund 05.212 Part Ⅱ : Two Great Handscrolls that Traversed the Ocean TWO particularly outstanding works in the Boston Museum ofFine Arts collection are the handscrolls ofMinister K Ad 怩〃ル r ぉ ⅲ C 〃ⅲ ( No. 26 ) , which offer a vivid and at times humorous depiction Of the activities Of Kibi no Makibi, a Japanese envoy t0 Tang China, and the 月ん ra イ Scrolls 可畴 e E 怩れな 可畴 e 日ビ萸 Era (Heiji 川の zog 肝 i emaki) ( No. 27 ) , which illustrates scenes from the twelfth- century Heiji Rebellion through a rich and carefully calculated pictorialcomposition. Documentation in ancient records such as the K 〃川 0 〃れた i traces the provenance Of these works through the care and protection 0f emperors and noble families, shrines and temples, until, like SO many Other works Of art, they were released ontO the art market amidst the social upheaval brought about by the fall of the shogunal government at the end of the Ed0 period. Whether due to the effects 0f the Great KantO earthquake in 1923 , global depression, or S01 e Other unkno 、 reason, the scrolls ofll 石〃な rK ル i ) 5 Ad ↓℃〃れげいⅲ C / ⅱ〃 went without a buyer for nine years. Eventually, the E れな可 e Heiji Era and 行〃な r K 5 Ad1 ′ e 〃れ打 es ⅲ C 〃ⅲ scrolls made their way across the ocean after being discovered by Fen0110sa and Tomita K0jiro ( 1890 ー 1976 ) respectively. Considering how many works 0f painting were divided up and scattered during the turbulent times Ofthe late nineteenth and early twentieth centuries, it is most fortunate that these handscrolls have thus been preserved intact. (Kanai Hiroko) 26 Minister Kibi's Adventures in China Set offour handscrolls; ink, ( 010r , and gold on paper 1 ) 32.0X674.6 cm 2 ) 32.0X459.3 cm 3 ) 32.0 X722.3 cm 4 ) 32.0 x 599.7 cm Heian period, latter halfofthe 12th century WiIliam Sturgis Bigelow CoIIection 32.131.1 ー 4 27 Night Attack on the Sa 可 0 Palace, from the lllustrated Scrolls ofthe Events ofthe Heiji E ra Handscroll; ink and C010r on paper 41.3X700.3 cm Kamakura period, latter halfofthe 13th century Fenollosa-Weld Collection 11.4000 Part Ⅲ : Stillness and Radiance MedievaI lnk Painting and the EarIy Kano School lnkpaintingwas introduced tO Japan in the latter part ofthe Kamakura period, primarily through the mediation 0fZen monks wh0 conducted exchange with China in various forms. From thattime until the early Muromachi period, the majority 0fJapanese ink paintings were produced by monk painters affiliated with Zen temples, who used Chinese Song- and Yuan-dynasty inkpaintings as models. However, the Onin War ( 1467 ー 77 ) spurred a gradual transfer ofthe domain 0f ink painting from Zen monks tO professional painters led by the Kano sch001. Meanwhile, in addition t0 inkpainting, early Kano sch001 、 MOrkS evolved in diverse styles incorporating gold-ground materials, gold cloudS' and even ViVid colors. Almost all ofthe medieval ink paintings and early Kano sch001 works in the collection ofthe Museum Of Fine Arts, Boston, were amassed by Fenollosa and Bigelow and accessioned by the museum in 1911. Medieval ink paintings in this exhibition include Kannon, the BO イんなソ可 C のれ 2 朝 0 れ ( NO. 28 ) , a masterpiece ofink painting from the early stage 0f development' and the exceptional La 〃 d “ 42e ( NO. 33 ) produced by the Zen painter Sh0kei based on a Song-dynasty model' as well as masterful early Kano school paintings ranging from those 0f Motonobu, who established the foundation for the Kano school, to ones by Shoei. (Kunigo Hideaki)

28 Guanyin (Kannon),theBodhisattvaofCompassion lnscription by Yishan Yining ( 1247 ー 1317 ) Panel; ink, color, and gold on silk 105.5X51.0cm Chinese, Yuan dynasty or Japanese, Kamakura period, beginning ofthe 14th century Gift ofMiss Ellen Greenough Parker 10.82 29 lhree Sages and Lotuses By Sesshu Toyo Triptych ofhanging scrolls; ink on paper 33.5 x 47.0 cm each Muromachi period, mid-15th century Gift ofRobert Treat paine, Jr. 51.2490 , 52.1544 , 53.509 30 S houlao (Juro) Attributed [ 0 Sesshu Toyo ( 1420 ー 1506 73.2x 33.0 cm Hanging scroll; ink on paper By Bunsei (active mid-15th century) Landscape 32 FenoIIosa-Weld Collection 11.4121 Muromachi period, 16th century 43.5X30.3 cm Hanging scroll; ink on paper 16 [ h century) Attributed [ 0 Yogetsu (active late 15th—early Squirrel and Loquats 31 FenoIlosa-Weld Collection 11.4138 Muromachi period, 16th century 93.4x 51.3 cm Hanging scroll; ink on silk By Kano Motonobu ( 1477 ー 1559 ) White-robed Bodhisattva ofCompassion 36 Fenollosa-Weld Collection 11.4244 Muromachi period, dated 1479 (Bunmei 11 ) 6L9X46. lcm Hanging scroll; ink and C010r on paper lnscription by Osen Keisan ( 1429 ー 93 ) Budai (Hotei) 35 Fenollosa-Weld Collection 11.4149 ー 4150 Muromachi period, first halfofthe 16th century 158.0x 365.4 cm each gold on paper Pair ofsix-panel folding screens; ink, light color, and 、 Attributed [ 0 Zosan (dates unknown Eight Views ofthe Xiao and Xiang Rivers 34 Fenollosa-Weld Collection 11.4127 16th century Muromachi period, end ofthe 15th-beginning ofthe 39.4X91.5 cm Hanging scroll; ink on paper By Shokei (active late 15th-early 16 [ h century) Landscape 33 Special Chinese and Japanese Fund 05.203 Muromachi period, latter halfofthe 15th century Hanging scroll; ink, color, and gold on silk 157.2 x 76.4 cm Muromachi period, first halfofthe 16th century FenoIlosa-Weld Collection 11.4267 37 Portrait ofSogi Attributed [ 0 、に ano M0tonobu Hanging scroll; ink and color on silk 98.0x 54.4cm Muromachi period, 16th century Frederick L. Jack Fund 58.314 38 Qinshansi Temple Attributed [ 0 、 Kano 、 10 [ onobu lnscription byKeijo Shurin ( 1440 ー 1518 ) Fan mounted on a panel; ink and C010r on gold-leafed paper Upper arc: 49.3 cm, lower arc: 21.5 cm, height: 18.7 cm Muromachi period, first halfofthe 16th century WiIIiam Sturgis Bigelow Collection 11.6381 39 Tartars Hunting Attributed [ 0 Kano M0tonobu Pair ofpanels; ink, C010r , and gold on paper 166.3X92.1 cm each Muromachi period, first halfofthe 16th century FenoIIosa-WeId Collection 11.4265-4266 40 Civets, Pine Tree, Birds, and Flowers Attributed to Kano Utanosuke (dates unkno 、 Six-panel folding screen; ink and color on paper 160.1 x 348.8 cm Muromachi period, mid-16th century William Sturgis Bigelow Collection 11.6781 41 Ducks under Pine Trees Attributed tO Kano Utanosuke Six-panel folding screen; ink, color, and gold on paper 154.7x 348.8 cm Muromachi period, mid-16th century WiIIiam Sturgis BigeIow Collection 11.6787 42 Famous Places in the CapitaI and Legendary Figures ByKano Shoei ( 1519 ー 92 ) Five fans from a set often; ink, color, and go 旧 on paper lwashimizu Hachiman Upper arc: 52.4 cm; lower arc: 21.2 cm; height K. iyomizu-dera Upper arc: 52.4 cm; lower arc: 21.2 cm; height Sumiyoshi Shrine Upper arc: 52.4 cm; lower arc: 21.2 cm; height Amanohashidate Upper arc: 52.4 cm; lower arc: 21.2 cm; height Uji Bridge Upper arc: 52.4 cm; lower arc: 21.2 cm; height : 19.2 cm : 19.2 cm : 19.2 cm : 19.2 cm : 19.2cm Azuchi-Momoyama period, latter halfofthe 16th century WiIIiam Sturgis Bigelow Collection 11.6380.2 , 3 , 5 , 6 , 8 Part Ⅳ : The BIossoming ofEarIyModern Painting The Azuchi-Momoyama period was a golden age Of painting that successively witnessed the appearance 0fKano Eit0ku ( 1543 ー 90 ) and Other artists ofparticular talent. The Kano, Hasegawa, Unk0ku, Soga, and other Chinese- style painting sch001s competed to produce the most and the best large-scale screen and panel paintings. Their powerful expressions in ink convey a sense Of the heroic ambition ofthe warring-states generals. ln the Edo period, Kano Tanyu ( 1602 ー 74 ) , who became an official painter to the T0kugawa shogunate, established a refined and graceful style that was to have a significant impact on the entire artistic world. At the same time, there was also a branch of Kano artists who remained in Kyoto and preserved a unique and richly decorative style all their own. On the other hand, the Tosa school, which specialized in Japanese-styIe Yamat0-epainting andhaddeclined in prominence in the Azuchi-Momoyama period, was restored tO a central position of authority when Tosa Mitsuoki ( 1617 ー 91 ) was appointed head ofthe imperial painting bureau. Artists with roots in the Kyoto merchant class were aISO active, including Tawaraya Sotatsu, who opened up a path to a new world ofdecorative beauty, and Ogata Korin ( 1658 ー 1716 ) , who followed in the footsteps ofSotatsu's creative style and inaugurated the Rinpa school. This section of the exhibition is comprised ofrepresentative works from these major schools ofpainting dating from the Azuchi- Momoyama to the early 旧 do periods, as well as genre paintings reflecting an interest in exoticism and a hedonism ofthe age, and works bylto Jakuchu ( 1716 ー 1800 ) , who is renowned tOday as an eccentric painter. ThiS overview Of early modern painting traditions from the Museum ofFine Arts, Boston, allows us t0 appreciate fully the superior quality 0f its Japanese art collection, which is considered unparalleled outside 0fJapan. (Chinen Satoru) 43 Tartar Envoys Arriving in Ships, Their Advance Party Ashore Attributed [ 0 Kano Eitoku ( 1543 ー 90 ) Two-panel folding screen; ink and color on gold-leafed paper 153.2 x 170.4 cm Azuchi-Momoyama period, latter halfofthe 16th century FenoIIosa-Weld Collection 11.4450

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

44 Dragon and Tiger By Hasegawa Tohaku ( 1539 ー 1610 ) pair ofsix-panel folding screens; ink on paper 154.2 X340.0 cm each Edo period, dated 1606 (Keich0 11 ) FenoIIosa-WeId Collection 1L4808 , William Sturgis Bigelow C011ection 11.7073 45 Buffaloes and Horses By Hasegawa sakon ( 1593 ー pair ofsix-panel folding screens; ink and light C010r on paper Right: 149.2x 351.0 ( m , left: 158.8X351.6 cm Edo period, first halfofthe 17th century WiIIiam Sturgis Bigelow C011ection 11.6955 ー 6956 46 Su Shi (Sotoba) and Pan Lang (Hanro) By Unkoku Togan ( 1547 ー 1618 ) pair ofsix-panel folding screens; ink and light color on paper Right: 158.5 X357.4 cm,left: 158.2x 357.4 cm Azuchi-Momoyama-Ed0 period, 17th century Fenollosa-Weld C011ection 11.4523 ー 4524 47 Eagle on a Rock and Hawk-eagle in a Pine Tree By Soga Nichokuan (active about 1625 ー 60 ) pair ofsix-panel folding screens; ink on paper Right: 15L7X348.6 cm, left: 151.9X348.0 cm Edo period, 17th century WiIIiam sturgis Bigelow C011ection 11.6912 , Fenollosa- Weld Collection 11.4809 48 The Ten Snow lncidents ByKano Sansetsu ( 1590 ー 1651 ) pair ofsix-panel folding screens; ink and light C010r on paper 158.5 x 363.0 cm each Edo period, first halfofthe 17th century Fenollosa-Weld C011ection 1L4 引 8 ー 4319 49 Set ofthree hanging scrolls; ink, C010r , and gold on ByKano Osanobu ( 1796 ー 1846 ) Yu (Rogyoku) Land oflmmortals, Xiao Shi (Shoshi)' Nong 52 WiIIiam Sturgis BigeIow CoIIection 11.7185 Edo period, latter halfofthe 17th century 93.7X4L7 ( m Hanging scroll; ink and color on silk By Tosa Mitsuoki ( 1617 ー 91 ) Wang Zhaojun (Oshokun) William sturgis Bigelow C011ection 11.6723 Edo period, latter halfofthe 17th century 95.5 X35.5 cm Hanging scroll; ink and color on silk By Kano Tanyu ( 1602 ー 74 ) Long-tailed Bird on Flowering Crabapple 50 Fenollosa-Weld CoIlection 11.4430 ー 4431 Edo period, latter halfofthe 17th century Right: 160.3 X371.6 cm,left: 160.5 X370.0 cm paper pair ofsix-panel folding screens; ink' color and gold on ByKano Eino ( 1631 ー 97 ) Birds and FIowers ofthe Four Seasons silk 115.0 X47.1 cm each Edo period, first halfofthe 19th century WilIiam sturgis Bigelow C011ection 1L6640 53 気 r 応 wl, Sparrows and Bamb00 By SchooI ofTawaraya S0tatsu pair ofhanging scrolls; ink on paper 115.4X49.3 cm each Ed0 period, 17th century William sturgis Bigelow C011ection 11.7222 54 Poppie s By School ofTawaraya Sotatsu ー 6642 ー 7223 pair ofsix-panel folding screens; inkand color on gold- leafed paper 150.3 X352.8 cm each Edo period, mid-17th century GiftofMrs. Ⅵを Scott Fitz 11.1272 ー 1273 55 、 vaves at Matsushima By Ogata Korin ( 1658 ー 1716 ) Six-panel folding screen; ink, colon and gold on paper 150.2x 367.8 cm Edo period, first halfofthe 18th century Fenollosa-WeId CoIIection 1L4584 56 Cockatoo ByItoJakuchu(1716-1800) Hanging scroll; ink, C010r , and gold on silk 106.3 X49.1 cm Edo period, latter halfofthe 18th century William Sturgis Bigelow C011ection 11.6938 Rakan ByItoJakuchu(1716-1800) Four from a set ofsixteen hanging scrolls: ink on paper 113.7X59.0 cm each Edo period, latter halfofthe 18th century WilIiam Sturgis Bigelow C011ection 11.6918 , 6929 , 6931 , 6933 58 European King and Members 0fHis Court Six-panel folding screen: ink, C010r , and gold on paper 127.0 X333.6 cm Azuchi-Momoyama-Edo period, first halfofthe 17th century Fenollosa-Weld CoIIection 11.4 引 2 59 House ofPleasure One ofa pair ofsix-panel folding screens; ink and C010r on gold-leafed paper 148.4 x 347.4 cm Ed0 period, 17th century Gift ofMrs. Albertine Ⅵを F. Valentine, residuary legatee under the will 0fHervey E. Wetzel 19.662 Part V: Soga Shohaku Eccentric Genius lt is Often said that "one cannot speak Of Ⅶ Japanese artwithoutseeingthe Boston collection. " Among the more than 100 , 000 works that make up this outstanding collection, the works of Soga Sh0haku ( 1730 ー 81 ) command aparticularlyprominent position. At present, the museum owns forty-one paintings (or, 、 counting each screen scroll as a single piece, a total offifty-nine objects) by Shohaku or in his style, making this a Shohaku collection the likes ofwhich is unrivaled. Before the 1930S , when a large number ofworks 、 deaccessioned and replaced in an effort tO further enrich the Asian art collection, the museum held almost twice as many works attributed t0 Sh0haku. The eleven works exhibited here were all acquired by Bigelow and Fenollosa, and one cannot but be amazed by the discerning eye ofthese two collectors who recognized the appeal 0f Shohaku's work long before his relatively recent rise tO distinction here in Japan. Shohaku's frank and impulsive style seems almost tO strike the painting surface with a profusion ofenergy, while at the same time being imbued with a magical, whimsical quality. Known for his eccentric words and actions, Sh0haku displays awonderful combination Ofa cynical gaze with a tender humor in his work. This selection spans from his veryearliest periOd tO his final years. lndeed, one cannot speak 0f Sh0haku without seeing the BOSton collection. (Tazawa Hiroyoshi) 60 Landscapes with Pavilions By Soga Shohaku ( 1730 ー 81 ) pair ofsix-panel folding screens; ink on paper Right: 158.9X346.4cm , left: 159.3 X346.0 cm Edo period, latter halfofthe 18th century Fenollosa-Weld CoIIection 11.4507 ー 4508 61 pangjushi (H0koji) and Lingzhaonu (Reishojo): parody ofJiumi (Kume) the Transcendent By Soga Shohaku Six-panel folding screen; ink' color and gold on paper 156.1 X363.8 cm Edo period, dated 1759 (Horyaku 9 ) WiIIiam sturgis Bigelow C011ection 11.7028 62 Dragon and Clouds By Soga Shohaku Eight panels; ink on paper 165.6x 135.0 cmeach Edo period, dated 1763 (Horyaku 13 ) WiIIiam sturgis Bigelow C011ection 11.7040.1 ー 2 , 11.7041.1 ー 2 , 11.7042.1 ー 2 , 11.7043.1-2

S w 0 r d s a n d Te x ⅱ le s 90 縫箔白紅浅葱段燕花熨斗模様 No robe ofthe 〃〃れんパ ype White, red and light blue silk satin with alternating blocks and swallow, flowers, and 〃 0 訪 / design 231

S w 0 「 d s a n d Te x ⅱ le s ダ , 0 0 ( を 0 厚板紅紺段花菱亀甲雲版模様 No robe of the 々なⅵな type Red and dark blue silk twill with alternating blocks and Buddhist gong and flower-centered, tortoise-shell design 234 0 ・・、、 . - 0 ◎ 00 の・

Acknowledgements would like [ 0 express our deepest gratitude [ 0 the following individuals at the Museum OfFine Arts, Boston. Malcolm Rogers, Ann and Graham Gund Director Katie Getchell, Deputy Director Anne Nishimura Morse, William and Helen pounds senior Curator ofJapanese Art Pamela Parmal, Department Head and David and Roberta Logie Curator ofTextile and Fashion Arts ldo Misato, lntern, Art ofAsia, Oceania, andAfrica 第 Chinghsin, Research Associate inJapanese Art Ellen Takata, Curatorial Research Associate for Asian Art Judy Morillo, Department Coordinator, Art ofAsia, Oceania, and Africa Richard Newman, Head ofScientific Research Elizabeth Byrne, collections Manager for l)reventive conservation Dante Vallance, Collections Engineer, Objects Brett Angell, Senior Exhibitions Preparator, Objects Susanne Gänsicke, Conservator, ObjectS conservation FIavia Perugini, Associate Conservator, Objects conservation Kimberley Simpson, Collections Care Specialist, Objects Conservation Allison Murphy, CoIlections Care Specialist, Textile Conservation CIaudia lannuccilli, Associate Conservator, Textile conservation Joel Thompson, Associate Conservator, Textile conservation Kataoka Masumi, Sherman Fairchild Fellow, Textile Conservation Philip Meredith, Higashiyama Kaii Conservator ofJapanese Paintings Tanya Uyeda, Associate Conservator 0fJapanese Paintings, Asian conservation HSia() Yi-HSia, FellOW in ASian Conservation Tsai Hsin-Chen, Andrew Mellon Fellow for Advanced Training, Asian Conservation GaoJing, Cornelius Van der Starr Conservator ofChinese Paintings Joan Wright, Bettina Burr Conservator,Asian conservation John Robbe, Senior Collections Care Specialist, Asian Conservation Jacki Elgar, Head ofAsian Conservation and Head oflnternational Projects, Asia Yamauchi Tatsuya, VisitingJapanese Paintings conservator Wakiya Sukesaku, VisitingJapanese Paintings Conservator Greg Heins, Photographer Michael Gould, Photographer John WooIf, Photographer Damon Beale, Photographer Jared Medeiros, Photographer Saravuth Neou, Photographer Jennifer Riley, Manager, lmage Licensing Ventures Siobhan Wheeler, Assistant Registrar Christopher Hightower, Registrar and Touring Exhibitions Assistant Anna Bursaux, ManagerofTouringExhibitions