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

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

Swords and Texti1es 長絹紫地扇藤流水模様 No , 。ト。 ofthe 勗。 " type Purple silk gauze 、、 ,ith 信。 , 、、、 0 。 , ⅲ and 、 , , 。。 , 。 design 0 232

S w ( ) 「 d s a n d Te x ⅱ le s ん / 所 0 み 振袖黒縮緬地桜楓模様 227 Black silk crepe with cherry blossom and maple leafdesign

S w ( ) r d s a n d Te x ⅱに s ま % 000 。 ・ 0 0 0 、 0 000 0 ・ 0 0 000 0 0 0 0 0 50 ・ 00 、 小袖白綸子地松葉梅唐草竹輪模様 White figured silk satin with pine needle, plum, arabesque and bamboo circle design 225

人 3X1 S w 0 「 d 、羽 1 d Te x ⅱ le s 唐織萌黄地牡丹立涌模様 No robe of the karaoritype Light green silk twill with undulating stripe and peony design 228

S w ( ) 「 d s a n d Te x ⅱ s ( 0 0 ご 4- ミ 0 4 プ 0 い ) ス・ 唐織胴箔地蝶撫子模様 No 「 0 ト e ofthe の・ / type Gold silk twill with butterfly and alpine flower design 230

S w 0 r d s a n d Te x ⅱに s ヾレ . 唐織紅地流水芦菊槌車模様 No robe ofthe んの•a 硼・ⅱ ) rpe Red silk twill with stream, reed' chrysanthemum and water-wheel design 229

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・