Page 73 - JAPAN THE SHAPING OFDAIMYO CULTURE 1185-1868

off by the touch of red at the collar. The Suruga Province (part of present-day Shi- either side by banks on which pine trees
comparison of Yoshimochi, in the eulogy, zuoka Prefecture), and visited Seikenji. grow. Tiny figures appear, one on a bridge
to a "golden phoenix and jade dragon" When Ashikaga Yoshimasa (1436- at the right and another in a fishing boat
also reflects the ardent sinophilia of the 1490) succeeded to the shogunate in 1443, on the left. In the distance across the wa-
Ashikaga shoguns and of their times. The shôen (private manors) formerly belonging ter, hills and buildings—perhaps a temple
eulogy above the figure is dated to 1414, to temples were restored to their owners complex—are faintly visible. The style of
when Yoshimochi was twenty-eight: in compliance with Yoshinori's orders. Ac- the painting is after the Chinese Song Dy-
cording to the inscription, this portrait of nasty academic mode. Its theme is
Portrait of the Seiitaishdgun, Junior First Yoshinori was painted in commemoration
Rank, Administrative Position of Inner of that event, a fact supported by docu- thought to be the famous Eight Views of
the Xiao and Xiang Rivers. Kano Ma-
Minister, painted from life:
Shûhô's
ments at Myôkôji. Also, beneath
An accomplished man who responds to this signature (on the extreme right), Yoshi- sanobu (1434-1530) was known to have
world, a golden phoenix, a jade dragon; masa himself added a short inscription and painted this theme for Yoshimasa's Hi-
Neither common nor saintly; at once a man his kaô saying that the painting is a trea- gashiyama villa in 1483. In addition, Ma-
to have made
sanobu was thought
of the world and a man of the spirit. The sure of Myôkôji. sketches of Yoshimasa during his lifetime,
brush-tip [of this writing] makes an In the portrait Yoshinori is formally
ardent vow for the Diamond Eyes—for a dressed; he wears an eboshi (black head- one of which he used as the basis for a
revelation of the Body of the Victory gear) and a warrior's robe with a koshiga- posthumous portrait employed in Yoshi-
masa's funeral service. Although the paint-
Bodhisattva [Jizó Bosatsu]. tana (short sword) tucked into his sash, ing exhibited here has not been identified
Sixth day, ninth month, twenty-first year of holds a chükei (a type of folding fan), and with that posthumous portrait, its style, es-
Oei [1414] sits barefooted on a two-tiered tatami
pecially in the landscape, suggest that it
Respectfully inscribed by Taiun mat. MS could be a Kano school work, if not by Ma-
[Jakujgm of Butsunichisan. sanobu himself. MR
[illegible square relief seal]
Taiun [square relief seal] 6 Ashikaga Yoshimasa
hanging scroll; ink, color, and gold leaf 7 Mounted warrior
Taiun Jakugin, who inscribed this eulogy, on silk hanging scroll; ink and color on silk
presumably was a priest of the temple But- 44.2 x 56.0 (173/8 x 22) 100.3x53.3(391/2x21)
sunichisan. Neither the priest nor the tem- Muromachi period, i5th century Nanbokuchô period, i4th century
ple has been identified. This portrait is
at Jingoji, the temple that Yoshimochi Tokyo National Museum Agency for Cultural Affairs, Tokyo
patronized. Unusual in its detailed description of a Important Cultural Property
A small circle surrounded by red ap- room's interior, this portrait is believed to In the fourteenth century, Japanese paint-
pears above the inscription, a symbol, per- be of the eighth Ashikaga shogun, Yoshi- ing reflected reality by depicting the elite
haps, of the sun. The circle recurs in masa (1436-1490). The figure is shown in their military capacity. Here we see a
another version of Yoshimochi's portrait at seated on a mat on a raised tatami mat in high-ranking warrior on a fine horse, his
Jisaiin, which is dated to 1412. Similar sym- full ceremonial court dress, his feet bare. tachi sword unsheathed for action but the
bols are found also in portrait paintings of White, green, red, and blue pigments are broken arrow in his quiver perhaps sug-
the god Hachiman, the titular deity of war- used to portray the figure and his sur- gesting that he is coming from battle. He
riors, suggesting that Yoshimochi, as the roundings, as well as black ink and gold has traditionally been identified as Ashi-
head of the Ashikaga family and as sho- leaf. Some areas of gold leaf have flaked kaga Takauji (1305-1358), head of his clan
gun, saw himself as vested with military off. and founder of the Muromachi shogunate
authority and even divinity. MS Unlike some of the more famous por- who lived most of his life on the battle-
traits of shoguns and high-ranking war- field.
5 Ashikaga Yoshinori riors, such as cat. i, this portrait is not a The kad above the figure's head both
hanging scroll; ink and color on silk monumental one. The painting dimin- supports and contradicts this identifica-
74.8 x 38.8 (291/2 x 151/4) ishes rather than enlarges the stature and tion. It is by the hand of Yoshiakira (1330-
Muromachi period, c. 1458 bearing of the figure by placing it within 1367), Takauji's son and successor as
specific surroundings. Yoshimasa's sho- shogun, and a portrait of Takauji bearing
Myókóji, Aichi Prefecture Yoshiakira's kad is recorded as having once
Important Cultural Property gunate (1443-1473) was a troubled one, and
he was not known_as a great warrior or belonged to the powerful Asakura family
Ashikaga Yoshinori (1394-1441) left the ab- ruler. During the Onin Revolt (1467-1477), of the Muromachi period. But it has also
bacy at Shôren'in in 1428 to return to the a struggle between rival factions for suc- been argued that for a son to place his kad
lay world and became the sixth shogun. cession of the shogunate, Yoshimasa abdi- prominently above his father's image
On the tenth day of the ninth month, cated his position. He preferred a life of would have been a grave breach of deco-
1432, Yoshinori left Kyoto for a visit to retirement, practicing and patronizing the rum, and that this must therefore be a por-
Mount Fuji. The inscription on this work, arts, including No drama, painting, callig- trait of one of Yoshiakira's vassals, perhaps
by Zuikei Shühó (1391-1473), the abbot of raphy, and tea. The active cultural life es- Hosokawa Yoriyuki (1329-1392). Based on
Rokuon'in, recounts this trip. Yoshinori poused at his villa in the Higashiyama area the family crest engraved on the horse's
stopped on the twelfth day at Myôkôji, of Kyoto (later to become Jishôji, popularly fittings, it has also been proposed that this
Aichi Prefecture, a major regional Zen known as Ginkakuji) gave rise to one of is a portrait of Ko Moronao (d. 1351), a war-
monastery, founded in 1348, where he the most productive artistic eras in Japa- rior who once served Takauji. MS
stayed half a day. The temple, in prepara- nese history.
tion for the shogun's visit, reportedly re- It is probably because of this unique
landscaped its humble garden and pond. aspect of Yoshimasa's retirement that he is
On the eighteenth day he reached Mount depicted in such an artistic interior set-
Fuji, where he stayed at the estate of Im- ting. In front of him and to his side is a lac-
agawa Norimasa, the shugo (constable) of quered mirror stand. Behind him are four
panels of a fusuma (sliding door) painting,
which shows a body of water flanked on

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