Page 99 - JAPAN THE SHAPING OFDAIMYO CULTURE 1185-1868

Here is my clumsy eulogy: valiant warrior with a spear... waging a and lemitsu (1604-1651). He also was re-
battle totally under his control, this is like nowned as a tea adept, and had built a tea
In good virtue and fragrant name he had no [the Chinese general] Zhuge Liang, though house named Sunshdan in 1617 within the
peer in a different seat and a different robe.... precinct of Ryûkôin, a subtemple of Daito-
Cutting the sky horizontally, his treasured He swings his poetry fan lightly and dances kuji. He used Sunshdan as his artistic so-
swore/ flashed as if with new snow and in an elegant gathering. In spring he sees briquet and was a great collector of art.
frost cherry blossoms in the capital, and daily re- Among the treasures included in his col-
Sitting grand in this house, what is it that cites poems from the Manyôshù. Through lection at Sunshóan were twelve frag-
he knows? his window is the changing scene of the lake ments from a codex of eleventh-century
Ironwood blossoms [a reference to his under the moonlight, and he looks at the calligraphy transcribing poems from the
name and metaphor for something rare] books by one hundred poets.... He left his Kokinshü anthology. Known as the Sun-
and spring are in heaven and earth. place of living and threw away his office. shdan shikishi (Sunshóan poem sheets),
Ah!... MS Now he tills the Fields of Stones [that is, they are now dispersed among various col-
Ishida, his family name].... MS lections. The tea house no longer survives.
35 Ishida Masatsugu Kógetsu Sógan (1574-1643), a Zen
hanging scroll; ink and color on silk monk of considerable expertise in arts and
61.0 x 35.8 (24 x 14) 36 Matsui Yohachiró letters who had been instrumental in the
Momoyama period, no later than 1594 hanging scroll; ink and l color on silk restoration of Daitokuji, inscribed this
90.0 x 37.0 (353/8 x 14 /z) scroll as follows:
Jushóin, Kyoto Momoyama period, probably 1594
Important Art Object Inscription beckoned by the portrait of
Hôsenji, Kyoto Tokusôsaishu San'in Sdka Koji [Sakuma
Ishida Masatsugu (d. 1600) was the father Shógen] painted during his lifetime
of the warrior Ishida Mitsunari (1560- Matsui Yohachiró (d. 1593) was the first- A breeze of fresh wind sweeps away the
1600), who led a coalition of daimyo born son of Matsui Yasuyuki (1550-1612). worldly dust
against Tokugawa leyasu (1543-1616) at the Yasuyuki was a kard (elder) who served Ho- Hiding in the thicket is a man growing old
decisive Battle of Sekigahara in 1600 (cat. sokawa Yüsai (1534-1610) and his son San- Around his waist he still has a house and
104). Mitsunari had gained power as an im- sai (1563-1646). Yohachiró served with rare treasures
portant retainer of Hideyoshi, and Masa- distinction during the 1592 Korean expedi- Polishing them with a three-foot hossu
tsugu's skills as a warrior and administrator tion. He returned home with an illness, [Zen monk's whisk] won't make them
also came to be in demand. He served as however, and died on the fifteenth day of clean.
daikan (deputy governor) of Sakai (near the eighth month of the following year. Written by Yawning Man
present-day Osaka), the area under the His grief-stricken parents commissioned Kdgetsu [tripod-shaped relief seal]
Toyotomi's direct rule. After Mitsunari's this posthumous portrait. The inscription, Sdgan [square relief seal]
defeat at the Battle of Sekigahara and the focusing on Yohachiró's military feats in
fall of his garrison castle at Sawayama in Korea, is dated the day before the first an- Sakuma Shógen sits in front of a
Omi (present-day Shiga Prefecture), Ma- niversary of Yohachiró's death and was screen painting of a dragon in a bamboo
written by Genpo Reisan of Nanzenji; two
satsugu and the rest of his family commit- grove, opposite a boy attendant with a
ted suicide. Mitsunari was beheaded on seals are impressed below his signature. Chinese hair style. He himself is wearing
the banks of the Kamo River in Kyoto. Yohachiró is sumptuously dressed in a the informal loose gown and soft cap of
In this painting, the tonsured Masa- green Kosode with gold and dark green the Chinese gentleman-scholar in retire-
tsugu is presented as a Buddhist cleric; his flower and leaf designs, and over it the for- ment or at leisure. Both the painting and
warrior status, though, is represented by mal dress of a samurai (sleeveless jacket the inscription compare Shógen to a high-
the short koshigatana sword at his waist. and full trousers) with a design of scattered minded Chinese recluse. This portrait is
His outer robe is richly patterned with white pine needles. He is seated on a ta- similar to another work depicting Shógen,
paulownia blossoms. The artist has cap- tami mat and wears two swords. His right painted by Kano Tan'yú (1602-1674; cat.
tured Masatsugu's imposing presence and hand holds a fan and the left is clenched, 42) and also inscribed by Kógetsu, in 1641.
his sharp, determined expression, con- as in so many warrior portraits of the time. A note written on the back of the Shin-
veyed through the eyes and furrowed The composition is close to that of the juan painting says that on the original
brow. portrait of Hosokawa Hasumaru (cat. 29). wooden roller of the scroll, now lost, was a
The inscription was written by Ha- The oval face, delicate eyes and nose ren- date corresponding to 1636. It is assumed
kuho Eryo, one-time abbot of Myôshinji. dered with sinuous lines, and small, thin that the painting dates from around
facial
to an overall gentle
lips contribute
It is dated to 1594, indicating that the por- 1636. SY
trait was painted during Masatsugu's life- expression not unlike those seen in con-
time. Two of Eryó's seals follow his temporary genre paintings. SY 38 Sen no Rikyú
signature. The inscription says that it was attributed to Hasegawa Tóhaku
written at the request of Masatsugu him- 37 Sakuma Shógen (1539-1610)
self, and that Masatsugu had come under Kano Tan'yü (1602-1674) hanging scroll; ink and color on silk
Eryó's spiritual influence. The portrait hanging scroll; ink and color on silk 80.6 x 36.7 (313/4 x 143/8)
comes from Jushôin, a subtemple within 63.8 x 28.4 (z5 /8 x iiv's) Momoyama period, no later than 1595
1
Myôshinji founded by Eryô and named af- Edo period, c. 1636 Sen Sosa collection, Kyoto
ter Masatsugu's Buddhist title.
The inscription reads in part: Shinjuan, Kyoto Sen no Rikyü (1522-1591) was born into a
merchant family in Sakai, a bustling port
. . . Talented both in arts [bun] and arms Sakuma Shógen Sanekatsu (1570-1642) was
[bu], his heart nourishes saintliness and wis- a warrior who first served Toyotomi Hide- city south of Osaka. After studying tea
with Kitamuki Dóchin
(1504-1562) and Ta-
dom. .. His body grand and robust; his de- yoshi (1537-1598), and then three succes-
.
corum awesome and full of dignity.... A sive generations of Tokugawa shoguns: keno Jóó (1502-1555), he became the lead-
leyasu (1543-1616), Hidetada (1578-1631), ing exponent of wabi (simple, or rustic)

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