Page 22 - japanese and korean art Utterberg Collection Christie's March 22 2022
P. 22

涅槃寂静 | THE COLLECTION OF DAVID AND NAYDA UTTERBERG (LOTs 1-20)











                4
                ANONYMOUS (JAPAN, LATE 13TH-EARLY 14TH CENTURY)
                Miroku Bosatsu (Bodhisattva Maitreya) in Welcoming Descent

                Hanging scroll; ink, color, gold and gold leaf on silk
                33¡ x 14¿ in. (84.8 x 35.9 cm.)
                Inscription attributed to Emperor Fushimi

                $300,000-400,000

                弥勒菩薩来迎図 伝伏見天皇勅題

                PROVENANCE:
                Hoju-in Temple, Nara
                Okabe Shun’ichi, Kyoto
                Hosomi Ryo (1901-1979), founder of the collection in the Hosomi
                Museum, Kyoto
                Leighton R. Longhi, New York, 10 Nov. 1990
                LITERATURE:
                Leighton R. Longhi, Forty-five Years in Asian Art (New York:
                privately published, 2019), pl. 7
                Kokka 766 (Jan. 1956), pl. 5



                The inscription on top is believed to be by Emperor Fushimi
                (1265–1317), who reigned from 1287 to 1298, based on
                comparisons with other examples of his writing. The date of the
                painting is thought to be around 1313, when Fushimi took the
                tonsure and became a Buddhist monk. The text reads from right
                to left and consists of three Buddhist ceremonial chants invoking
                Miroku 弥勒講式 (Miroku koshiki), written by the famous Hosso-
                sect monk Jokei (1155–1225). In 1192, Jokei moved to Kasagidera,
                outside Nara, known for Miroku worship because of the massive
                image of Miroku carved into a nearby cliff. Earlier, he resided at
                Hokuendo within Kofuku-ji, Nara, where Miroku was the primary
                image.
                The literary genre known as koshiki was popular during the late
                Heian and early Kamakura period. Koshiki, translated by one scholar
                as “Buddhist ceremonials,” are liturgical texts that, by promoting
                devotion to a particular buddha, bodhisattva, or patriarch, seek to
                generate a karmic link (kechien 結縁) between the ritual participants
                and the object of devotion. Practitioners, in this case perhaps
                including Emperor Fushimi, who may have inscribed the koshiki
                on this painting, would gather in groups of ten or twelve to recite
                the text before the image, whether a painting or a sculpture. These
                gatherings were important sources of fundraising, as well.
   17   18   19   20   21   22   23   24   25   26   27