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| publisher = Charles T. Keally
| publisher = Charles T. Keally
| accessdate = 2010-09-09
| accessdate = 2010-09-09
}}</ref> The increasing popularity of Buddhism, strongly promoted by [[Prince Shōtoku]] (574–622) in the late-6th century and early-7th century, led to the need for and increasing importance of writing.<ref name="seeley-p40">{{Harvnb|Seeley|1991|p=40}}</ref> Buddhism required the study of sutras in Chinese and in order to satisfy the growing demand, imported [[Sui Dynasty|Sui]] and [[Tang Dynasty|Tang]] manuscripts were copied, first by Korean and Chinese immigrants and from around the mid-7th century by Japanese scribes.<ref name="kornicki-p81">{{Harvnb|Kornicki1998|p=81}}</ref><ref name="kornicki-p82">{{Harvnb|Kornicki1998|p=82}}</ref> Not a single sutra survives from before the end of the 6th century.<ref name="brown-p159">{{Harvnb|Brown|Hall|1993|p=159}}</ref> The [[Sangyō Gisho]] ("Annotated Commentaries on the Three Sutras"), traditionally attributed to Prince Shōtoku, is the oldest extant Japanese text of any length.<ref name="seeley-p41">{{Harvnb|Seeley|1991|p=41}}</ref> By 673 the entire Buddhist canon had been systematically copied.<ref name="stevens-p102"/><ref name="sansom-p141"/> The oldest extant complete sutra copied in Japan dates to 686 and has been designated as National Treasure.<ref name="sansom-p141"/><ref name="kornicki-p80"/> The copying of Buddhist texts including sutras dominated the Japanese writing activities in the 7th and 8th century over the copying of Chinese secular or local Japanese works (of which there were few).<ref name="kornicki-p80"/> Eventually the state founded a Sutra Copying Bureau (''shakyōjo'') before 727<ref group="nb">Probably much before this date.</ref> at which highly specialized calligraphers, proofreaders and metal polishers tried to answer the large demand for Buddhist texts.<ref name="stevens-p102"/><ref name="seeley-p40"/><ref name="seeley-p41"/><ref name="sansom-p141">{{Harvnb|Sansom|1978|p=141}}</ref><ref name="eubanks-p189">{{Harvnb|Eubanks|2010|p=189}}</ref> Besides copying for duplication, sutras were also copied with the aim of acquiring religious merit.<ref name="sansom-p141"/><ref name="kornicki-p79">{{Harvnb|Kornicki1998|p=79}}</ref> This is one of the reasons why despite of the knowledge of printing, nearly all Buddhist texts in 8th century Japan were copied by hand.<ref name="seeley-p41"/>
}}</ref> The increasing popularity of Buddhism, strongly promoted by [[Prince Shōtoku]] (574–622) in the late-6th century and early-7th century, led to the need for and increasing importance of writing.<ref name="seeley-p40">{{Harvnb|Seeley|1991|p=40}}</ref> Buddhism required the study of sutras in Chinese and in order to satisfy the growing demand, imported [[Sui Dynasty|Sui]] and [[Tang Dynasty|Tang]] manuscripts were copied, first by Korean and Chinese immigrants and from around the mid-7th century by Japanese scribes.<ref name="kornicki-p81">{{Harvnb|Kornicki1998|p=81}}</ref><ref name="kornicki-p82">{{Harvnb|Kornicki1998|p=82}}</ref> Not a single sutra survives from before the end of the 6th century.<ref name="brown-p159">{{Harvnb|Brown|Hall|1993|p=159}}</ref> The [[Sangyō Gisho]] ("Annotated Commentaries on the Three Sutras"), traditionally attributed to Prince Shōtoku, is the oldest extant Japanese text of any length.<ref name="seeley-p41">{{Harvnb|Seeley|1991|p=41}}</ref> By 673 the entire Buddhist canon had been systematically copied.<ref name="stevens-p102"/><ref name="sansom-p141"/> The oldest extant sutra copied completely in Japan dates to 686 and has been designated a National Treasure.<ref name="sansom-p141"/><ref name="kornicki-p80"/> The copying of Buddhist texts including sutras dominated the Japanese writing activities in the 7th and 8th century over the copying of Chinese secular or local Japanese works (of which there were few).<ref name="kornicki-p80"/> Eventually the state founded a Sutra Copying Bureau (''shakyōjo'') before 727<ref group="nb">Probably much before this date.</ref> at which highly specialized calligraphers, proofreaders and metal polishers tried to answer the large demand for Buddhist texts.<ref name="stevens-p102"/><ref name="seeley-p40"/><ref name="seeley-p41"/><ref name="sansom-p141">{{Harvnb|Sansom|1978|p=141}}</ref><ref name="eubanks-p189">{{Harvnb|Eubanks|2010|p=189}}</ref> Besides copying for duplication, sutras were also copied with the aim of acquiring religious merit.<ref name="sansom-p141"/><ref name="kornicki-p79">{{Harvnb|Kornicki1998|p=79}}</ref> This is one of the reasons why despite of the knowledge of printing, nearly all Buddhist texts in 8th century Japan were copied by hand.<ref name="seeley-p41"/>


Sutra copying reached its peak in the [[Nara period]] with most documents produced being sutras in particular the Great Perfection of Wisdom (Daihannya) sutra and the [[Lotus Sutra]].<ref name="kornicki-p80">{{Harvnb|Kornicki1998|p=80}}</ref><ref name="lamarre-p81">{{Harvnb|LaMarre|2000|p=81}}</ref><ref name="kornicki-p83"/> Most of the sutras of the time were written in black ink on paper dyed pale yellow.<ref group="nb">The traditional Chinese way to prevent insect damage.</ref><ref name="kornicki-p84">{{Harvnb|Kornicki1998|p=84}}</ref> However some were made with gold or silver ink on indigo, purple or other colored paper; in particular those that were produced following a 741 decree by [[Emperor Shōmu]] to distribute Konkōmyō Saishōō sutras written in gold letters among the [[provincial temple]]s.<ref name="stevens-p102"/><ref name="kornicki-p84"/><ref name="brown-p43">{{Harvnb|Brown|Hall|1993|p=43}}</ref><ref name="brown-p255">{{Harvnb|Brown|Hall|1993|p=255}}</ref> Many sutra copies contain a colophon with the name of the sponsor—often somebody from the ruling class—and the reason of copying which was usually related to the health or salvation of people or the state.<ref name="kornicki-p82"/><ref name="kornicki-p83">{{Harvnb|Kornicki1998|p=83}}</ref>
Sutra copying reached its peak in the [[Nara period]] with most documents produced being sutras in particular the Great Perfection of Wisdom (Daihannya) sutra and the [[Lotus Sutra]].<ref name="kornicki-p80">{{Harvnb|Kornicki1998|p=80}}</ref><ref name="lamarre-p81">{{Harvnb|LaMarre|2000|p=81}}</ref><ref name="kornicki-p83"/> Most of the sutras of the time were written in black ink on paper dyed pale yellow.<ref group="nb">The traditional Chinese way to prevent insect damage.</ref><ref name="kornicki-p84">{{Harvnb|Kornicki1998|p=84}}</ref> However some were made with gold or silver ink on indigo, purple or other colored paper; in particular those that were produced following a 741 decree by [[Emperor Shōmu]] to distribute Konkōmyō Saishōō sutras written in gold letters among the [[provincial temple]]s.<ref name="stevens-p102"/><ref name="kornicki-p84"/><ref name="brown-p43">{{Harvnb|Brown|Hall|1993|p=43}}</ref><ref name="brown-p255">{{Harvnb|Brown|Hall|1993|p=255}}</ref> Many sutra copies contain a colophon with the name of the sponsor—often somebody from the ruling class—and the reason of copying which was usually related to the health or salvation of people or the state.<ref name="kornicki-p82"/><ref name="kornicki-p83">{{Harvnb|Kornicki1998|p=83}}</ref>

Revision as of 01:18, 4 March 2011

For the list of national treasure Japanese and Chinese books, see List of National Treasures of Japan (writings: books).
Part of the Chikubushima Sutra written on paper decorated with drawings of plants and animals

The term "National Treasure" has been used in Japan to denote cultural properties since 1897,[1][2] although the definition and the criteria have changed since the introduction of the term. The written materials in the list adhere to the current definition, and have been designated National Treasures according to the Law for the Protection of Cultural Properties that came into effect on June 9, 1951. The items are selected by the Ministry of Education, Culture, Sports, Science and Technology based on their "especially high historical or artistic value".[3][4] The list presents 99 entries from the Western Wei Dynasty to the Edo period with most dating to the period of Classical Japan and Mid-Imperial China from the 7th to 14th century. The total number of items is higher, however, since groups of related objects have been joined as single entries.

The list contains various types of written materials such as sutra copies, Buddhist commentaries and teachings, poetry and letters. Some of the designated objects were imported from China at the time. Predominantly, the items in this list were made with a writing brush on manuscript scrolls, which in Japan was the preferred medium until the advent of commercial printing and publishing in the 17th century.[5] In many cases the manuscripts are noted examples of calligraphy. They are housed in temples, museums, libraries or archives, shrines, universities and in private collections.[4] The writings in this list represent about half of the 223 National Treasures in the category "writings". They are complemented by 124 Japanese and Chinese books National Treasures of the List of National Treasures of Japan (writings: books).[4]

Statistics

Most of the National Treasures are found in the Kansai and Kanto regions.
Map showing the location of non-book writtings National Treasures in Japan
Prefecture City National Treasures
Chiba Ichikawa 2
Fukui Eiheiji 1
Fukushima Aizumisato 1
Hiroshima Hatsukaichi 1
Hyōgo Kobe 2
Iwate Hiraizumi 1
Kagawa Takamatsu 1
Zentsūji 1
Kanagawa Kamakura 3
Kyoto Kyoto 31
Mie Tsu 2
Nara Nara 6
Sakurai 1
Tenri 1
Osaka Osaka 1
Tadaoka 3
Saitama Tokigawa 1
Shiga Kōka 2
Nagahama 1
Ōtsu 3
Shizuoka Atami 1
Shizuoka 1
Tochigi Nikkō 1
Tokyo Tokyo 24
Wakayama Kōya 7
Period[nb 1] National Treasures
Western Wei 1
Asuka period 2
Tang Dynasty 6
Nara period 22
Heian period 28
Northern Song Dynasty 1
Southern Song Dynasty 14
Kamakura period 14
Yuan Dynasty 5
Nanboku-chō period 6

Usage

The table's columns (except for Remarks and Image) are sortable pressing the arrows symbols. The following gives an overview of what is included in the table and how the sorting works.

  • Name: the name as registered in the Database of National Cultural Properties[4]
  • Authors: name of the author(s)
  • Remarks: information about the type of document and its content
  • Date: period and year; The column entries sort by year. If only a period is known, they sort by the start year of that period.
  • Format: principal type, technique and dimensions; The column entries sort by the main type: scroll (includes handscrolls and letters), books (includes albums, ordinary bound books and books bound by fukuro-toji[nb 2]) and other (includes hanging scrolls)
  • Present location: "temple/museum/shrine-name town-name prefecture-name"; The column entries sort as "prefecture-name town-name".
  • Image: picture of the manuscript or of a characteristic document in a group of manuscripts

Treasures

Buddhist writings

Sutras

The concept of writing came to Japan from the Korean kingdom of Baekje in the form of classical Chinese books likely written on paper and in the form of manuscript rolls (kansubon) such as sutras.[6][7][8][9] Writing may have been introduced as early as the 5th century (around 400), and became established with the introduction of the Buddhism in the 6th century.[7][10] The increasing popularity of Buddhism, strongly promoted by Prince Shōtoku (574–622) in the late-6th century and early-7th century, led to the need for and increasing importance of writing.[11] Buddhism required the study of sutras in Chinese and in order to satisfy the growing demand, imported Sui and Tang manuscripts were copied, first by Korean and Chinese immigrants and from around the mid-7th century by Japanese scribes.[12][13] Not a single sutra survives from before the end of the 6th century.[14] The Sangyō Gisho ("Annotated Commentaries on the Three Sutras"), traditionally attributed to Prince Shōtoku, is the oldest extant Japanese text of any length.[15] By 673 the entire Buddhist canon had been systematically copied.[8][16] The oldest extant sutra copied completely in Japan dates to 686 and has been designated a National Treasure.[16][17] The copying of Buddhist texts including sutras dominated the Japanese writing activities in the 7th and 8th century over the copying of Chinese secular or local Japanese works (of which there were few).[17] Eventually the state founded a Sutra Copying Bureau (shakyōjo) before 727[nb 3] at which highly specialized calligraphers, proofreaders and metal polishers tried to answer the large demand for Buddhist texts.[8][11][15][16][18] Besides copying for duplication, sutras were also copied with the aim of acquiring religious merit.[16][19] This is one of the reasons why despite of the knowledge of printing, nearly all Buddhist texts in 8th century Japan were copied by hand.[15]

Sutra copying reached its peak in the Nara period with most documents produced being sutras in particular the Great Perfection of Wisdom (Daihannya) sutra and the Lotus Sutra.[17][20][21] Most of the sutras of the time were written in black ink on paper dyed pale yellow.[nb 4][22] However some were made with gold or silver ink on indigo, purple or other colored paper; in particular those that were produced following a 741 decree by Emperor Shōmu to distribute Konkōmyō Saishōō sutras written in gold letters among the provincial temples.[8][22][23][24] Many sutra copies contain a colophon with the name of the sponsor—often somebody from the ruling class—and the reason of copying which was usually related to the health or salvation of people or the state.[13][21]

The imperial family and leading aristocrats continued to sponsor sutra copying after the shakyōjo closed at the end of the 8th centuy.[18] Due to an enhanced belief in the powers of the Lotus Sutra there are more Heian period copies of this sutra than of all other sutras combined.[25] Starting in the early Heian period, sutra style had become flowery and ornate with lavish decorations as sutras were not meant exclusively for practical use in recitation but for dedication and sacrifice.[22][26][27] Devotional sutra copying was more often undertaken by the initiator than was the case in the Nara period.[8][25] New forms of decoration became in fashion by the early 11th century including placing each character in the outline of a stupa, on lotus pedestals or next to depictions of Boddhisattvas.[28][29] Sutras were increasingly furnished with frontispieces from the 11th century onward.[28] Calligraphy used in writing shifted from Chinese to Japanese style.[30] Sutra copying continued into the Kamakura and subsequent periods but only rarely to comparable artistic effect.[29] With the import of printed Song editions in the Kamakura period, hand-copying of the complete scriptures died out and sutra copying was only practiced for its devotional aspect.[31][32] 46 sutras or sets of sutras from the 6th century Western Wei to 14th century Nanboku-chō period have been designated as national treasures. Some of the oldest items in this list originated in China.[4]

Name Authors Remarks Date Format Present Location Image
Segment of the Sutra of the Wise and Foolish (賢愚経残巻, Kengukyō zankan), Yamato edition[33] Emperor Shomuattributed to Emperor Shōmu Chapters 8 ("Vajra, the Daughter of King Prasenajit"), 9 ("Golden Wealth"), 10 ("Heavenly Flowers"), 11 ("Heavenly Jewels"), and the final lines of Chapter 48 ("Upagupta") of the Sutra of the Wise and Foolish, or Sutra of the Karma of the Wise and Foolish; total of 262 lines with eleven to fourteen characters per line; also known as Great Shōmu (大聖武, ōshōmu) after Emperor Shōmu; originally kept at Tōdai-ji in Yamato 0710Nara period, 8th century One handscroll, ink on paper, 25.7 cm × 696.9 cm (10.1 in × 274.4 in) Tokyo Tokyo Tokyo National Museum Tokyo National Museum, Tokyo
Segment of the Sutra of the Wise and Foolish (賢愚経残巻, Kengukyō zankan) Emperor Shomuattributed to Emperor Shōmu Volumes 1 (419 lines), 2 (149 lines), 3 (18 lines); also known as Great Shōmu (大聖武, ōshōmu) after Emperor Shōmu 0710Nara period, 8th century Three handscrolls, ink on paper Tokyo Tokyo Maeda IkutokukaiMaeda Ikutokukai (前田育徳会), Tokyo
—
Segment of the Sutra of the Wise and Foolish (賢愚経残巻, Kengukyō zankan)[34] Emperor Shomuattributed to Emperor Shōmu Volumes 1 (461 lines), 2 (503 lines); also known as Great Shōmu (大聖武, ōshōmu) after Emperor Shōmu; formerly in the possession of Kaidan-in, Tōdai-ji 0710Nara period, 8th century Two handscrolls, ink on paper, 27.5 cm × 1,200 cm (10.8 in × 472.4 in) Hyogo Kobe Hakutsuru Fine Art MuseumHakutsuru Fine Art Museum (白鶴美術館, hakutsuru bijutsukan), Kobe, Hyōgo
Lotus Sutra, Chapter on "Expedient Means" (法華経方便品, Hokekyō hōbenbon)[35] Minamoto Toshifusaattributed to Minamoto Toshifusa (源俊房) by Shōkadō Shōjō (松花堂昭乗) in a postscript from 1625 28 lines per page; also known as Chikubushima Sutra (竹生島経) as the scroll is in possession of Hōgon-ji on Chikubu Island; paper decorated with gold and silver underdrawings of butterflies, birds, flowering plants, imaginary Buddhist flowers, and clouds; the introductory chapter of the same work, located at Hōgon-ji, has been designated as national treasure 0900Heian period, 10th century One handscroll, ink on decorated paper, 29.6 cm × 528.5 cm (11.7 in × 208.1 in) Tokyo Tokyo Tokyo National Museum Tokyo National Museum, Tokyo
Lotus Sutra in minute characters (細字法華経, saiji hokekyō)[36] Li Yuanhuitranscription by Li Yuanhui (李元恵, rigenkei) 39 pages of 56 ruled lines with 32 characters per line; also known as Honored Companion Sutra (御同朋経, godōbōkyō); handed down at Hōryū-ji 0694Tang Dynasty, 694 One handscroll, ink on paper; 25.7 cm × 2,150 cm (10.1 in × 846.5 in) Tokyo Tokyo Tokyo National Museum Tokyo National Museum, Tokyo
—
Commentary on the Vimalakirti Sutra (浄名玄論, jōmyō genron)[37] unknown Oldest extant text using the Japanese dating system; 20 to 40 characters per line; originally in the possession of Tōdai-ji 0706Asuka period, 706[nb 5] Eight handscrolls, ink on paper, height: 27.8–28.0 cm (10.9–11.0 in), length: 296.0–1,092.0 cm (116.5–429.9 in) Kyoto Kyoto Kyoto National Museum Kyoto National Museum, Kyoto
Segment of the Sutra of the Incantation of the one thousand armed, one thousand eyed Avalokiteśvara Bodhisattva (千手千眼陀羅尼経残巻, senju sengen daranikyō zankan)[38] Genbō (玄昉) Only extant portion of one thousand copies of the Senju sengen daranikyō made by Genbō; mentioned in the Essential Records of Tōdai-ji (東大寺要録, tōdaiji yōroku); total of 109 lines; beginning of scroll is lost 0741Nara period, 741 One handscroll, ink on paper, 25.5 cm × 246.0 cm (10.0 in × 96.9 in) Kyoto Kyoto Kyoto National Museum Kyoto National Museum, Kyoto
Golden Light of the Most Victorious Kings Sutra (紫紙金字金光明最勝王経, shishikinji konkōmyō saishōōkyō)[39][40] unknown (Sutra Copying Bureau) One of the sutras enshrined in the state-sponsored "Temples for the Protection of the State by the Golden Light (of the) Four Heavenly Kings"; said to have been enshrined in Bingo Province 0741Nara period, 8th century, Tenpyō era after 741 Ten handscrolls, gilt letters on violet paper, 26.4 cm × 841.1 cm (10.4 in × 331.1 in) (vol. 1) Nara Nara Nara National Museum Nara National Museum, Nara
Dhāraṇī of the Adamantine Place (金剛場陀羅尼経, Kongō Jōdaranikyō) Horintranscription by the priest Hōrin Oldest hand-copied sutra in Japan 0686Asuka period, 686 One handscroll, ink on paper Tokyo Tokyo Agency for Cultural AffairsAgency for Cultural Affairs, Tokyo Nine lines of text in Chinese script. Four lines of text in Chinese script, broken by spaces.
Konkōmyō Saishōō Sutra with gilt letters (紫紙金字金光明最勝王経, shishikinji konkōmyō saishōōkyō) unknown (Sutra Copying Bureau) One of the sutras enshrined in the state-sponsored "Temples for the Protection of the State by the Golden Light (of the) Four Heavenly Kings" founded by Emperor Shōmu 0710Nara period, 8th century Ten handscrolls Wakayama Koya Ryukoin Ryūkō-in (龍光院), Kōya, Wakayama
—
Mahavairocana Sutra (大毘盧遮那成仏神変加持経, Daibirushana jōbutsu jinpen kajikyō) unknown
—
 0794Heian period Seven handscrolls Nara Nara Saidaiji Saidai-ji, Nara
—
Great Perfection of Wisdom Sutra (大般若経, Daihannya-kyō) or Yakushi-ji Sutra (薬師寺経, Yakushiji-kyō)[41] various (ten-odd people) Formerly in the possession of Yakushi-ji 0710Nara period, 8th century 387 handscrolls, ink on paper, height: 27.3 cm (10.7 in) Osaka Osaka Fujita Art MuseumFujita Art Museum, Osaka
Great Perfection of Wisdom Sutra (大般若経, Daihannya-kyō) unknown Made on request of Prince Nagaya praying for the deceased Emperor Mommu 0712Nara period, 712 27 bound books Shiga Koka JomyojiJōmyō-ji (常明寺), Kōka, Shiga
—
Great Perfection of Wisdom Sutra (大般若経, Daihannya-kyō) unknown Made on request of Prince Nagaya praying for the deceased Emperor Mommu; oldest extant manuscript of the Great Perfection of Wisdom Sutra 0712Nara period, 712 142 bound books Shiga Koka TaiheijiTaihei-ji (太平寺), Kōka, Shiga
—
Konkōmyō Saishōō Sutra (金光明最勝王経, Konkōmyō Saishōōkyō) unknown
—
 0762Nara period, 762 Ten handscrolls Nara Nara Saidaiji Saidai-ji, Nara
—
Konpon hyakuichi konma (根本百一羯磨) vol. 6[42] unknown Transcription of a Chinese translation from 703, 12–13 characters per line 0710Nara period, 8th century One handscroll, ink on paper, 27.4 cm × 1,164.9 cm (10.8 in × 458.6 in) Tokyo Tokyo Nezu Art Museum Nezu Art Museum, Tokyo
Sutra of the Wise and Foolish (賢愚経, kengukyō) vol. 15 unknown 467 lines 0710Nara period, 8th century One handscroll, ink on paper Nara Nara Todaiji Tōdai-ji, Nara
—
Lotus Sutra in large characters (大字法華経, daiji hokekyō) unknown Volume three missing 0710Nara period, 8th century Seven handscrolls, ink on paper Wakayama Koya Ryukoin Ryūkō-in (龍光院), Kōya, Wakayama
—
Fukū Kenjaku Shinpen Shingon Sutra (不空羂索神変真言経, fukū kenjaku shinpen shingonkyō) unknown
—
 0710Nara period, 8th century 18 handscrolls Wakayama Koya Sanboin Sanbō-in (三宝院), Kōya, Wakayama
—
Buddhist Monastic Traditions of Southern Asia (南海寄帰内法伝, nankai kiki naihōden) vols. 1,2 unknown
—
 0710Nara period, 8th century One handscroll, ink on paper Nara Tenri Tenri University Librarycustody of Tenri University Library (天理大学附属天理図書館, Tenri daigaku fuzoku Tenri toshokan) (owned by Tenri University), Tenri, Nara
—
Lotus Sutra on deep blue paper (紺紙金字法華経, konshikinji hokekyō) and Samantabhadra Contemplation Sutra on deep blue paper (紺紙金字観普賢経, konshikinji kanfugenkyō)[43] Taira no Kiyomori and his younger brother Yorimori First couple of lines of each scroll transcribed by Taira no Kiyomori, following lines by Yorimori; therefore also called (両筆経, lit. Sutra written together) 1170Heian period, 1170–1172 Seven handscrolls (Lotus Sutra) and one handscroll (Samantabhadra Contemplation Sutra), gilt letters on deep blue paper Hiroshima Hatsukaichi Itsukushima Shrine Itsukushima Shrine, Hatsukaichi, Hiroshima
Instruction manual of the Nirvana Sutra (大般涅槃経集解, Daihatsu nehankyō shūge)[44] unknown Scrolls 11 to 69 of a 71 scroll manuscript; formerly in the possession of Tenkai, handed down in Rinnō-ji 0710Nara period (43 scrolls) and Heian period (16 scrolls) 59 handscrolls, ink on paper Tochigi Nikko Rinnoji Rinnō-ji, Nikkō, Tochigi
Instruction manual of the Nirvana Sutra (大般涅槃経集解, Daihatsu nehankyō shūge) unknown Centered around a 54 scroll sutra edition from the Tang period to which 17 scrolls were added during the Kamakura – Edo period 0710Nara period – Edo period 71 handscrolls, ink on paper Hyogo Kobe Hakutsuru Fine Art MuseumHakutsuru Fine Art Museum (白鶴美術館, hakutsuru bijutsukan), Kobe, Hyōgo
—
Complete Buddhist scriptures in gold and silver letters (金銀字一切経, kinginji issaikyō) or Chūson-ji Sutras (中尊寺経, Chūson-ji kyō)[45] unknown Large scale collection of sutras, Buddhist regulations and sutra explanations initiated by Fujiwara no Kiyohira; dedicated to Chūson-ji and later presented to Kongōbu-ji by Toyotomi Hidetsugu; decorated with various pictures in gold and silver paint; a set of 15 similar scrolls that were part of the same collection remained at Chūson-ji and are a National Treasure 1117-02Heian period, February 1117 – March 1126 4,296 handscrolls, gold and silver letters on indigo blue paper Wakayama Koya Kongobuji Kongōbu-ji, Kōya, Wakayama
Complete Buddhist scriptures on deep blue paper with gilt letters (紺紙金字一切経, konshikonji issaikyō) or Chūson-ji Sutras (中尊寺経, Chūson-ji kyō)[46] unknown Large scale collection of sutras, Buddhist regulations and sutra explanations initiated by Fujiwara no Kiyohira; dedicated to Chūson-ji; each scroll's end page is decorated with a drawing in gold paint; 15 scrolls with alternating gold and silver letters are part of a set of up to 5,300 scrolls most of which are now in the possession of Kongōbu-ji and a National Treasure 1117-02Heian period, February 1117 – March 1126 2,739 handscrolls, of which 15 are with gold and silver letters and 2,724 in gilt letters on indigo blue paper Iwate Hiraizumi Chusonji Daichōju-in (大長寿院) (Chūson-ji), Hiraizumi, Iwate
Preface to the Lotus Sutra decorated with Buddhas (一字一仏法華経序品, ichiji ichibutsu hokekyō johon)[47] Kūkai Next to each character there is an image of a Bodhisattva in-between the lines said to be drawn by Kūkai's mother, Tamayori Gozen (玉依御前) 0794Heian period One handscroll, length: 21.2 m (70 ft) Kagawa Zentsuji Zentsuji Zentsū-ji, Zentsūji, Kagawa
Lotus pedestal character Lotus Sutra (一字蓮台法華経, ichijirendai hokekyō)　or The Encouragements of Bodhisattva Fugen (普賢勧発品, Fugen kanbotsubon) unknown Below each character a lotus flower is drawn thereby equating each character with the Bodhisattva; endpapers decorated with an inside scene of a Buddhist memorial service in blown away roof technique (吹抜屋台, fukinuki yatai) 1100late Heian period One handscroll, ink on paper decorated with gold and silver dust and foil Nara Nara Yamato Bunkakancustody of Yamato Bunkakan, Nara; owned by Kintetsu Corporation
Lotus pedestal character Lotus Sutra (一字蓮台法華経, ichijirendai hokekyō)[48] unknown Below each character a lotus flower is drawn just like Bodhisattvas are often depicted on a lotus pedestal; volume 6 missing 0794Heian period Nine handscrolls, ink on paper Fukushima Aizumisato Ryukoji Ryūkō-ji (龍興寺), Aizumisato, Fukushima
Lotus Sutra (法華経, hokekyō) (prefatory sutra (開結共, kaiketsutomo)) unknown
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 1000Heian period, 11th century Ten handscrolls, ink on decorative paper with five-colored design Tokyo Tokyo Sensoji Sensō-ji, Tokyo
Lotus Sutra (法華経, hokekyō) or Kunōji Sutra (久能寺経, Kunōjikyō) Fujiwara clan Originally offered to Anrakuji-in on occasion of Emperor Toba entering priesthood, later transferred to Kunōji 1100Heian period, 12th century 19 handscrolls, ink on decorated paper Shizuoka Shizuoka Tesshuji Tesshū-ji (鉄舟寺), Shizuoka, Shizuoka
Lotus Sutra (法華経, hokekyō) vol. 6 unknown
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 0794Heian period One handscroll, ink on colored paper Wakayama Koya Kongobuji Kongōbu-ji, Kōya, Wakayama
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Lotus Sutra (法華経, hokekyō) Unkei Part of an eight scroll set, scroll 1 has been lost and scroll 8 is in private hand and a national treasure; Unkei was supported by a female sponsor named Akomaro (阿古丸) 1183Heian period, 1183 Six handscrolls, ink on paper Kyoto Kyoto Shinshogokurakuji Shinshōgokuraku-ji, Kyoto
Lotus Sutra (法華経, hokekyō) vol. 8 Unkei Part of an eight scroll set, scroll 1 has been lost and scrolls 2 to 7 are located at Shinshōgokuraku-ji and a national treasure; includes a postscript explaining the circumstances of the sutra transcription; Unkei was supported by a female sponsor named Akomaro (阿古丸) 1183Heian period, 1183 One handscroll, ink on paper Tokyo Tokyo Private private, Tokyo
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Lotus Sutra (法華経一品経, hokekyō ipponkyō), Amitabha Sutra (阿弥陀経, amidakyō) and Heart Sutra (般若心経, hannyashinkyō)[49] unknown Also called Jikō-ji Sutras (慈光寺経, Jikō-ji kyō) 1185Kamakura period 33 handscrolls, ink on paper decorated with gold and silver dust and foil Saitama Tokigawa Jikoji Jikō-ji (慈光寺), Tokigawa, Saitama
Lotus Sutra (法華経, hokekyō), Samantabhadra Contemplation Sutra (観普賢経, kanfugenkyō), Sutra of Immeasurable Meanings (無量義経, muryōgikyō), Amitabha Sutra (阿弥陀経, amidakyō) and Heart Sutra (般若心経, hannyashinkyō) unknown Also called Hase-dera Sutras (長谷寺経, Hase-dera kyō); endpapers decorated with richly colored paintings on gold ground using ultramarine, verdigris, gold and silver paint and scarlet red 1185early Kamakura period 34 handscrolls: 28 Lotus Sutra, 1 Samantabhadra Contemplation Sutra, 3 Sutra of Immeasurable Meanings, 1 Amitabha Sutra, 1 Heart Sutra, ink on paper decorated with mist and clouds in gold and silver foil, width: 28.5 cm (11.2 in) Nara Sakurai Hasedera Hase-dera, Sakurai, Nara
Maharatnakuta Sutra (宝積経要品, hōshakukyō yōhon) Musō Soseki
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 1336Nanboku-chō period One bound book, ink on paper, 31.5 cm × 10.5 cm (12.4 in × 4.1 in) Tokyo Tokyo Maeda IkutokukaiMaeda Ikutokukai (前田育徳会), Tokyo
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Kegon Sutra, Kanji meaning and reading (花厳経音義, kegonkyō ongi) unknown Collection of difficult to interpret Chinese words showing their Japanese pronunciation and meaning in Man'yōgana; only extant manuscript 0794Heian period, 794 Two handscrolls, ink on paper Tokyo Tokyo Agency for Cultural AffairsAgency for Cultural Affairs, Tokyo
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Sutra of the Bodhisattva's Dwelling in the Womb (菩薩処胎経, bosatsu shotaikyō)[50] unknown Sutra on Buddha entering nirvana; first scroll is a transcription from the late Heian period, fifth scroll a transcription from the Nara period; remaining three scrolls contain a postscriptum from 550 0550Western Wei, 550 Five handscrolls, ink on paper Kyoto Kyoto Kyoto Chionin Chion-in, Kyoto
Dairōtankyō (大楼炭経) vol. 3 unknown Sutra on the occurrence of heaven on earth 0673Tang Dynasty, 673 One book bound by fukuro-toji[nb 2] Kyoto Kyoto Kyoto Chionin Chion-in, Kyoto
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Konkōmyō Saishōō Sutra in minute characters (細字金光明最勝王経, saiji konkōmyō saishōōkyō) unknown 34 characters per line instead of the usual 17 0710Nara period, 710 Two handscrolls, ink on paper Wakayama Koya Ryukoin Ryūkō-in (龍光院), Kōya, Wakayama
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Shaku makaenron (釈摩訶衍論)[51] unknown Commentary on the Awakening of Faith (大乗起信論, daijō kishinron); one of the principal books of Shingon Buddhism; lower part of opening phrase of volume one features Chinese characters of Empress Wu 0618Tang Dynasty, 618 Five bound books, ink on paper Shiga Otsu IshiyamaderaIshiyama-dera, Ōtsu, Shiga
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Vajrasekhara Sutra (金剛経, kongōkyō) Zhang Jizhi (張即之)
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 1253Southern Song, 1253 One bound book, ink on paper, 32.2 cm × 1,781.0 cm (12.7 in × 701.2 in) Kyoto Kyoto Chishakuin Chishaku-in (智積院), Kyoto
Biography of the Sixth Patriarch (六祖恵能伝, rokusoenōden) unknown Brought back from China by Saichō 0803Tang Dynasty, 803 One handscroll, ink on paper, 26.1 cm × 38.1 cm (10.3 in × 15.0 in) Shiga Otsu EnryakujiEnryaku-ji, Ōtsu, Shiga
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Vajrasekhara Sutra written by Daikaku Zenshi (大覚禅師筆金剛経, Daikaku Zenshi-hitsu kongōkyō) Lanxi Daolong (大覚禅師, Daikaku Zenshi)
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 1213Southern Song, 13th century One bound book Kyoto Kyoto Ryukoin Ryūkō-in (龍光院), Kyoto
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Preface to the Lotus Sutra (法華経序品, hokekyō johon) or Chikubushima Sutra (竹生島経, Chikubushimakyō)[35][52] Minamoto Toshifusaattributed to Minamoto Toshifusa (源俊房) by Shōkadō Shōjō (松花堂昭乗) in a postscript from 1625 28 lines per page; paper decorated with gold and silver underdrawings of butterflies, birds, flowering plants, imaginary Buddhist flowers, and clouds; the Expedient Means chapter of the same work, located at the Tokyo National Museum, has been designated as national treasure 1000Heian period, 11th century One bound accordion book, ink on decorated paper, 26.3 cm × 481.5 cm (10.4 in × 189.6 in) Shiga Nagahama HogonjiHōgon-ji (宝厳寺), Nagahama, Shiga
Sutra of Immeasurable Meanings (無量義経, muryōgikyō) and Samantabhadra Contemplation Sutra (観普賢経, kanfugenkyō) or Ornamental sutra (裝飾経)[53] unknown Thought to have formed a set together with the Lotus sutra 1000Heian period, 11th century Two handscrolls, one each, ink on paper dyed in different shades of brown, muryōgikyō: 25.2 cm × 927.9 cm (9.9 in × 365.3 in), kanfugenkyō: 25.4 cm × 845.8 cm (10.0 in × 333.0 in) Tokyo Tokyo Nezu Art Museum Nezu Art Museum, Tokyo

Treatises, commentaries

Nara period Buddhism was dominated by six state controlled sects that had been introduced from the mainland and were centred around the ancient capitals in Asuka and Nara. These schools were generally scholastic in nature, closely connected with the court and represented a doctrine that was far away from the daily life of the people.[54][55] In 804, two Japanese monks, Kūkai and Saichō, travelled to China and on their return established Tendai and Shingon Buddhism respectively. Unlike their predecessors both esoteric schools took into account the needs of the common people and though their origins lay in China over time they acquired local Japanese traits.[55][56] Generally the 9th century was a time in which Chinese learning thrived in Japan and authors produced a wide variety of works in Chinese language including commentaries and treatises on a variety of subjects.[57]

A number of new sects appeared in Japan in the 12th and 13th century as a natural reaction to the difficult teachings of older schools and partially motivated by the notion of mappō.[nb 6][58] Growing out of an Amida cult, the Jōdo Shinshū Pure Land school was founded in 1224 by Shinran and attracted a following from all classes and ocupations.[59][60] Three years later, Dōgen introduced the Sōtō school of Zen Buddhism emphasizing meditation and dharma practice.[61] The first truly Japanese school of Buddhism goes back to Nichiren's proclamation of his teachings in 1253. Nichiren Buddhism was exceptional for being militant and intolerant.[58] The central focus of Nichiren's teaching was the veneration of the Lotus Sutra.[58][61][62]

Fourteen treatises and commentaries of famous Japanese monks dating from the early Heian to the Kamakura period have been designated as national treasures. These include three commentaries by Kūkai on two of the main mantras (Dainichikyō and Kongōhannyakyō) of Shingon Buddhism, works by Shinran discussing Pure Land Buddhism, mappō and Amida, a manual on zazen "seated meditation" by Dōgen and two works by Nichiren related to his teachings.[4]

Name Authors Remarks Date Format Present Location Image
Thirty booklets of handcopied sutras (三十帖冊子, sanjūjō sasshi) and Sutra Box with Auspicious Floral Motif and Kalavinkas (宝相華迦陵頻伽蒔絵𡑮冊子箱（𡑮＝土篇に「塞」）, hōsōgekaryōga makie sokusasshi bako)[63] Kūkai Sutras brought back from his 804 visit to Hui-kuo at China by Kūkai; box presented to Tō-ji by Emperor Daigo; originally there were 38 books, 8 of which have been lost 0804Heian period, 9th century; box from 919 30 bound books and one box Kyoto Kyoto Kyoto Ninnaji Ninna-ji, Kyoto
Teachings of the monk Shunyū (淳祐内供筆聖経, shunyū naiku hitsu shōgyō) or Fragrant teachings (薫聖経, nioi no shōgyō)[64] Shunyū/Junyū (淳祐)
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 0900Heian period, 10th century 60 scrolls, one bound book Shiga Otsu Ishiyamadera Ishiyama-dera, Ōtsu, Shiga
Segment of the Kongōhannyakyō Sutra Commentary (金剛般若経開題残巻, Kongōhannyakyō kaidai zankan)[65] Kūkai Segment of a commentary explaining the title of the Diamond Sutra. The full commentary was originally located in Sanbō-in before being cut in segments. 0800Heian period, 9th century One handscroll, ink on Japanese tissue paper, 38 lines, 27.9 cm × 131.8 cm (11.0 in × 51.9 in) Nara Nara Nara National Museum Nara National Museum, Nara, Nara
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Segment of the Kongōhannyakyō Sutra commentary (金剛般若経開題残巻, Kongōhannyakyō kaidai zankan)[66] Kūkai Segment of a commentary explaining the title of the Diamond Sutra. The full commentary was originally located in Sanbō-in before being cut in segments. Considered to be a draft 0800Heian period, 9th century One handscroll, ink on paper, 63 lines, 27.6 cm × 202.4 cm (10.9 in × 79.7 in) Kyoto Kyoto Kyoto National Museum Kyoto National Museum, Kyoto
Great Sun Sutra commentary (大日経開題, Dainichikyō kaidai) Kūkai
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 0794early Heian period One scroll Kyoto Kyoto Daigoji Daigo-ji, Kyoto
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Rōkoshiiki (聾瞽指帰)[67] Kūkai Comparative study of Confucianism, Taoism and Buddhism 0794Heian period, 794 One scroll, ink on paper Wakayama Koya Kongobuji Kongōbu-ji, Kōya, Wakayama
The object of devotion for observing the mind in the fifth five-hundred year period (観心本尊抄, Kanjin no Honzon Shō)[68][69] Nichiren Explanation of the object of devotion in Nichiren's teaching and description of the practice for attaining Buddhahood; addressed to Toki Jonin, one of Nichiren's followers 1273-12-08Kamakura period, December 8, 1273 One bound book, ink on paper, 17 pages: pages 1–12 33.0 cm × 54.2 cm (13.0 in × 21.3 in), pages 13–17 30.3 cm × 45.5 cm (11.9 in × 17.9 in) Chiba Ichikawa Hokekyoji Hokekyō-ji (法華経寺), Ichikawa, Chiba
Treatise on securing the peace of the land through the establishment of the correct teaching (立正安国論, Risshō Ankoku Ron) or "On establishing the correct teaching for the peace of the land"[70][71][72] Nichiren In this writing Nichiren aims to clarify the cause of a large number of natural disasters such as famines, floods, landslides and earthquakes that troubled Japan and Kamakura around the 1250s. His conclusion is that people should embrace the correct teaching. Document submitted to Hōjō Tokiyori 1260Kamakura period, 1260 One scroll, ink on paper, 29.3 cm × 1,598.2 cm (11.5 in × 629.2 in) Chiba Ichikawa Hokekyoji Hokekyō-ji (法華経寺), Ichikawa, Chiba
Notes on Guidance Toward Birth in the West (西方指南抄, saihō shinanshō) or "A Teaching to the Western Land" or "Collections Showing the Way to the West"[73] Shinran Compilation of Hōnen's (teacher of Shinran) words in the form of writings, letters and records of words or events 1256Kamakura period, 1256 Six books bound by fukuro-toji[nb 2] Mie Tsu SenjujiSenju-ji, Tsu, Mie
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Contemplation Sutra commentary (観無量寿経註, Kanmuryōju-kyō chū)[74] Shinran With annotations between lines and on the margin 1200Kamakura period, 13th century One scroll, ink on paper Kyoto Kyoto Nishi HonganjiNishi Hongan-ji, Kyoto
Amitabha Sutra commentary (阿弥陀経註, Amida-kyō chū)[74] Shinran With annotations between lines and on the margin 1200Kamakura period, 13th century One scroll, ink on paper Kyoto Kyoto Nishi HonganjiNishi Hongan-ji, Kyoto
A Collection of Passages Revealing the True Teaching, Practice and realization of the Pure Land Way (教行信証, Kyōgyōshinshō), Bandō manuscript (坂東本)[75] Shinran Series of selections and commentaries on Buddhist sutras; intermediate draft and only extant manuscript of the Kyōgyōshinshō with earlier versions going back to 1224 1235Kamakura period, 1235 Six books bound by fukuro-toji[nb 2] KyotoŌtani sect of Jodo Shinshu, Kyoto
Sanjō Wasan (三帖和讃)[73][76] Shinran Three collection of hymns praising the virtue of the bodhisattva and high priest: Jōdo Wasan (Hymns of the Pure Land), Kōso Wasan (praising the seven patriarchs) and the Shō-zō Mappō Wasan (describing the changes that will come upon the pure land in the lapse of centuries) 1200Kamakura period, 13th century Three books bound by fukuro-toji[nb 2] Mie Tsu SenjujiSenju-ji, Tsu, Mie
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Universally Recommended Instructions for Zazen (普勧坐禅儀, fukan zazengi)[77][78] Dōgen Written six years after Dōgen's return from China 1233Kamakura period, 1233 One scroll, ink on paper, 28.8 cm × 319.2 cm (11.3 in × 125.7 in) Fukui Eiheiji EiheijiEihei-ji, Eiheiji, Fukui

Zen monk writings, bokuseki

Bokuseki is a type of Japanese calligraphy practiced by Zen monks or lay practitioners of Zen meditation.[79][80] It is characterised by freely written bold characters often ignoring classical standards and criteria of calligraphy.[81][82] The brush is moved continuously across the paper and lines are rich in variations.[83] Unlike other calligraphy, bokuseki are considered "religious art" and a manifestation of the artist's understanding of the Dharma.[84] In this sense the literal meaning of the word "bokuseki" = "ink trace" is understood as a trace of the enlightened mind.[82][85]

The bokuseki style developed from Song Dynasty calligraphy and was brought together with Zen Buddhism from China to Japan starting with Eisai in 1191.[83] Imported late 12th century works from China were highly regarded in Japan and subsequently Japanese priests started to produce their own bokuseki in the 13th and 14th century.[82] Later bokuseki became part of the zen practice and served as meditation help[80] They were often mounted on hanging scrolls and displayed in temples and tea rooms.[79][82][84] The master of the Japanese tea ceremony, Sen no Rikyū, considered them elementary to the tea ceremony, placing the participants in the right frame of mind.[82] Bokuseki gained in importance through the chanoyu in the Muromachi and Momoyama periods.[83] Daitō Kokushi and Musō Soseki, both from the Rinzai school of Zen Buddhism, were the most famous bokuseki masters of the time.[83]

The bokuseki style is present in a variety of Zen genres such as Buddhist sermons or Dharma talks (hōgo), certificates of enlightenment (inkajō), death verses (yuige), gatha verses (geju), poetry[nb 7] (shi), letters, names and titles given to a monk by his master (jigo), exhortory sermons (shidōgo), gakuji,[nb 8] inscriptions on Zen paintings (san) and Zen circles.[79][80][86] There are 23 bokuseki national treasures of various types including inkajō, hōgo, letters and yuige. They date from the 12th to 14th centuries and have been mounted on hanging scrolls.[4]

Name Authors Remarks Date Format Present Location Image
Certificate of Buddhist Spiritual Achievement (印可状, inkajō)[87] Yuanwu Keqin First half of an enlightenment certificate given to Yuanwu's disciple Huqiu Shaolong in recognition of his spiritual achievement. Oldest extant document written by a Chan master. Also known as Floating Yuanwu (流れ圜悟, Nagare Engo) 1124Northern Song, 1124 One hanging scroll, ink on paper, 43.9 cm × 52.4 cm (17.3 in × 20.6 in) Tokyo Tokyo Tokyo National MuseumTokyo National Museum, Tokyo
Teaching on Enlightenment (法語, hōgo)[88] Xutang Zhiyu (虚堂智愚, Kidō Chigu) Dedicated to a brilliant Zen practitioner, possibly Mushō Jōshō (無象静照) (1234–1306) 1200Southern Song, 13th century One hanging scroll, ink on paper, 28.5 cm × 70.0 cm (11.2 in × 27.6 in) Tokyo Tokyo Tokyo National MuseumTokyo National Museum, Tokyo
Poems dedicated to Muin Genkai (与無隠元晦詩, Muin Genkai ni ataerushi)[89] Feng Zizhen (馮子振, Fū Shishin) Three poems with seven characters per line dedicated to the Japanese monk Muin Genkai 1300Yuan Dynasty, 14th century One hanging scroll, ink on paper, 32.7 cm × 102.4 cm (12.9 in × 40.3 in) Tokyo Tokyo Tokyo National MuseumTokyo National Museum, Tokyo
Teaching on Enlightenment (法語, hōgo)[90] Liaoan Qingyu (了菴清欲, Ryōan Seiyoku) Note about the attainment of enlightenment. Written for a Japanese monk Teki Zōsu (的蔵主) who had travelled to Liaoan Qingyu in China 1341Yuan Dynasty, 1341 One hanging scroll, ink on paper, 27.9 cm × 73.9 cm (11.0 in × 29.1 in) Tokyo Tokyo Tokyo National MuseumTokyo National Museum, Tokyo
Letter of Dahui Zonggao (尺牘, sekitoku)[91] Dahui Zonggao Letter from Dahui's exile in Meizhou to his friend, the lay practitioner Wuxiang 1127Southern Song, 12th century One hanging scroll, ink on paper, 37.9 cm × 65.5 cm (14.9 in × 25.8 in) Tokyo Tokyo Tokyo National MuseumTokyo National Museum, Tokyo
Letter of Wuzhun Shifan (尺牘, sekitoku)[92] Wuzhun Shifan Letter of thanks for Enni Ben'en's donation after the destruction of Wanshou Temple by fire. Also known as the "Calligraphy of the Board Gift" 1243Southern Song, 1243 One hanging scroll, ink on paper. 32.1 cm × 100.6 cm (12.6 in × 39.6 in) Tokyo Tokyo Tokyo National MuseumTokyo National Museum, Tokyo
Text read aloud at a Buddhist mass on the anniversary of the death of Bodhidharma[nb 9] (達磨忌拈香語, darumaki renkōgo) Xutang Zhiyu (虚堂智愚, Kidō Chigu)
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 1265Southern Song, around 1265 One hanging scroll, ink on paper Kyoto Kyoto DaitokujiDaitoku-ji, Kyoto
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Farewell verse to Betsugen Enshi (別源円旨送別偈, Betsugen Enshi sōbetsu-ge)[93] Gulin Qingmou (古林清茂, Kurin Seimo) Verification that Betsugen Enshi had been initiated into the ascetic practice 1325Yuan Dynasty, 1325 One hanging scroll, ink on paper, 37.7 cm × 99.2 cm (14.8 in × 39.1 in) Tokyo Tokyo Gotoh MuseumGotoh Museum, Tokyo
Letter on the opening ceremony of the lecture hall by the newly appointed chief priest Myōsō Saitetsu (明叟斉哲開堂諸山疏, Myōsō Saitetsu kaidō shozan) Jikusen Bansen (竺仙梵僊)
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 1271Song Dynasty, Yuan Dynasty Two hanging scrolls, silk Kyoto Kyoto RyokoinRyōkō-in (龍光院), Kita-ku, Kyoto
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Getsurin Dōgō (月林道号) Gulin Qingmou (古林清茂, Kurin Seimo) Document on the monk Getsurin Dōgō (1293–1351), student of Kurin Seimo and founder of Chōfuku-ji 1327Yuan Dynasty, 1327 One hanging scroll Kyoto Kyoto ChofukujiChōfuku-ji (長福寺), Ukyō-ku, Kyoto
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gabatsu (画跋)[94] Feng Zizhen (馮子振, Fū Shishin) Afterword composed on a painting "Flowers and Insects" by Yi Yuanji 1300Yuan Dynasty, 14th century One hanging scroll, ink on paper, 30.0 cm × 118.4 cm (11.8 in × 46.6 in) Kanagawa Kamakura Tokiwayama BunkoTokiwayama Bunko (常盤山文庫), Kamakura, Kanagawa
Death verse (遺偈, yuige)[94] Qingzhuo Zhengcheng (清拙正澄, Seisetsu Shōchō) Written by Qingzhuo Zhengcheng, a high ranking priest of Kennin-ji, on the day of his death which shows in the style of the writing 1339Nanboku-chō period, 1339 One hanging scroll, ink on paper, 36.6 cm × 92.4 cm (14.4 in × 36.4 in) Kanagawa Kamakura Tokiwayama BunkoTokiwayama Bunko (常盤山文庫), Kamakura, Kanagawa
Buddhist sermon (法語, hōgo) Mittan Kanketsu (密庵咸傑) Highly praised by masters of the tea ceremony; a special place called Mittan toko had been designed for this scroll in the tea room inside the shoin at Ryōkō-in 1179Southern Song, 1179 One hanging scroll, ink on paper, 27.3 cm × 102.1 cm (10.7 in × 40.2 in) Kyoto Kyoto RyokoinRyōkō-in (龍光院), Kita-ku, Kyoto
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Verse of Praise (与長楽寺一翁偈語, ｃｈōrakuji ichiō niatauru no gego)[95] Mugaku Sogen (無学祖元) Presented to his fellow student, Ichiō Ingō (一翁院豪), by Mugaku Sogen, praising his enlightenment; written in the same year in which Mugaku Sogen moved to Japan following the Mongol invasion of China 1279-12-11Southern Song, Kamakura period, December 11, 1279 Four hanging scrolls Kyoto Kyoto ShokokujiShōkoku-ji, Kyoto
Certificate of Buddhist Spiritual Achievement for Enni (円爾印可状, Enni inkajō)[96][97] Wuzhun Shifan Approbation certificate for the Japanese monk Enni Ben'en 1237-10Southern Song, 1237 One hanging scroll, ink on paper Kyoto Kyoto TofukujiTōfuku-ji, Kyoto
sanmonso (山門疏)[98] Wuzhun Shifan Text to be read aloud at the dōjō (道場, meditation) ceremony 1200Southern Song, 13th century One hanging scroll, ink on silk, 44.8 cm × 132.5 cm (17.6 in × 52.2 in) Tokyo Tokyo Gotoh MuseumGotoh Museum, Tokyo
Letter by Dahui Zonggao (尺牘, sekitoku) Dahui Zonggao
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 1127Southern Song One hanging scroll Tokyo Tokyo Hatakeyama Memorial Museum of Fine ArtHatakeyama Memorial Museum of Fine Art (畠山記念館, hatakeyama kinennkan), Tokyo
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Buddhist sermon and regulations (法語規則, hōgo kisoku)[99] Daikaku Zenji (大覚禅師) (Rankei Dōryū/Lanxi Daolong) The sermon, directed to the monks inside the temple, warns of procrastination and calls for devotion to studying. The regulations provide strict rules for the daily life of ascetic monks, from the time of washing to how to roll up a bamboo screen. 1127Southern Song, Kamakura period Two hanging scrolls, ink on paper, 85.2 cm × 41.4 cm (33.5 in × 16.3 in) (sermon) and 85.5 cm × 40.7 cm (33.7 in × 16.0 in) (regulations) Kanagawa Kamakura KenchojiKenchō-ji, Kamakura, Kanagawa, in custody at Kamakura Museum of National Treasures
Certificate of Buddhist Spiritual Achievement (印可状, inkajō) Daitō Kokushi (大燈国師)/Shūhō Myōchō (宗峰妙超) Certificate for Kanzan Egen (関山慧玄), student of Shūhō Myōchō 1330Nanboku-chō period, Kamakura period, 1330 One hanging scroll Kyoto Kyoto MyoshinjiMyōshin-ji, Kyoto
kantoku shinsenbō (看読真詮榜) or kankinbō (看経榜)[100] Daitō Kokushi (大燈国師)/Shūhō Myōchō (宗峰妙超) Instruction to priests about the recital of sutras 1336Nanboku-chō period, Kamakura period One hanging scroll, ink on paper Kyoto Kyoto ShinjuanShinjuan (真珠庵), Kyoto
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"Kanzan" (関山) (nickname) Daitō Kokushi (大燈国師)/Shūhō Myōchō (宗峰妙超)
—
 1329Nanboku-chō period, Kamakura period, 1329 One hanging scroll, ink on paper Kyoto Kyoto MyoshinjiMyōshin-ji, Kyoto
Keiringe, Nangakuge (渓林偈、南獄偈)[101] Daitō Kokushi (大燈国師)/Shūhō Myōchō (宗峰妙超) Keiringe is a poem about nature's great harmony when Shūhō Myōchō looked at a copse in late fall; Nangakuge is a poem about the grandeur of Mount Heng and the admiration for the Chinese emperor 1300Kamakura period, 14th century Two hanging scrolls Osaka Tadaoka Masaki Art MuseumMasaki Art Museum (正木美術館, Masaki bijutsukan), Tadaoka, Osaka
—
Sermon for Sōgo Taishi (与宗悟大姉法語, Sōgo Taishi hōgo) Daitō Kokushi (大燈国師)/Shūhō Myōchō (宗峰妙超)
—
 1330-05-13Nanboku-chō period, Kamakura period, May 13, 1330 One hanging scroll Kyoto Kyoto DaiseninDaisen-in, Kyoto
—

Kaishi or futokorogami

Kaishi or futokorogami were sheets of paper carried by high-ranking people at the breast folded in their kimonos.[102][103] They were used for writing letters or tanka and similar sheets were employed during the tea ceremony.[102][103] Papers came in a variety of sizes and colours depending on the rank and sex of those using them.[103] At court men wrote on white, women only on red kaishi paper.[102] Over time the paper format was standardized with sizes ranging from about 28 cm × 36 cm (11 in × 14 in) to 36 cm × 56 cm (14 in × 22 in).[103] The folding style, labelling and other stylistic features differed from school to school.[103] Four items from the Heian and Kamakura periods have been designated as National Treasures in the kaishi category. They are single sheets or sets of sheets mounted on hanging scrolls or bound in an album and contain poetry of Japanese rulers and famous poets.[4]

Name Authors Remarks Date Format Present Location Image
Kumano poems (熊野懐紙, Kumano kaishi)[104] Emperor Go-Toba Written on a pilgrimage to Kumano 1200Kamakura period, 1200 One hanging scroll, 31.5 cm × 48.5 cm (12.4 in × 19.1 in) Kyoto Kyoto Nishi HonganjiNishi Hongan-ji, Kyoto
—
Kumano poems (熊野懐紙, Kumano kaishi)[105] variousEmperor Go-Toba, Fujiwara no Ietaka and Jakuren Written on a pilgrimage to Kumano 1201Kamakura period, 1201 Three hanging scrolls: 30 cm × 43.5 cm (11.8 in × 17.1 in) (Jakuren) Kyoto Kyoto Yomei BunkoYōmei Bunko, Kyoto
Poems on the Chapters of the Lotus Sutra (一品経懐紙, Ippon kyōkaishi)[106] various, among others Saigyō Hōshi and Jakuren Collection of 28 poems on each chapter of the Lotus Sutra by as many famous poets and calligraphers of the late Heian period. Saigyō's poem was separated and mounted on a hanging scroll). A painting of a maple tree in autumn by Tosa Mitsuoki was added later and the poems were collected in an album around the same time 1185Kamakura period One hanging scroll (27.4 cm × 47.6 cm (10.8 in × 18.7 in)) and one album (bound book) of 14 sheets, ink on paper Kyoto Kyoto Kyoto National MuseumKyoto National Museum, Kyoto
Poem on kaishi paper by Fujiwara no Sukemasa (藤原佐理筆詩懐紙, Fujiwara no Sukemasa hitsu shikaishi)[107][108][109] Fujiwara no Sukemasa Oldest extant shikaishi, a poem written on kaishi paper (a paper folded and tucked inside the front of the kimono) 0969Heian period, 969 One hanging scroll, ink on paper, 32.0 cm × 45.0 cm (12.6 in × 17.7 in) Kagawa Takamatsu Kagawa MuseumKagawa Museum (香川県立ミュージアム), Takamatsu, Kagawa

Albums of exemplary calligraphy, tekagami

Collections of exemplary calligraphy or tekagami (lit. "mirror of the hands") were created by cutting pages and sections of old books and scrolls of sutras, poems and letters and arranging them in albums ordered chronologically or by social status.[110][111][112] At the early 16th century calligraphic connoisseurs of the Kohitsu house had practiced activities aimed at preserving ancient calligraphic works.[113] Tekagami production appears to have started in the Momoyama period.[112] These albums not only served as model books for calligraphy practice and the emulation of old styles but also as reference works for authentication in the growing antique market of the time.[114] Today, the selection of calligraphers and the type of calligraphies in a tekagami tell about the changing tastes in classical Japanese-style calligraphy over the years.[111] Four tekagami containing works from the 8th century Nara to the 15th century Muromachi period have been designated as National Treasures.[4]

Name Authors Remarks Date Format Present Location Image
Castle of Brush and Ink Album (手鑑 翰墨城, tekagami kanbokujō)[115] various Together with the "Companions of Past Ages" and the "Moshiogusa Album of Exemplary Calligraphy" considered to be one of the three great albums of exemplary calligraphy 0710Nara period to Muromachi period, 8th – 15th century One album (bound book) with 311 segments (154 on obverse side, 157 on reverse side) Shizuoka Atami MOA Museum of ArtMOA Museum of Art, Atami, Shizuoka
Companions of Past Ages (手鑑 見ぬ世の友, tekagami minu yo no tomo)[116] various Together with the "Kanbokujō" and the "Moshiogusa Album of Exemplary Calligraphy" considered to be one of the three great albums of exemplary calligraphy 0710Nara period to Muromachi period, 8th – 15th century One album with 229 segments Tokyo Tokyo Idemitsu Museum of ArtsIdemitsu Museum of Arts, Tokyo
—
Moshiogusa Album of Exemplary Calligraphy (手鑑 藻塩草, tekagami Moshiogusa)[111] various Samples on the obverse side are arranged by status of the author (emperors, crown princes,..., poets). Handed down in the Kohitsu family in the Edo period. Together with the "Kanbokujō" and the "Companions of Past Ages" considered to be one of the three great albums of exemplary calligraphy 0710Nara period to Muromachi period, 8th – 15th century One album (bound book) with 242 segments (117 on obverse side, 125 on reverse side), 39.7 cm × 34.8 cm (15.6 in × 13.7 in) Kyoto Kyoto Kyoto National MuseumKyoto National Museum, Kyoto
Large Collection of handwritings (大手鑑, Ōtekagami)[117] various Collection of calligraphy, imperial correspondence, and other works 0710Nara period to Muromachi period, 8th – 15th century Two albums (bound books), album one with 139 segments, album two with 168 segments Kyoto Kyoto Yomei BunkoYōmei Bunko, Kyoto

Ancient calligraphy, kohitsu

In Japanese calligraphy Kohitsu (古筆) originally referred to works on scrolls or bound books by ancient calligraphers or poets created from the 8th to 15th century.[80][118][119] In today's use the term describes mainly copies of poetry anthologies from the Heian to mid-Kamakura period.[118] Since they were made as artful daily items for the nobility, in addition to a beautiful script, attention was payed to the choice of paper (which was often decorated), the binding, mountings and even accompanying boxes.[80][118] Stylistically kohitsu were written in Japanese kana in cursive script (sōgana).[80][119] In the Momoyama and early Edo period, surviving kohitsu were often cut (kohitsu-gire), mounted on hanging scrolls and put up in a tea room.[80][118][119] Five scrolls of kohitsu poetry collections from the mid-Heian period have been designated as national treasures. They were made by two calligraphers: Fujiwara no Yukinari and Ono no Michikaze.[4]

Name Authors Remarks Date Format Present Location Image
Poetic Anthology of Bo Juyi (白氏詩巻, Hakushi shikan)[101] Fujiwara no Yukinari Collection of poems by the Chinese poet Bo Juyi 972Heian period One scroll Osaka Tadaoka Masaki Art MuseumMasaki Art Museum (正木美術館), Tadaoka, Osaka
Poetic Anthology of Bo Juyi (三体白氏詩巻, Santai Hakushi shikan)[101][120] Ono no Michikaze Collection of poems by the Chinese poet Bo Juyi written in cursive, semi-cursive and regular script and representing the Japanese style halfway in its development 900Heian period, 10th century. One scroll made by 8 joined sheets, ink on paper, 30.6 cm × 239.6 cm (12.0 in × 94.3 in) Osaka Tadaoka Masaki Art MuseumMasaki Art Museum (正木美術館), Tadaoka, Osaka
Poetic Anthology of Bo Juyi (白氏詩巻, Hakushi shikan)[121] Fujiwara no Yukinari Collection of eight poems from volume 65 of the Poetic Anthology of Bo Juyi. With a postscript by Yukinari and a colophon by Emperor Fushimi 1018Heian period, 1018 One handscroll made of nine joined sheets, ink on paper, 25.4 cm × 265.2 cm (10.0 in × 104.4 in) Tokyo Tokyo Tokyo National MuseumTokyo National Museum, Tokyo
Autumn Bushｰclover Scroll (秋萩帖, Akihagi-jō) and Commentary on the Military Strategy Chapter of the Huainanzi (淮南鴻烈兵略間詁, wainan kōretsu heiryaku kanko) on the reverse side[122] Ono no Michikazepurportedly by Ono no Michikaze Front: 48 Japanese poems on 1st–15th sheet and 12 (copies of) letters by Wang Xizhi on 16th–20th sheet all in simple cursive style. Poems on 1st sheet in hand of Ono no Michikaze, those on other sheets said to be by Fujiwara no Yukinari or possibly Emperor Fushimi

Reverse: philosophical treaties in regular script covering 2nd–20th sheet

900Heian period, 10th century One handscroll made of twenty sheets, ink on decorative (colored) paper. 24.0 cm × 842.4 cm (9.4 in × 331.7 in) Tokyo Tokyo Tokyo National MuseumTokyo National Museum, Tokyo
Document attributed to Fujiwara no Yukinari (伝藤原行成筆書巻, den Fujiwara no Yukinari hitsu shokan)[123] Fujiwara no Yukinariattributed to Fujiwara no Yukinari The scroll, also known as Honnōji-gire, is written in Japanese style and contains compositions by Ono no Takamura, Sugawara no Michizane and Ki no Haseo (紀長谷雄) 972Heian period One scroll made of four sheets of paper, ink on paper, 29.4 cm × 188.2 cm (11.6 in × 74.1 in) Kyoto Kyoto HonnojiHonnō-ji, Kyoto

Others

There are three writings National Treasures that do not fit in any of the above categories. All of them originated in China. Two are 7th century works: a copy of the Thousand Character Classic by Zhi Yong in both, formal and cursive script and a tracing copy of a letter by the famous Chinese calligrapher Wang Xizhi. The former work[nb 10] is said to have been imported to Japan by the legendary Korean scholar Wani in ancient times. One is a 13th century set of large scale letters (2 or 3 each) to be displayed on walls or above doorways.[4]

Name Authors Remarks Date Format Present Location Image
Thousand Character Classic in formal and cursive script (真草千字文, Shinsō senjimon) Zhi Yong
—
 0618Tang Dynasty, 7th century One bound book, 24.5 cm × 11 cm (9.6 in × 4.3 in) Kyoto Kyoto Privateprivate, Kyoto Four lines of Chinese text.
Letter to Kong (孔侍中帖, kōjichūjō) (Chin.: Kong Shizhong Tie)[124] unknown Tracing copy of a letter by Wang Xizhi. In the letter Wang inquires after the well-being of a friend. 0626Tang Dynasty, during reign of Emperor Taizong of Tang (626–649) One hanging scroll, 24.8 cm × 41.8 cm (9.8 in × 16.5 in) Tokyo Tokyo Maeda IkutokukaiMaeda Ikutokukai (前田育徳会), Tokyo
zenin gakuji narabi ni haiji (禅院額字并牌字)[125] Wuzhun Shifan (two gakuji[nb 11] and five haiji[nb 12] scrolls) and Chiyō Sokushi, Zhang Jizhi (張即之) (12 gakuji[nb 13] scrolls) Wuzhun Shifan sent these items from China to his student Enni when the latter was at Jōten-ji, Hakata. 1200Southern Song Dynasty, 13th century 14 zenin gakuji (禅院額字)[nb 14] and 5 禅院牌字, ink on paper, 44.8 cm × 92.3 cm (17.6 in × 36.3 in) Kyoto Kyoto TofukujiTōfuku-ji, Kyoto (partially entrusted to the Kyoto National Museum)


See also

Notes

  1. ^ Only the oldest period is counted, if a National Treasure consists of items from more than one period.
  2. ^ a b c d e (袋とじ) binding folded uncut pages in a book, so that there are blank two pages between two pages outside
  3. ^ Probably much before this date.
  4. ^ The traditional Chinese way to prevent insect damage.
  5. ^ Later additions in the Heian and Kamakura periods to some of the volumes
  6. ^ For this reason these new schools have been termed "evangelist" by Sir George Bailey Sansom.
  7. ^ Ones own poetry or that of a poet or master.
  8. ^ Two or three large characters written horizontally for display over a doorway or on a wall.
  9. ^ On October 5
  10. ^ But not this particular manuscript
  11. ^ The scrolls read: 勅賜承天禅寺、大円覚
  12. ^ The scrolls read: 上堂、小参、秉払、普説、説戒
  13. ^ The scrolls read: 普門院、方丈、旃檀林、解空室／東西蔵、首座、書記、維那、前後知客、浴司、三応
  14. ^ Two or three large characterswritten horizontally for display on a wall or over a doorway

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  117. ^ "Special Exhibition Courtly Millenium - Art Treasures from the Konoe Family Collection". Tokyo National Museum. Retrieved 2010-09-09.
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Bibliography

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