(1a) Fastened with nails.
154.6 cm long; 187.9 cm wide; 54.5 cm in depth.
(1b) Framework, made up without nails.
These are reproductions of models preserved in Shosoin,
Imperial treasure-house at Nara.
(E 2)A KARABITSU (CHINESE CHEST)
39.5 cm high.
Lid: 53 cm wide; 60 cm long.
Chest: 43 cm wide; 55 cm long.
This is a wooden chest, with four legs, made after a
Chinese model.
(E 3)A SUTRA BOX
Made of Cryptomeria.
13.7 cm high, with lid on.
Lid: 38 cm long; 25.5 cm wide.
Box: 34.5 cm long; 22.5 cm wide.
A receptacle for sutras.
(E 4)TWO SUTRA BOXES
(4a) Larger one: 14.2 cm high, with lid on.
Lid, 34.2 cm long; 19 cm wide.
Box, 31 cm long; 15.5 cm wide.
(4b) Smaller one: 16 cm high, with lid on.
Lid, 33.7 cm long; 16.7 cm wide.
Box, 30.3 cm long; 13.6 cm wide.
On the bottom of the larger box is an inscription in red
lacquer to the effect that this is one of a set of thirteen sutra
boxes belonging to the Jun-eiji temple.
(E 5)A KYO-CHITSU (A SUTRA ROLLER)
With one wooden label.
Roller: 31 cm by 45 cm.
Label: 7.3 cm by 2 cm. Thickness, 0.2 cm.
Kyo-chitsu is a kind of small screen-strainer used for
keeping kyo or sutras, by rolling them up, one of the important implements of Buddhist religion. This specimen was one
of those actually used by the ex-Emperor Goshirakawa Ho-O
(77th Emperor, 1127-1192) and once owned by the Jingo-ji
temple of Takao-san, Kyoto prefecture. The wooden label
bears the inscription, "Daijo-kyo 29, Daihoto, Daiun-kyo, etc."
- the names of the sutras for which the chitsu was used.
(E 6)A KYO-CHITSU
36.6 cm by 62.4 cm.
A modern specimen, probably of Korea.
(E 7)A ROBEN INK-SLAB
Preserved in the Todai-ji Temple, Nara.
13.5 cm long; 4 cm high.
An imitation of the ink-slab, made of unglazed pottery,
said to be used by the famous priest, Roben, during Nara
period (708-780 A.D.). Roben was the founder of the great
Todai-ji temple.
(E 8)THREE WRITING BRUSHES
Imitations of those in use during the Tempyo period.
(E 9)A MONKEY-FACED INK-SLAB
27.3 cm long; 20.5 cm wide at the bottom.
An imitation of the original, made in the Fujiwara period
(966-1067), now kept at Taima-dera temple, Yamato province.
So named because of its fancied resemblance to the monkey's
face. It was made of a broken piece of a huge earthenware
pot, lacquered in relief and fringed with tin.
(E 10)A KOREAN STONE INK-SLAB
17.5 cm long; 11.7 cm wide at the bottom.
Probably a specimen of "Korai" period, or early Li dynasty
(15th century).
(E 11)AN INK-SLAB BOX
A pair of boxes, one on top forming the lid. The picture
on the surface, designed in mother of pearls. Made either in
China or Korea.
(E 12)A NEGORO-NURI LACQUER INK-SLAB BOX
With an ink-slab and a water-container.
6.2 cm high, including Lid.
Lid: 24.4 cm long; 18.7 cm wide.
Negoro-Nuri is the variety of lacquer work first produced at Negoro-dera (temple) , Kii Province. This peculiar
variety of lacquer ware was produced in great quantities since
1288 A.D., when some priests of Mount Koya removed thither
and the temple prospered. Later in 1595, however, the temple
was destroyed by Hideyoshi, and with it this industry ceased.
Subsequently it was much imitated in Kyoto, and the writing
box, here shown, is a specimen of the Tokugawa period.
(E 13)THREE YATATE
(13-1) 18 cm long.
(13-2) 18 cm long.
(13-3) 22 cm long.
Yatate is a kind of portable ink-stand with a cylindrical tube for a writing-brush, worn by men at their belts,
especially by merchants. A great variety of Yatate are produced at different periods. These are products of later Tokugawa period (19th century).
(E 14)A WRITING DESK IN RELIEF LACQUER
25.5 cm high; 90.7 cm by 27.7 cm.
A produce of later Tokugawa period.
(E 15)A GAKU
It bears the three characters 心花堂 (literally "MindFlower-Room," meaning "Room of Literature") by Ingen,
famous Chinese priest.
31 cm by 1005 cm.
A "Gaku" is a peculiar mode of mounting pictures or
calligraphic specimens, somewhat resembling the framed picture of the West, usually hoisted up on the upper slidinggrooves of Japanese rooms. The specimen here shown is a
wooden (poulownia) tablet on which the three characters are
engraved, obviously the name of the room in which it was
hung. Ingen was a Chinese priest of the Ming period who
came to Japan in response to Japanese invitation in 1654, and
was much respected in the religious and intellectual communities of the period. Among other notable achievements, he
founded the Obaku sect of Budhism and built the Manpuku-ji
at Uji, Yamashiro province. His calligraphic specimens were
highly valued for his eminent character as wall as for their
artistic merits.
