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A FINE MANDARA OF THE FOUR DEITIES OF MOUNT KOYA, MUROMACHI PERIOD
奥地利
06月12日 晚上7点 开拍 / 06月10日 下午3点 截止委托
拍品描述 翻译
A FINE MANDARA OF THE FOUR DEITIES OF MOUNT KOYA, MUROMACHI PERIOD

Japan, 16th century, late Muromachi period (1333-1573)

Ink, watercolors, gouache, and gold paint on silk. Mounted as a hanging scroll on a silk brocade frame with gilt metal jikusaki (roller ends) and fittings incised with foliate vines against a ring-punched ground. Finely painted to depict the four primary deities, or myojin, of Niutsuhime Shrine, a sacred site at the base of Mount Koya. The deities are seated on platforms before trifold screens within a shrine building whose entrance is guarded by a pair of lions. The site’s original deities, Niu and her male counterpart, the hunter deity Kariba, are shown at the top. Below them are two female deities, Kehi to the right and Itsukushima to the left. At the bottom of the picture are two dogs, one black and one white.

Inscriptions: To the back, 四所明神、為志聖霊追福也。左學頭宣王[…]義恭傅寄附 Shishin Myojin, Seirei no kokorozashi Tsuifuku no tame nari, Sagakuto Sen-o […] gikyo den kifu [To the Four Local Deities (Shisho Myojin), this is offered for the posthumous merit of the honored spirit. Left Gakuto (Head of the Academy), Sen-o, […] and transmitted with votive dedication].

Condition: Good condition with old wear, small tears with associated losses, scattered soiling, losses to pigment - mostly limited to the dark gray ground, and expected flaking to gilt. The top and lower edge of the image with patches of water damage. The frame with wear, loose threads, small tears and losses, and expected soiling and stains. Few sections to the back of the frame reinforced with tape and patches. All withstanding, the subjects are preserved superbly.

Image SIZE 129 x 51 cm, SIZE incl. mounting 192 x 73 cm

The two kami, or deities, at the top of this painting are Kariba Myojin and Niu Myojin. They inhabit Mount Koya and are described as son and mother. They are shown here as courtiers, with Kariba in Japanese-style court robes and Niu in robes modeled after court garments of the Tang dynasty. The two kami seated beneath are Kehi Myojin, portrayed as a lady holding a whisk, and the youthful Miyajima Myojin, with his hair drawn up in loops, playing a lute (biwa). Hojo Masako (1157-1225), the wife of the first Kamakura shogun (leader) Minamoto Yoritomo (1147–1199), invited them to Mount Koya.

The Left Gakuto (Sahakuto) is one of the highest scholarly ranks for monks in the Koyasan Shingon tradition, a position standing at the pinnacle of the monastic academic hierarchy. In major Buddhist ceremonies—especially the Misaishoko—the Left Gakuto, together with the Right Gakuto, plays a central role in judging doctrinal debates and delivering the Goryoge (formal doctrinal explanations).

The temple complex on Mount Koya, south of Kyoto and Nara, has served as the headquarters of the Shingon sect since it was established in the ninth century by Kukai (Kobo Daishi, 774-835), who is credited with introducing Esoteric Buddhist teachings from China. The black and white dog to the bottom, along with their master, Kariba, are said to have originally guided Kukai to this remote location.

Museum comparison:
Compare a closely related painting of the four deities of Mount Koya, dated 16th century, 102 x 49.5 cm image size, in the Metropolitan Museum of Art, object number 2015.300.15. Compare a closely related painting of the mandara of the four deities of Mount Koya, dated 1500s, 97.5 x 39.3 cm image size, in the Cleveland Museum of Art, accession number 1999.262.

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