A history of the Japanese people

by F. Brinkley; Dairoku Kikuchi

From the establishment of the Bakufu, Japanese art separated into two schools, that of Kamakura and that of Kyoto. The latter centered in the Imperial Court, the former in the Court of the Hojo. Taken originally from Chinese masters of the Sui and Tang dynasties, the Kyoto art ultimately developed into the Japanese national school, whereas the Kamakura art, borrowed from the academies of Sung and Yuan, became the favourite of the literary classes and preserved its Chinese traditions. Speaking broadly, the art of Kyoto showed a decorative tendency, whereas that of Kamakura took landscape and seascape chiefly for motives, and, delighting in the melancholy aspects of nature, appealed most to the student and the cenobite. This distinction could be traced in calligraphy, painting, architecture, and horticulture. Hitherto penmanship in Kyoto had taken for models the style of Kobo Daishi and Ono no Tofu. This was called o-ie-fu (domestic fashion), and had a graceful and cursive character. But the Kamakura calligraphists followed the pure Chinese mode (karayo), as exemplified by the Buddhist priests, Sogen (Chu Yuan) and Ichinei (I Ning).

In Kyoto, painting was represented by the schools of Koze, Kasuga, Sumiyoshi, and Tosa; in Kamakura, its masters were Ma Yuan, Hsia Kwei, and Mu Hsi, who represented the pure Southern Academy of China, and who were followed by Sesshu, Kao, and Shubun. So, too, the art of horticulture, though there the change was a transition from the stiff and comparatively artificial fashion of the no-niwa (moor garden) to the pure landscape park, ultimately developed into a Japanese specialty. Tradition ascribes to a Chinese bonze, who called himself Nei-issan (or Ichinei), the planning of the first landscape garden, properly so designated in Japan. He arrived in Kyushu, under the name of I Ning, as a delegate from Kublai Khan in the days of Hojo Sadatoki, and was banished, at first, to the province of Izu. Subsequently, however, the Bakufu invited him to Kamakura and assigned the temple Kencho-ji for his residence and place of ministrations. It was there that he designed the first landscape garden, furnishing suggestions which are still regarded as models.

LITERATURE

The conservatism of the Imperial city is conspicuously illustrated in the realm of literature. Careful perusal of the well-known work, Masukagami, shows that from year's end to year's end the same pastimes were enjoyed, the same studies pursued The composition of poetry took precedence of everything. Eminent among the poetasters of the twelfth century was the Emperor Go-Toba. The littérateurs of his era looked up to him as the arbiter elegantiarum, especially in the domain of Japanese versification. Even more renown attached to Fujiwara no Toshinari, whose nom de plume was Shunzei, and who earned the title of the "Matchless Master." His son, Sadaiye, was well-nigh equally famous under the name of Teika.

After the Shokyu disturbance (1221), the empire enjoyed a long spell of peace under the able and upright sway of the Hojo, and during that time it became the custom to compile anthologies. The first to essay that task was Teika. Grieving that the poets of his time had begun to prefer affectation and elegance to sincerity and simplicity, he withdrew to a secluded villa on Mount Ogura, and there selected, a hundred poems by as many of the ancient authors. These he gave to the world, calling the collection Hyakunin-isshu, and succeeding generations endorsed his choice so that the book remains a classic to this day. Teika's son, Tameiye, won such favour in the eyes of the Kamakura shogun, Sanetomo, that the latter conferred on him the manor of Hosokawa, in Harima. Dying, Tameiye bequeathed this property to his son, Tamesuke, but he, being robbed of it by his step-brother, fell into a state of miserable poverty which was shared by his mother, herself well known as an authoress under the name of Abutsu-ni. This intrepid lady, leaving her five sons in Kyoto, repaired to Kamakura to bring suit against the usurper, and the journal she kept en route—the Izayoi-nikki—is still regarded as a model of style and sentiment. It bears witness to the fact that students of poetry in that era fell into two classes: one adhering to the pure Japanese style of the Heian epoch; the others borrowing freely from Chinese literature.

Meanwhile, at Kamakura, the Bakufu regents, Yasutoki, Tokiyori and Tokimune, earnest disciples of Buddhism, were building temples and assigning them to Chinese priests of the Sung and Yuan eras who reached Japan as official envoys or as frank propagandists. Five great temples thus came into existence in the Bakufu capital, and as the Chinese bonzes planned and superintended their construction, these buildings and their surroundings reflected the art-canons at once of China, of Japan, and of the priests themselves. The same foreign influence made itself felt in the region of literature. But we should probably be wrong in assuming that either religion or art or literature for their own sakes constituted the sole motive of the Hojo regents in thus acting. It has already been shown that they welcomed the foreign priests as channels for obtaining information about the neighbouring empire's politics, and there is reason to think that their astute programme included a desire to endow Kamakura with an artistic and literary atmosphere of its own, wholly independent of Kyoto and purged of the enervating elements that permeated the latter.

This separation of the civilizations of the east (Kwanto) and the west (Kyoto) resulted ultimately in producing asceticism and religious reform. The former, because men of really noble instincts were insensible to the ambition which alone absorbed a Kyoto littérateur—the ambition of figuring prominently in an approved anthology—and had, at the same time, no inclination to follow the purely military creed of Kamakura. Such recluses as Kamo Chomei, Saigyo Hoshi and Yoshida Kenko were an outcome of these conditions. Chomei has been called the "Wordsworth of Japan." He is immortalized by a little book of thirty pages, called Hojoki (Annals of a Cell.) It is a volume of reflections suggested by life in a hut measuring ten feet square and seven feet high, built in a valley remote from the stir of life. The style is pellucid and absolutely unaffected; the ideas are instinct with humanity and love of nature. Such a work, so widely admired, reveals an author and an audience instinct with graceful thoughts.

In the career of Saigyo—"the reverend," as his title "hoshi" signifies—there were episodes vividly illustrating the manners and customs of the tune. Originally an officer of the guards in Kyoto, he attained considerable skill in military science and archery, but his poetic heart rebelling against such pursuits, he resigned office, took the tonsure, and turning his back upon his wife and children, became a wandering bard. Yoritomo encountered him one day, and was so struck by his venerable appearance that he invited him to his mansion and would have had him remain there permanently. But Saigyo declined. On parting, the Minamoto chief gave him as souvenir a cat chiselled in silver, which the old ascetic held in such light esteem that he bestowed it on the first child he met. Yoshida Kenko, who became a recluse in 1324, is counted among the "four kings" of Japanese poetry—Ton-a, Joben, Keiun, and Kenko. He has been called the "Horace of Japan." In his celebrated prose work, Weeds of Tedium (Tsure-zure-gusa), he seems to reveal a lurking love for the vices he satirizes. These three authors were all pessimistic. They reflected the tendency of the time.

RELIGION

The earliest Buddhist sect established in Japan was the Hosso. It crossed from China in A.D. 653, and its principal place of worship was the temple Kofuku-ji at Nara. Then (736) followed the Kegon sect, having its headquarters in the Todai-ji, where stands the colossal Daibutsu of Nara, Next in order was the Tendai, introduced from China by Dengyo in 805, and established at Hiei-zan in the temple Enryaku-ji; while fourth and last in the early group of important sects came the Shingon, brought from China in 809 by Kukai, and having its principal metropolitan place of worship at Gokoku-ji (or To-ji) in Kyoto, and its principal provincial at Kongobo-ji on Koya-san. These four sects and some smaller ones were all introduced during a period of 156 years. Thereafter, for a space of 387 years, there was no addition to the number: things remained stationary until 1196, when Honen began to preach the doctrines of the Jodo sect, and in the space of fifty-six years, between 1196 and 1252, three other sects were established, namely, the Zen, the Shin, and the Nichiren.