Art 260 Core 2 Koharu Ferguson

Citation Covaci, Ive, ed. Kamakura : Realism and Spirituality in the Sculpture of Japan. New York: Asia Society Museum, 2016.

Kamakura Period (late 12th to early 13th century)

Divine General

Compared to other divine generals

The Kei School of Sculpture was active during the Kamakura period in Nara, Japan and was formally established around the year 1200, but had been a loose collective surrounding Jocho, Kakujo, and Kakujo’s son Raijo for several generations. While the Kei school produced many notable Buddhist works Joga is not listed among them and few of his works remain. When compared to other works from the Kei school Joga is rather simple and has a softer realism rather than a scary harsh grotesque realism seen during this period.

Historical context of Joga

Kei School of Sculpture

In the Kamakura period there is an increase in realism, particularily in lower ranking dieites that allow the artist to have more creative liberty seen in grotesque realism. While the iconography of major dieties is well established as there are more techological innovations in art there is a wider range of what is seen. Artists during this period push themselves to create something realistic, lively, and expressive. There is the emergence of the Gyokugen, the jeweled eye technique, however this is not an element that Joga decided to use in this work. Instead the realism is seen through the facial expression, human-like proportions, and tension in the form.

Historical Context

Realism in Kamakura Japan

Divine generals, or heavenly generals, are protective buddhist deities that guard the Buddha of healing, Yaksha/Bhaisajyaguru. Many versions and sets of these twelve deities were made throughout Japan from the Kamakura to the Edo periods. Most figures are small and measure under 1 meter in height. There are 12 statues that represent the 12 deities that correspond with direction and the animals in the Asian zodiac. The 12 statues would be placed in the temple in their respective directions. It is important to note that while the cardinal directions never change the animals associated with the zodiacs differ in China and Japan, which can sometimes lead to misidentification

Historical Information

Divine General

WIP

Visual Analysis

Form

Neither of Joga’s two figures have been definitively identified as a particular general of the 12 divine generals. Their poses aren’t quite the same as more well known depictions of the deities which is a key element of identifying them. If Joga took creative liberties with the way his figures were posed then determining which is representing what becomes much more difficult. Additionally, when compared side by side it is clear that Joga doesn’t favor the distinct grotesque realism of the time period. While there are more human-like pieces from the Kei school by this time they’d have gyokugen, which would make the figure even more realistic and life-like to the viewer.

Comparison

Other depictions of divine generals

Below are three of a full set of 12 heavenly generals whose production ranges from the Heian and Kamakura periods. These are much larger figures, roughly a meter in height which is very unique since there are so many figures that have to be made to complete the set. Each general has defining features such as a staff, a pose, a gesture, or an element that incorporates the animal of the zodiac it represents. Who they are is clear as are their facial expressions and body detail, far more defined compared to Joga’s work. They emote clearly and have the gyokugen eyes that make the viewer feel like they are being watched.

Shizuoka Prefecture Museum

12 Heavenly Generals

The figure is about average size for being a divine general, nearly 30 inches in height with a realistic amount of width and depth to be human-like. Joga’s work is far less athletically toned than other divine generals and has the same amount of fleshiness as statues of monks. The armor is simple and realistic with a pattern repeating on the skirt but much more attention both of the artist and the viewer is focused on the head and arms. With the face and the facial expression there is an exaggeration of features in a way that is intimidating, but not to the level of other artists’ versions of divine generals. Joga has a much softer use of facial expression and form than what is typically seen in this period.

Visual Analysis of Form

Joga’s other work, another divine general most likely from the same set, seen here to the right is in worse condition than the one seen in the MIA collection, notably missing an arm. The face shape is largely the same, very round and full, with eyebrows and lips making a passive expression. The second figure is wearing less clothing so the viewer doesn’t see how the clothing falls onto the figure like we see in the first piece. Additionally, since the figures are slightly on the chubby side when the skin is exposed we don’t see the defined musculature seen in realism during this period. Neither of Joga’s works can be identified as a particular one of the 12 divine generals, but it is thought that the animals sticking out of their hats could correspond with the animal of the Asian zodiac they represent.

Compared to Joga's other figure

To contrast the rigid pose, the odd sort of pectoral flex that this figure has going on, the fabric section of his clothing flows quite nicely around his arms. Both sides are balanced, giving the figure a feeling of stability as well as making it feel more realistic and appealing. Other divine generals at this time are typically jarring in terms of texture and balance, making them feel violent and chaotic. Joga’s piece is more welcoming and uses grotesque realism in texture and balance more sparingly.

Visual Analysis

Texture & Balance

The only use of color that is still present after several centuries is seen on the bag-like cap on the figure’s head which is painted dark. There is some color still left on the hands in a similar color. The entire piece could have been painted a dark color, similar to some other divine general figures made by other artists, or it could have been painted with designs and colors that wore away easier over time. The animal that is poking out of the cap does stick out to the viewer, but since the color is the same as the cap it can be hard to make out. Additionally, it is hard to determine just what it is. The viewer’s eyes travel from the head down the body since this is a fairly simple piece. No one thing comes out and takes all the attention away from the overall experience.

Visual Analysis

Color & Movement