COLLECTION NAME:
The AMICA Library
mediaCollectionId
AMICO~1~1
The AMICA Library
Collection
true
AMICA ID:
CMA_.1969.130
amicoid
CMA_.1969.130
AMICA ID
false
AMICA Library Year:
1998
aly
1998
AMICA Library Year
false
Object Type:
Decorative Arts and Utilitarian Objects
oty
Decorative Arts and Utilitarian Objects
Object Type
false
Creator Nationality:
Asian; Far East Asian; Japanese
crc
Asian; Far East Asian; Japanese
Creator Nationality
false
Creator Name-CRT:
Japan, Heian Period (794-1185)
crt
Japan, Heian Period (794-1185)
Creator Name-CRT
false
Title:
Buddhist Tabernacle
otn
Buddhist Tabernacle
Title
false
Title Type:
Primary
ott
Primary
Title Type
false
View:
Full View
rid
Full View
View
false
Creation Date:
late 1100s
oct
late 1100s
Creation Date
false
Creation Start Date:
1175
ocs
1175
Creation Start Date
false
Creation End Date:
1200
oce
1200
Creation End Date
false
Materials and Techniques:
black lacquer over a wood core with hemp cloth covering, gold paint, cut gold leaf, ink, mineral pigments, and metalwork
omd
black lacquer over a wood core with hemp cloth covering, gold paint, cut gold leaf, ink, mineral pigments, and metalwork
Materials and Techniques
false
Classification Term:
Lacquer
clt
Lacquer
Classification Term
false
Classification Term:
Lacquer
clt
Lacquer
Classification Term
false
Style or Period:
Heian Period (794-1185)
std
Heian Period (794-1185)
Style or Period
false
Creation Place:
Syria
ocp
Syria
Creation Place
false
Dimensions:
Overall: 160cm, Painted surface: 100.5cm x 39cm
met
Overall: 160cm, Painted surface: 100.5cm x 39cm
Dimensions
false
AMICA Contributor:
The Cleveland Museum of Art
oon
The Cleveland Museum of Art
AMICA Contributor
false
Owner Location:
Cleveland, Ohio, USA
oop
Cleveland, Ohio, USA
Owner Location
false
ID Number:
1969.130
ooa
1969.130
ID Number
false
Credit Line:
John L. Severance Fund
ooc
John L. Severance Fund
Credit Line
false
Rights:
orl
<a href="http://www.clemusart.com/museum/disclaim2.html"target="_new">http://www.clemusart.com/museum/disclaim2.html</a>
Rights
false
Provenance:
(Shogoro Yabumoto)
opo
(Shogoro Yabumoto)
Provenance
false
Context:
This imposing lacquer shrine (zushi) never housed a carved sculptural icon, but was made to hold hundreds of handwritten religious texts (sutras). Thus, instead of a religious deity sculpted in human form, Buddhist worshippers viewed something more spiritually pure: handwritten holy texts offering the promise of redemption. This zushi and its mate in the Nara National Museum each held 300 volumes, divided into three bundles of handscrolls. Standing on end with a cord binding them in a circular form, the bundles were placed on shelves (now lost) within the shrines. These lacquer shrines are unique in the history of Japanese art. The entire structure is composed of carefully carved and fitted wood sections that were covered with a layer of hemp cloth and then coated with layers of clear lacquer. Then brown- and black-pigmented layers were added, followed by gold paint, cut gold leaf (kirikane), black ink, and mineral pigments for the images of guardian figures on the two door panels and the designs on the interior wall. The lotus-shaped canopy set high up inside the zushi still retains its original colors and cut gold leaf designs.
cxd
This imposing lacquer shrine (zushi) never housed a carved sculptural icon, but was made to hold hundreds of handwritten religious texts (sutras). Thus, instead of a religious deity sculpted in human form, Buddhist worshippers viewed something more spiritually pure: handwritten holy texts offering the promise of redemption. This zushi and its mate in the Nara National Museum each held 300 volumes, divided into three bundles of handscrolls. Standing on end with a cord binding them in a circular form, the bundles were placed on shelves (now lost) within the shrines. These lacquer shrines are unique in the history of Japanese art. The entire structure is composed of carefully carved and fitted wood sections that were covered with a layer of hemp cloth and then coated with layers of clear lacquer. Then brown- and black-pigmented layers were added, followed by gold paint, cut gold leaf (kirikane), black ink, and mineral pigments for the images of guardian figures on the two door panels and the designs on the interior wall. The lotus-shaped canopy set high up inside the zushi still retains its original colors and cut gold leaf designs.
Context
false
Related Image Identifier Link:
CMA_.1969.130.tif
ril
CMA_.1969.130.tif
Related Image Identifier Link
false