The Life of Animals in Japanese Art, an exhibition ranging from Haniwa to contemporary art, to be presented at two U.S. cities

Pair of Guardian Lions
Heian period, 10th century
Collection of Lynda and Stewart Resnick

One of the most familiar animal statues in Japan is the komainu, a stone-carved guardian dog found at the gates of Shinto shrines. Although the origins of this statue can be traced back to distant locations in Western Asia and India, the shape and name of komainu statues in Japan stem from Japan’s adoption of a variant that was merged with a mythical Chinese animal. Although these statues are typically placed so that they are oriented towards each other but facing straight ahead towards the approach to the shrine, these particular komainu are thought to have been placed at an angle.

Shaka Passing into Nirvana
Edo period, 1727
Seiraiji, Aichi Prefecture

When Buddhism came to Japan, it brought with it images of animals from India and China that did not exist in Japan, such as lions, elephants, and water buffalo. The arrival of mythical creatures from China, such as the Chinese dragon and phoenix, however, preceded the introduction of Buddhism. These creatures were, therefore, already well established in Japanese society, and can often be seen featured in designs on plates and clothing. One of the most frequent depictions of animals was in the nehanzu images of the supine Buddha entering nirvana. In these scenes portraying the passing of Buddha being mourned by a variety of living beings, animals are shown situated beneath Buddha’s disciples and believers. Some images even include creatures such as crabs, frogs, and centipedes.

Kōen, Monju Bosatsu Seated on a Lion, with Standing Attendants
Kamakura period, 1273
Tokyo National Museum

The origins of this grouping of Manjushri (Monju Bodhisattva) seated on a lion with four standing attendants emerged from the belief in the sacred Mount Wutai in China, considered the earthly abode of Manjushri. Waves are shown below the rock the lion stands on because Japanese worshippers believed Manjushri crossed the seas from Mount Wutai to come to Japan.

Many images of Manjushri seated on a lion are shown as part of the Shakyamuni trinity in Buddhism, in which Manjushri together with fellow bodhisattva Samantabhadra, seated on an elephant, flank Gautama Buddha.

Kawanabe Kyōsai, Monster Cat from Seisei Kyōsai Picture Album
Edo–Meiji periods, before 1870
Private collection

Animals are sometimes incorporated into amusing stories in order to personify or caricaturize someone or something as a metaphor or to convey a moral. The artist Kawanabe Kyosai(1831-1889) was proud of his skill at depicting animals, and although little is known about the story behind this painting, the depiction of the cat is unforgettably intense.

Phoenix
Muromachi period, 14th century
Rokuonji

The phoenix is a mythical bird from Chinese folklore that is said to appear when a wise man rules the realm. This phoenix adorned the top of the roof of the Golden Pavilion in Kyoto, which was built by the shogun Ashikaga Yoshimitsu in 1398. It was removed during repairs to the Golden Pavilion during the Meiji period and left in storage, and, therefore, escaped the fire that burned down the pavilion in 1950. Originally, it would have been a shiny gold color, like the Golden Pavilion itself.

Nara Yoshitomo, Harmless Kitty
Heisei period, 1994
National Museum of Modern Art, Tokyo

Yoshitomo Nara is known for producing paintings depicting children who seem to glare at the viewer. This child appears to be something between a human and an animal, giving the impression that Nara is fascinated by the close relationship between the two.

Uchikake with Phoenix and Birds
Meiji period, 19th century
Kyoto National Museum

This yuzen-dyed uchikake outer robe depicting a large number of birds (momodorizu) was made as the wedding gown for the daughter of a wealthy Osaka merchant. Centered prominently on the back is a phoenix with wings spread out wide, surrounded by 99 birds, including a peacock, dove, pheasant, parrot, chicken, and quail. Inside the robe is a sunrise and a red-crowned crane.

Suit of Armor with Dark Blue and Red Lacing
Edo period, 18th century
Okazaki City Museum

Among the armor and weapons expressing the aesthetic sense of samurai warriors, many masterpieces were produced that incorporated animal designs.

This suit of armor belonged to Honda Tadataka (1698-1709), who became head of the Murakami Domain in Echigo Province (modern-day Niigata Prefecture) at the age of seven. Tadataka’s ancestor, Honda Tadakatsu (1548-1610), was a general who served Tokugawa Ieyasu, and whose helmet with deer antlers was very famous. Some Edo period feudal lords marked their rise to the head of their clan by emulating the shape or characteristics of their ancestor’s armor in their own armor. This suit of armor is an example of such a practice.

Owari School, Sword Guard with Crab
Muromachi period, 16th century
Tokyo National Museum

From around the 16th century, samurai wore their long and short swords through the left side of the belt of their hakama trousers with the blade facing up, and it was right around this time that sword guards of various designs began to be made. This particular sword guard has a bold composition depicting nothing but a crab with large raised claws in the middle of a circle, and with the background completely cut out. The meticulous and refined technology used for making sword guards and other metal fittings for swords became the basis for modern craftsmanship in the Meiji period onwards.

Helmet Shaped like a Turbo Shell and Half Mask
Edo period, 17th century
Tokyo National Museum

Demand for suits of armor increased dramatically at the end of the 16th century, when infantry lines armed with spears and firearms were central to the art of war. Producing an iconoclastic helmet design became the subject of competition, and various forms became fashionable. These were referred to as tosei kabuto (“modern helmets”) or kawari kabuto (“distinctive helmets”). Helmets that were actually used in battle were of simple design and made of materials that would break on impact with the branch of a tree, but once the era of long, stable peace was established in the middle of the 17th century, very unusual helmets boasting great craftsmanship came to be made in large numbers. This headpiece, modelled after a turban shell, channels the hardness of the shell and its horns.

Charger with Elephant
Edo period, 19th century
Segawa Takeo

The study of animals through observation and realistic representation became a popular pastime in the 18th and 19th centuries.

A large Imari ware plate from the late Edo period, well over 30 centimeters wide. Such plates had previously been considered no more than ordinary tableware in general use, but they are now being reevaluated. Expanding the potential of simple ransai pottery through the use of cobalt pigment during the time of the middle to late Edo period when the government often issued decrees prohibiting extravagance in order to promote frugality, the plates demonstrate a pure form of the edogonomi aesthetic, which prioritized the removal of unnecessary distractions from the main focus or subject. This plate depicting a giant white elephant would probably have served as the centerpiece of a festive banquet.

ManabuMiyazaki, Black Bear Plays with Camera
Heisei period, 2006
Izu Photo Museum

Human interest in animals that live in a broad range of environments is growing. How has our view of animals changed?

Since the 1970s, Miyazaki Manabu has been photographing animals using an automatic camera set up outdoors that operates 24 hours a day. In front of the mechanical eye of a camera, free from feelings of caution, animals display a nobility that they never would show when face to face with people. However, this image of a bear acting like a cameraman also reveals something very human.

Itō Jakuchū, Pair of Cranes and Morning Sun
Edo period, c. 1755–1756
Tekisuiken Memorial Foundation of Culture

Many pictures of flowers and birds carry a meaning of good omen, and are typically exhibited at festive occasions. The rising sun depicted in this picture represents a New Year’s Day sunrise, with both the crane and the evergreen pine tree symbolizing long life.