YorkDepictions of "Kugo" Harps in Japanese Buddhist Painting

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  • 8/12/2019 YorkDepictions of "Kugo" Harps in Japanese Buddhist Painting

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    Music n ArtXXIV/1-2 1999) SusumuKashima, epictions fKugoHarps nJapanese uddhist ainting*

    1. Kugoharp romhe hs-inreasures, ara.A replicafaninstrumentrompproximatelyhe th-century.

    56

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    SusumuKashima, epictions fKugo Harps nJapanese uddhist aintings Music n Ari XXIV/1-21999)Depictions of Kugo Harps in Japanese Buddhist Paintings

    SusumuKashimaTokyo

    Thispaper urveyshangeswhich ccurrednthedepictionsfkugoharpsn theJapanese uddhistaintings,based on themandala aintingsfmikkyeachingsndraigzupaintingsf doky eachings. ather han is-cussing heorigins nd thehistoryf thekugo tself, hefocus s on the conographyf thekugoharps nd theirdevelopmentegardlessf the ctual hapeof the nstrument.hepaper lso showspitfallsf which cholars aveto be awarewhen tudyingapaneseources or hekugo which ouldemerge rommisreadingsficonographiesources nd resemblehe rrorswhich, s EmanuelWinternitzointed ut,were madebytheRenaissance rtistsandarcheologists.1hepitfallsnquestion ave theirriginsnthedepictionsf maginaryugoharps,which nlythe rainedyecanrecognizes musical nstruments.n otherwords, hey esulted rom he rrorsmadeby paintersand Buddhistriests,nd thereforet wouldbewrong o make he onclusion hat he nstrumentsepictedn suchpictures ave ever xisted.Kugoharps hat xisted n ancient apanwere of both he ngular ndarched ypes.A pairofangular ugoharps as beenpreservedn the hs-in reasuresnNara fig, ],andthey esemblenstrumentsound na Meso-potamia relief rom he ixth r seventh entury .C. This type fharp s also presentedn a copyof the e-venth-century.D. e-ingakyfig.2].2 On theother and,the rchedkugocan be found nly n iconographiesources.No example f it has survived,nd it s notclear whether r not this ype f instrumentveractuallyexistednJapan.The archedkugo sometimeslso calledhshukugo i-nocke ugo) fig.3], is heldwith hesound ox n a horizontalosition,ike he aungaukof BurmaMyanmar)fig. ], while he ngular ugo s heldvertically.The oldest urvivingepictionf the rched ugo s a ninth-centuryandala aintingfig. -5a].3Theoriginalsource f such mandala aintingsf themikkynJapanwas theChinesemandala. rom heninthenturyo theKamakuraeriod14th entury),his ype fkugoharpwasrepeatedlyopied nd redrawnn themandala aintings,andduring his rocess tsappearance radually hanged. he traditionfdepicting ugowas thenntroducedoraigzupaintingsf thedoky eachings, opular incetheHeianperiod 794-1185),whichfurtherstablishedthe raditionfdepictinghekugo.The raigzu mageswererepeatedlyopied nd redrawnn later eriods, nditsgradualdeteriorationn iconography as occuring s late as the Muromachi1339-1574) and Edo periods(1615-1867),when hekugowasno longer layed.Afterenturiesfcopyingndreproducinghe mages f theinstrument,tsappearancewas nowso muchdeterioratedhat talmost eemed differentnstrument.he soundboxdisappeared,nd tconsistednly f a neck a frame), stick-likeomponent,ndstrings. s did the yre fGreek ntiquity epictednWesternrt, hedeformedugo ost ts musical unctionnd could existonly n thetwo-dimensionalorld f an image.It snotable hat hedeformationf thekugo n conographyent nregardlessfthe ctual ppearancef theinstrumenttself. ucha separationetween he mages nd actual iguresfkugoharps an be explained y tracingthe rocess f the eproductionsfthe aigzu aintingsfter he leventhentury,hen hekugo ame obe drawnas a ritual bject, atherhan musicalnstrument.or example, n a fourteenth-centuryepictionfa kugo theperson olds n hisright and nobject onsistingf a curved tickwith three-leggedork-likernament, disc,and everal tringsfig. ]. Thefigures crownednd tands n a lotus lower, ith nimbus ehind ishead. Thisfigures a bodhisattvabosatsu), nd he holds kugoharp.However, ucha kugowouldbe useless s a musicalinstrument,ecause t acks theresonance ox.57

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    Music n ArtXXIV/1-2 1999) SusumuKashima, epictions fKugo Harps nJapanese uddhist aintingsThe traditionf depicting ugohad itsoriginsn theesoteric octrinesfmikkyeachings,nd treached uchimaginativeepiction hroughenturiesfcopyingnd re-drawing. his kindofpicture ould be confusingn ico-

    nographietudies nd, f scholarsweretobelieve hat hispicture escribeshe ctualmusical nstrumentf the ime,theywould fall nto trap,makinghe ameerror hat necould make nexamininghe yres epicted ytheRenais-sance rtists. ust s painters avetoknowmusicalnstru-ments,hemannern which hey replayed, nd other e-latedmatters,cholars xamining ictures eed to haveknowledge f music and the musical nstruments. henpainters nderstandhe nstruments,hey an depict hemaccurately.4owever, f instrumentsre notavailable rare even obsolete,painters annotsketch theiractualappearance, uthave to copy themfrom isual sourcesfrom arlier eriods.Even when uch sourcesdo notpre-sent true orm f the nstrumentr themannern whichitwaisheld, rtists ouldcopy hems theyredepictedn the ourcematerials.uchcopiesthen roduce nothergenerationf naccurateopies, nd n error ontinueso be transmitted.s a result, enerationsf distortedopiesfollow.Kugo harps nmandala paintings f themikkyMandalapaintings, hich re more reciselyalledrygaimandala mandala f twoworlds), onsist fvajradhtu-mandalakongkaimandara) ndgarbhadhtu-mandala(taizkaimandara).n this air fmandala,Mahvairocana-tathgataDainichiNyorai) ndhundredsfbodhisattvasandother acred iguresre ocatedn their ositions. he main ource fkugodepictionss thevajradhtuman-dala [fig.7].5 In his study f theChngYngYuSM[Chng ng'sTreatisefMusic], higeo ishibe oncludedthat hree ypes fkugowereused in Chinaduring heTangperiod:w-knghuhorizontalugo), h-knghu(vertical ugo), andfngshou-knghu=hshu kugo;h- eckedkugo).He claims hat hevertical ugobe-longs o a familyfAssyrianngular arps, ndthat heh-neckodugo s,thoughrawn nskilfully,pparentlyan archedharp.6He also said that hekugo n vajra-dhtu-mandala as of theA

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    SusumuKashima,Depictions fKugoHarps nJapanese uddhist aintings Music n ArtXXIV/1-21999)

    4. Saungauk f Burma.

    thenumerousutras nd ritualtems fmikkyhat kai(778-835), the founder f theShingon ect, importedfrom hina fig.9]. Besidesvarious itualtems, ygaimandala s a pairof scrolls,which reputon thewallduring hemikkyervices.Kkai's original opywaslost,but few opiesof ithave survived. he oldest fthems TakaoMandala,producedn833 A.D. orearlier,whichspreservedt theJingoji emple nTakao,KyotoPrefecture.t is drawnwithgold and silver nkon apurplesilk screen. ts size is enormous:vajradhtumandalahas 411X366,5 cmandgarbhadhtu-mandalahas446,4X406,3cm.Apart romhe akaoMandala, tscolored opy also fromheninthentury),as survivedat theTji (Kygokokuji) emple fig.10]. It s smallerthanTakao Mandala,but ts colorations beautiful.tssize is vajradhtu-mandala83,5x164,2 cm andgar-bhadhtu-mandala83,5x164,2 cm.Besides hese womandates,many ther opiesfromthe ninth entury nd laterhave been preserved nvariousmikkyemples. s the hingonect oneof themikkyects became opular, henumberfpriestsnddevotees ncreased.Accordingly,manytempleswerenewlybuilt nd theyneededritual tems nd mandalapaintingsortheir ervice.Paintersndpriests ooper-ated oproduce opiesof mandala aintingsnd,as a re-sult,many copies were produced uccessively. ometemplesouldnot ffordoproduce ully ainted ictureson large ilkscrolls nd hadtobe satisfied ith ictures,imply rawnwith lack nk,on smallpiecesofpaper.Thesehavebeenpreservednmany emples.Figs. 11-15present series fcopiesofVajraglti-bodhisattva'kugo.Atpresent,t s hardly ossible o tracein writtenocuments relationshipetweenhe ource nd ts opyfor hese xamples. hey rearranged oughlyinchronologicalrderhere, ndthey reall from hevajradhtu-mandalaaintings. here s no example fthe

    kugoheld ndplayed yVajraglti-bodhisattva.nstead, hey redepictedlone,on lotus lowers,s symbols f thebodhisattva.n Buddhism,uch otusflowersrecalledpundarfkarengeza) nd serve s pedestals orBuddhas,bodhisattvas,ndother acred igures. hekugoharps hemselvesreput n lotus lowers, hichmeans hat hey

    5. Vajraglti-bodhisattvaolding kugoharp9th entury).Detail fvajradhtu-mandalafTakaoMandala. 5a. Outlinerawingfthe magehownnfig.59

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    Music n ArtXXIV/1-2 1999) SusumuKashima, epictions fKugoHarps nJapanese uddhist aintings

    6. NijgoBosatsuRaigzuEtobira(DoorPaintingsfRaigzu f Twen-ty-Fiveodhisattvas),etail. enrinjiTemple.Middle f he 4thentury.

    symbolize ajragti-bodhisattva.areless yesmight ake he otusflowersfor he esonanceoxesof the nstruments.ikethe revious xamples, hesekugoharpshave theprolongedndsof the ankosho.The stringsreputofbetween he esonance oard nd theneck. ndetail, achexamples slightlydifferentrom heothers.One even has smallstick-likeomponents, re-sumably egs,atthe nd of theneck.Kugo harps in raigzuof doky Raigzupaintingsf thedokyadopted he raditionfdepicting ugoharpsfrom hemandala aintingsfmikkyandthey ecame favouritelementfraigzupaintings.nJapan,jdoky emerged rommikkyuring he newBuddhistmovementn theHeianperiod llth-13th enturies).n the ateHeianperiod,doky ecamepopular mongpeasants s well as aristocrats. ccordingly, any aigzupaintings ereproduced, howing mitbha-uddha oming ownfrom hePure Land to welcome hedying evotees.Many raigzupaintingsf theHeian, Kamakura,ndMuromachi eriodshave beenpreservedn varioustemples. hereare three ypes f raigzupaintings:1) Amitbha-Buddhacoming own lone, 2) Amitbha-Buddhaoming ownwith wobodhisatt-vas, and 3) Amitbha-Buddhaoming own n the ompanyfmany odhi-sattvas.Kugo harps ppear n the hirdype fraigzupaintings,n whichAmitbha-Buddhaits r stands n a cloud.Manybodhisattvasresimilarlyon clouds. Some aredancing ndothers replayingmusic n an ensemble.Thistype fraigzu scalled midanijgo osatsu aigzu raigzu f Ami-tbha-Buddhand Twenty-Five odhisattvas)fig. 16], or amida shjraigzu RaigzuofAmitbha-BuddhandSacredFigures).The numberf

    bodhisattvasouldbe exactly wenty-five, r sometimesven more.Thefollowing iscussion ocuses n theraigzupaintings ithmanymusi-cianbodhisattvas.Genshin 942-1017), who wasresponsibleorpopularizingdokyteachingsnJapan, aid nhisNijgoBosatsu Wasan [In Praise of theTwenty-Five odhisattvas]hat thekugoharpwas the ttributef Shn-haihu-bodhisattvaSankaieBosasu).He did notmentionhekugoharp ndetail, however,but said that tssound representshe eaceful atureoftathatthe rue orm fbeings) .The bodhisattvan thewelcom-ing troupe re dancing nd playingmusic,whichmeansthatAmitbha-Buddha omes downwith he tmo-sphere f the Pure Land. Sukhva-t-vyhaAmidaky)ndotherutrassay, the Pure Land is locatedun-

    7. Theoutlinefvajradhtu-mandalaA = Vajraglti-bodhisattvasoldingkugoharp; = kugo arpsssymbolsfVajragti-bodhisattva;= other odhisattvasand acred igures).60

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    8. A sankosho.

    imaginablyar way n west. t is fullofhappymood,wherenumerous o-dhisattvasserve Amitbha-Buddha.There,many ther odhisattvasnd a-cred figuresgo by and serve theBuddhawith arious nstruments.heymake the mostpleasant ounds n nature.There re everykindofdances,too....The oldest xample fraigzu nJapanwhich ncludesmusician odhi-sattvas eems o be theKuhonRaigzu,painted n thedoorsofUji Bydin completedn 1053). This s a seriesof ninepaintings, hichhave beenbadlydamaged nd thereforeotvery lear n their etail.However, here reapparentlyugoharps epicteds being layed.Apart rom hese oorpaintings,hefamous mida hjuRaigzu(secondhalfof the 12th entury)n YshiHachimank hachikain,yasan,Wakayama refecture,s anotheroldexample fraigzu fig.17]. This s a colored icturen a silk creen210x420 cm). Its main ody s dividedinto hree arts.Amitba-Buddhand almost ll theother iguresredepictedn a frontaliew.There re fifteenmusical nstrumentsn thepicture three tringednstruments,ourwinds, ndeight ercussions which re all

    shown eingplayed.This combinations a mixturef theJapanese agakuorchestrastringsndwinds) ndper-cussions f theBuddhisteremonyand. Thekugo s located n themiddle f the ight dgeof the icturefig.18].Thiskugoharpresembleshose eldbyVajraglti-bodhisattvainandala aintingsfmikky. houghmissingthe otusflowers,thas a sankohead anda disc-shapedesonance ox. Six stringsreput na rectangularatternfrom heresonance oard.A pairofC-shaped esonance oxes areplaced ymmetricallyround he trings. hewooden urfaces depictedn detail n theresonance oard,which ooks ikethat f a biwa.

    9. Avajradhtu-mandalafTakaoMandala. etail. 10. Avajradhtu-mandala.etail 9th entury).61

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    11-14. our enderingsf vajradhtu-mandalarom anuscriptsttheDaigoji emple.Figs.11-12 refromhe 2thenturyndfigs. 3-14 romhe 3thentury.As inthe ase of old mandala aintings,t s againdifficulto trace he elationshipetween he ource nd tscopy n these aigzupaintings. owever,figs.19-22presentn example fsuch a succession fcopies.All ofthekugoshave the satiko heads. The depictions f the resonance oxes are moreproblematic.ome havedisc-shapedesonance oxes,which ouldbe so thin hat heyook ikefilms. histype f resonance ox often asscale-likernaments.here eems o be a decorative otif f otus-flowersetals.ManyBuddhist itualtems avesimilar rnaments.hese ornaments ake hekugoharps ook ikeritualtems.n the ther xample, he esonance

    box is depicteds a stick, ather han disc,andthis eems o be toomuch estortedo be called musicalnstru-ment. heupperpart f theL-shaped tickneck ) is curved,while he owerpartmayrepresenthe ide viewof thedisc-shapedesonance ox.Finally, ig.23 presents depictionfkugo n a raigzu ngravingftheEdo period.The lowerhalf f theinstrumentannot e seen,because henimbus f another odhisattvashidingt. The manner fholding his ugoharp eems o be the ame s that f the hamisen, Japanese tringednstrumentf themodernge. Thisexampleillustratesow muchkugo ost tsoriginal orm fter enturiesf conographieransmission.TranslatedySeishiroNiwa

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    SusumuKashima,Depictions fKugoHarps nJapanese uddhist aintings Music n ArtXXIV/ -2 1999)Notes1Cf. manuelinternitz,TheconologyfMusic:otentialand itfalls ,erspectivesnMusicology.d.by . .Brook,.O.D.Downes,nd . van olkemaNew ork: endragonress,985),pp. 0-81.2 Somellustrationsrepresentedere s outlinerawingsmade romrintedditions,inceood hotographsf he riginalmaterialsrenotvailable.3Themandalas graphiciagram,sedn hemikkyitualsofBuddhisteitiesrrangedystematicallyccordingo he cono-graphicalules.4 For urtheriscussionn hisssue,ee usumuashima,The escriptionfDrumsnRaigozuaintings:pplicationf heDescriptiveeometryo a ResearchfMusicalconographyfJapan ,roceedingf thnternationalonferencen ngineeringComputerraphicsndDescriptiveeometryTokyo:heJapan

    Societyor raphiccience,994) ol. ,pp.101-105.The itlefthe rticleivesheworddrums isspelled.)5 Thedetailednalysisf he llocationfkugos omittedhere.See he andmarksnfig. ).6 Shigeoishibe,dai-noakkiMusicalnstrumentsf heTangeriod],y ngakuenshu.yngakuakkaii Tokyo:OngakuoTomoha, 995), 70 f.

    15.Avajradhtu-mandala.etailKamakuraeriod).

    GlossaryAbbreviations:.= Japanese;. = Sanskrit;. = Chinese.amidaijCigoosatsuaigzuJ), +raigzu.amidahj aigzuJ), raigzu.AmidakyJ); mitujing)= a centralutrafdokyeachings.Amitbha-BuddhaS); Amida yoraiJ);mitu ii) =Buddha,hichsthe entraleaturefJdokyho as hePure and.bodhisattvaS);bosatsuJ); s) = futureuddhas,howorkhardo ave he eoplen arth.BuddhaS);butsuda,otokeJ); utu)= theupremeiguresfBuddhism,ho nowll he rinciplesf he orld.athgatais anotheramefBuddha.Chngng Chinese riterromhe ang eriod618-907).Chngng u ha= Chengang'sreatisefMusic. Chinesetreatisenwhichhengang escribedhe hreeypesf ugoharps.e-ingakyJ); uiynguojng)= illustratedersionfKako enzaiIngakySkyamuniuddha'siography),hichas opularinChinand apanuringheixthnd eventhenturies,fngshou-knghu);h-neckedugo,, ugo,hu-knghu,andw-knghu.garbhadhtu-mandalaS);taizkai andaraJ); izngjintlu() = one f heygai andala.mandaland ajradhtu-mandala.Genshin942-1017) a priestesponsibleor opularizinghejdokyeachingsnJapan.NijCigoosatsu asannd

    Shnhaihu-bodhisattvahJ) a legendaryirdfChinahats said o ppear hengoodmperoruleshe ation.ftenranslateds phoenix ,jdokyJ);igntujio) = a school fBuddhism,orshippingAmitbha-Buddhaogo o he ure andftereath,kugoJ);knghu) = a harpxportedo ncientapanromChina.+fngshou-knghu,hu-knghu,ndwu-knghu.Kukai778-835) the riginatorf hehingonect, ho roughtnumerousutrasndritualtems,ncludingandalaromChina.*Shingonect.KuhonaigzuJ) a seriesfnine ooraintingsnUjiBydin.Bydins lso alled d,nd ftenranslateds PhoenixHall . +h.Mahvairocana-tathgataS);DainichiyoraiJ); ir liC)a Buddha.he entraliguref hemikkyeachings,hichsdrawnn heenterf hemandalaaintings.Nijgoosatsu asanJ) InPraisefTwenty-FiveodhisattvasA treatisefGenshinn which e mentionedhnhaihui-bodhisattvandheoundf ugo. enshinndhnhaihui-bodhisattva.mikkyJ);mjio) == sotericeachingsfBuddhism,mandalaS); mandaraJ); inhuzu) = graphiciagramfBuddhisteities,sednmikkyituals.t onsistsf ajradh-

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    16. Amida ijgo osatsu aigzuRaigzufAmitbha-BuddhandTwenty-Fiveodhisattvas).reerGalleryofArt,Washington,.C. (14th entury).tu-mandaland aibhadhtu-mandalaajradhu-mandalandgarbhadhtu-mandalapundankaS);rengezaJ);inhuzu)= apedestaln hehapeof lotus loweror uddhas,odhisattvasnd theracredfigures.nSanskrit,theramesre lso sed,

    raigzuJ);iyingt)= paintingsfdokyeachingshatepictAmitbha-Buddhaand theracredigures)escendingromthe ure and owelcomeyingevotees,snguchuJ); nguchu); triankuhS) = a ritualtem encombinedithugo.shamisenJ) aJapanesetringednstrumentopularincehe doperiod1615-1867).Shnhaihui-bodhisattva,S); SankaieosatsuJ) a bodhisattva

    mentionedyGenshinnhisNijgoosatsuWasan. hisbodhisattvaoes ot eem obeof ndianrigin,ut ohavebeennventednChina.hus, isname annoteproperlyspelledut n anskrit.Shingonsect)J) amikkyectnJapanhat kairiginated,shu-knghu);TatekugoJ) averticalugo. fengshou-kng-hu, ugo,ndw-knghu.TakaoMandalaJ, ) = the ldesturvivingopyfKkai's anda-la,producedn 33.vajradhtu-mandalaS);kongkaiandaraJ) a rygai andalawhichncludeskugoepiction.*garbhadtu-mandala.w-knghu);FushikugoJ) a horizontalugo. engshou-knghu,ugo,nd hu-knghu.

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    17. AmidahjuRaigzuRaigzu fAmitbha-Buddhand acred igures). shiHachimankuhachikain,yasan,Wakayamarefecturesecond alf f he 2thentury).

    18.A bodhisattvalayingkugo arp. etail ffig. 7and ts utlinerawing.65

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    19. The raigscene Amitba-Buddhaoming own owelcomehedying evotees). aimaMandara ngi TheBackgoundtory ftheCreationf TaimaMandara). nillustratedart. myjiemple13th entury).

    20. Amida ijgo osatsu aigzu. etail. hdji emple(14th entury).

    21. Amida ijugo osatsu aigozu. etail ffig. 6. 22. Nijugo osatsu aigzu.Detail.Enjiji emple16thcentury)66

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    SusumuKashima, epictions fKugoHarps nJapanese uddhist aintings Music n ArtXXIV/ -2 1999)

    23. Amida ijugo osatsu aigozuEdoperiod).

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