The Jomon period is an era that ranges from c. 11,000 -400 a.c.e. The Jomon remained absolutely a Stone Age society that engaged in artistic activities. During this era, the Japan Buddhists were hunters, gatherer and did some agriculture too. They lived in linked communities that exercised a great deal of cooperation. The Jomon period set forth aesthetic templates that were to be used in the subsequent Japan-Buddhists artistic periods. The most remarkable artistic works of the Jomon period is the pottery vessels. They were earthenware made using coiled clay and then fired in exposed fires. The surface of the pottery shards had bristly and raised ridges but was smoothened by using corrugated cardboards. The flame ware was a vessel that dated circa 3500 to 2500 B.C. It is made in such a unique way with spikes and coils around it that represents water and fire respectively. These elements enclosed on this vessel had a significant per formative reasons. The flame ware would be placed at the center of the Jomon house or a pit that in return would form a shadow on the walls.
Towards the end of the period, the Japan Buddhists were able to do nice carvings of female statuettes that wore what appeared to be snow goggles. Better kitchen wares were also developed. Still being a hunting community, they developed better and efficient hunting tools that would assure them of success in the food looking exercise. Historical evidence ascertains the presence of dogū, pottery figurines, at the Odai Yamamoto I site is good evidence that pottery actually started ion this period.
The Yayoi period developed from a transition of the Jomon period between 400 B.C to 300 C.E. This is the period when agricultural practices were primarily introduced. It is evident from the meaning of its name yayoi which basically means crop producers. Although Yayoi are sometime considered to be original Buddhist breed, history disagrees with this fact and it strictly argues that the Yayoi were either a breed from China or Korea. It further claims that the original inhabitants were the Komon. According to the archeological studies, the Yayoi can be characterized as rice cultivators. Due to the transition from Komon to the Iron Age Yayoi, there has been a great misunderstanding that rose among the archeologist scholars to precisely determine the cultural practices practiced by either the said original inhabitants or the widely known Yayoi. This transition caused a state of confusion between the two cultures. “One long standing theory has been that the people of the Yayoi are a colonial invasion from Korea displacing the original inhabitants Jomon. The case for this invasion” (Mason, 23).
The housing structures among the Yayoi community may be described to be living in grouped villages as evident in the discovery of thatched house remaining. This clearly portrays that the community lived permanently in an organized community. The difference that cuts across between the Jomon period and Yayoi period largely explains the different forms of arts practiced by these two ancient Buddhist communities. The Jomon primarily practiced pottery while the Yayoi practiced an advanced form of pottery as evident from the discovery of their traditional vessels which had extremely functional shapes when compared to the Jomon form of pottery.
However, in view of pottery as a form of art, the process can defined as essentially the same. The vessels were smoothed and in some instances, fine clay was sparingly applied on the surface of the vessels to make it appear more attractive. However, there are existing speculations that claim the Yayoi wares commonly referred to as the “Kondo” came as a result of indigenous evolution of the culture from the Jomon wares of the renowned Northern Kyushu tribe. The main hall was set up facing the four main directions in order to allow illumination of light inside the Kondo always. The Kondo was basically dedicated for worship purposes only. The room was allowed to have sufficient light to illuminate the room which was full of paintings. The kondo had significant representation in the society. Apart from its significant representation, the Kondo ensured that the cult statues were enclosed to protect it from the eyes of the strangers as this was considered to be very spiritual and was associated with Buddha. The enclosing of these cult statues formed a shrine where Buddha was worshipped by the community. Therefore, in this regard, the shrine (the Kondo) formed a common meeting point of the community hence uniting them. Moreover, the Kondo consisted of Buddha images in a form of a triad that formed the spiritual centre. The ceiling was designed in a form of a canopy that represented the heavens among the Buddhists. The believers were greatly inspired by the wisdom and mercy of Buddha living in the Kondo with the light radiating from the cardinal directions. “One enters it stepping a high thick threshold to find oneself before an array of huge statues on a raised altar platform that fills a large proportion of the space” (Mason, 63)
In addition to their form of art, the Yayoi community can be described as a society that rose and grouped themselves according to their clans. Moreover, it is believed that this tribe fought among themselves between second and third centuries before Yamato took control of the clan dominance in the early fifth century.
The Kofun period (300-538 AD) was named after large tumulus burial mounds which were clay sculptures that were found in tombs. Strong military states that concentrated on powerful clans were evidence. Strong communities suppressed relatively weak communities and acquired their lands for agricultural activities. Chinese culture and arts too started impacting on these Japan-Buddhists society. A central administration and an imperial court system that resembled the Chinese model were developed. The movement of Japan Buddhist culture into fully tang style was achieved by image of Yakushi Triad an image of the Buddha god. It was quite different from its predecessors as it was cast in bronze, had a rich black patina and bright gold halos. This was replacements for the initial ones which were damaged by earthquakes and fires. The bronze, an alloy of tin and arsenic, with tin in excess thus the image appears shiny due to oxidation of the tin (Mason, 83).
The Yakushi is the ancient Buddhist sculpture developed in the Asuka period among the Japan Buddhists. In an analysis conducted by a group of archeologists, it showed that the sculpture was made of bronze alloy and contained a good portion of arsenic and tin. The Yakushi was considered to be a natural form of sculpture consisting of fleshy figures. The Yakushi represented the figure of a Buddha. It was believed that the figures were dressed in skirts and scarves. According to the sculpture, it is believed that the Buddha, who was considered to be a supreme being, was always sitting on a rectangular throne.” Bodhisattvas also have rich jewelry intricate necklaces, jeweled strands” (Mason, 83)
The hakuho period had a significant importance in the Japan Buddhist society from the time of its formation to the present day Japan. Although the term hakuho is said to have primarily originated during the 17th c, the tool started being used among the Buddhists in Japan long ago. The Hakuho period is said to have been over taken by the Asuka period which was by then being followed by the Tempyo period. This period was observed to have major significant changes in the political arena among Japanese Buddhists. The culture was greatly enhanced with the introduction of writing skills like the calligraphy. Therefore, this period is considered as one of the most critical period in the Japanese Buddhism history.
In the Nara period, the influence and power of Buddhism grew immensely. Many temples were constructed to accommodate the increase in numbers of clergy and worshippers an activity that was majorly spearheaded by emperor Shomu who was considered to be a great supporter of Buddhism. Most of the leaders embraced Buddhism for their own selfish gains rather than for the good of the public. However, “Buddhism was concerned with life’s interminable suffering and seeks to guide living beings on the path to enlightenment” (Paul, 22).
Japan Buddhism started advancing with the creation of sculptures that were better than the previous ones. They were crafted using a new technique that was Dakkatsu Kanshitsu that was borrowed from china. This type of structure made of hollow dry-lacquer was durable than any other known sculptures by then. The figure of Kasenen, in the Saikondo (mason, 85) is a good reflection of the sculptures which was small, eyes painted by Buddhist monks from china and India, tightly encased by the Daibutsuden and very strong makes it difficult to photograph it in a single shot. The Buddha is quite appealing and durable and has actually stood time to be what it is today only with slight improvements. However, japan enjoyed good relations with china and India and this was of utter importance in the development of Buddhism in japan. This era is one of the most remarkable eras in Japan’s cultural and artistic history.
Works cited
Mason, Penelope E. History of Japanese Art. New York: Abrams, 1993. Print.
Varley, Paul. Japanese Culture. Honolulu: University of Hawaii Press, 2000. Print.
