The gong called uliwagenkeiP with its stand is to be counted among the masterpieces of this epoch by virtue both of its fine shape and its elegant casting. Consult (Shimbi Taik wan,' Vol. V; (Kokkwa,) VoL XCVII.
The Era of the Emperor Kwammu (782 888 A.D.).— Soon after the accession of the Emperor Kwammu to the throne the capital was removed to Yamashiro (now Kioto) ; the Im perial palace built after the fashion of the Tang dynasty ; izovernment was remodeled on Chinese plan, and various institutions reformed. Things took a new turn and the prosperity of the country greatly increased. What was more, this period produced such great priests as Saicho and Kukai. The former was the founder of the Tendai sect ; the latter of the Shingon sect. They endeavored to spread the teachings of Buddha with great assiduity, en lightened the people and helped them into great activity. Such being the case, the fine arts of this period were signalized with a lofty and majestic idea. Kukai, or Kobo-daishi as he was called, was an accomplished priest of profound learning, and produced not a few excellent works of painting and sculpture. Among the specimens of his work is the image rep resenting the deity Fudo (Achara) in the Toji, Kioto (consult Taikwan,' Vol. I). The picture representing the priest Gonso, in the Fumonin, Koyasan (consult (Shimbi Taikwan,' Vol. VI; Vol. CCX XIX ), and the portraits of Nagarjuna and Nagabodhi in the Toji, attributed to him, are executed in noble and refined taste, and marked with ele gance and grandeur (consult 'Shimbi Taik wan,' Vol. XII; 'Kokkwa,' Vol. CCXIV; Siryo,' Vol. I, 3). Saicho (Dcngyo daishi) was also a very learned and highly ac complished priest, credited with a great genius for painting and sculpture. The priest Enchin painted the Achara mostly; the Red Achara in the Myohoin, Koyasan, being his greatest work. (Consult 'Shimbi Taikwan,) Vol. VIII; Vol. CCXXXII). Beside Buddhis tic paintings, artists of the time began to take up human figures,, landscape, birds and flowers for subjects of pictures. Kudara Kawanari was a great master of painting of this kind.
Of the specimens of the sculpture of this epoch the image of the "Noyrin Kwannon" in the Kwansinji, Kawachi (consult
Siryo,' Vol. II, 3), that of Achaon in the Tachibana dera, Yamato, that of Bodhisttoa Miroku in the Kwaizaudo, Todaji, and the statue of the priest Ryoben (consult 'Shimbi Taikwan,' Vol. VI;
Architecture made a great progress with the laying out of the new capital at Kioto, the Imperial palace and various offices built after the T'ang fashion being extremely fine and elegant. The construction of the Imperial
palace was for the first time brought to per fection, and what was called the "Dai-dairi" (Court) style came into existence. The Tendai and the Shingon sects introduced a new feature into the construction of the temples, and the establishment of the incarnation theory ("Shin butsu-dotai-setsu," i.e., theory that identifies Japanese gods with Buddhas) gave a certain Buddhist architectural style to the building of Shin-to shrines. The "Shimmei-tsukuri," i.e. the ancient style of shrine-building, gave place to the new ones, the "Kasuga-tsukuri" and the "Nagare-tsukuri." And, though the progress made by applied art during the period was not very conspicuous, the lacquer work industry at tained a great development.
The Era of the Fujiwara Regency (889 1086 A.D.).— The epoch of the Fujiwara Re gency was indeed a glorious period, stamped with great national development and prosperity: the nation at large flourished, and not a few customs and manners were formed and reached maturity. In the reign of the Emperor Uda the practice of dispatching envoys to China was discontinued, and in consequence the impetus from without ceased to come. The civilization which had found its way into Japan in the preceding age was fully assimilated in this, and Japan developed a new native style of her own. Moreover, the luxurious life led by the Fuji wara family and the great prevalence of Bud dhism at that time conspired to help the advances of both fine and industrial arts, cultivating such special qualities as beauty, elegance, severity and refinement. In the early part of this period flourished Kose-no Kanaoka, the greatest pic torial artist the country had yet produced. He was famous for his pictures of Buddhist di vinities, human figures, landscape, birds and flowers, all of which were said to be delicately fine and elaborate. Unfortunately, however, almost no specimens of his work have come down to the present age. But collating all the traditions circulating about him we gather that he was a great master of painting animal life, being true to nature; he seems to have struck a new style of his own, apart from those of the T'ang fashion. His descendants succeeded hint and founded the Kose school, Kimmochi and Hirotaka being among the most celebrated mem bers of the line. The picture representing the Prince Shotoku and his two attendants, in the collection of the late Viscount Saisho (consult Taikwan,' Vol. XVII), attributed to Kanaoka, is an excellent specimen indicative of the characteristic gracefulness and elegance be longing to the early part of this period.