Page:Brinkley - Japan - Volume 7.djvu/46

RV 26 end of the southern Empire in 1279, the Chinese were at the head of the world in the art of painting, as in many other things, and their nearest rivals were their own pupils, the Japanese.

The question to be now considered is what advantage Japan took of her access to the pictorial treasures of her neighbour. That she came into possession of these there can be no doubt, for by the priests whose enthusiastic zeal impelled them to make frequent visits to the source of Buddhism, the Middle Kingdom, sacred images and sacred paintings were constantly brought back, to be placed in temples or presented to the Palace. Further, that already in the eighth century she possessed a gallery well stocked, whether by her own artists or with imported pictures, is attested by the registers of an ancient temple, Todai-ji, where fifty painted screens are entered as having been among the sacred belongings at that time; by the treasure-book of the temple Saidai-ji, where there is mention of religious pictures of great size,—one having a height of 4-3 metres with a width of 3 metres,—and by the catalogue of Daiō-ji, where ninety portraits of Buddha's disciples are referred to. Some of these pictures appear to have been landscapes, others purely decorative drawings, and others of an essentially religious character; but all were either of Chinese origin or in strict accord with the models and methods of the Tang masters. Unfortunately few of them survive. Such authentic examples as have been handed down, however, not only resemble Chinese pictures so as to be distinguishable by experts only, and by them with hesitation, but also indicate that decorative motives were borrowed at that epoch