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Organized by MIHO MUSEUM, Kyoto Shimbun Co., Ltd., Nihon Keizai Shimbun Inc., and the Burke Collection Supported by the Embassy of the United States of America (in Japan), Shiga Prefecture, Shiga Prefectural Board of Education, NHK Broadcasting Otsu Office, and Biwako Broadcasting Co., Ltd. Sponsored by Itochu Inc. and NEC Corp. With the cooperation of Japan Airlines

This year marks twenty years, since the Burke Collection was first introduced to Japan in 1985. Starting last July in Gifu, then traveling to Hiroshima, Tokyo, and now finally opening on March 15, Miho Museum proudly presents Enduring Legacy of Japanese Art: The Mary Griggs Burke Collection.

Of the various overseas private collections of Japanese art, the Burke Collection is one of the most prominent and largest. While most collectors in the West acquired Japanese art after World War II, Mary Burke started assembling her collection in the “good old days” of the pre-war period. Through her fine aesthetic choices, Mrs. Burke amassed a large and comprehensive selection of works that covers most of Japanese art history. This exhibition features 116 objects from this massive collection, including Jômon and Yayoi ceramics, to Nara, Heian, and Kamakura Buddhist art, illustrated narrative handscrolls, and calligraphy, as well as Momoyama and Edo paintings and applied art (works will be rotated during the exhibition period). Some of this exhibit has previously been shown in Japan, however, approximately sixty percent consists of works including recent acquisitions that will be shown for the first time in Japan. We invite you to enjoy this opportunity to see the impressive scope of the Burke Collection.

Red Jar with Flaring Mouth Yayoi period, 3rd century    This round-bottomed jar has features closely resembling those on a 2nd-century jar found near Tokyo Bay. It has a wide, intricate rim, fitted with designs of three vertical shafts around the outer surface of its mouth. And the largest diameter of the torso is slightly below its center.    Large red-ochre vessels, such as this, from the Late Yayoi to early Kofun periods are thought to have been for ritual use. The selection of this elegant earthenware from the dawn of Japanese civilization for the collection attests to Mrs. Burke’s high standard and understanding of Japanese art, as well as her refined sensibility towards its aesthetics.

	Raigô (Descent of Amida Budda) Nanbokuchô period, 14th century Color and gold (kirikane) on silk    Amida (Skt., Amitabha), the Buddha of Infinite Light, is depicted here descending gracefully on a cloud with his attendants bodhisattvas Kannon (Skt., Avalokitesvara) and Seishi (Skt., Mahashamaprapta), to welcome the devotee to the Western Paradise. According to Amida belief, his Pure Land is the most beautiful of all the Buddhist paradises, and Amida himself descends to earth to welcome adherents.    Here, Amida with his hands in the mudra of welcoming devotees to the Pure Land is led by his attendants. Kannon, with knees slightly bent and posture leaning over, holds a lotus pedestal for the devotee, who will be escorted to the Pure Land, and Seishi, striking a similar pose with knees bent and posture leaning forward, holds his hands in a gesture of reverence. Golden rays of light emanate in all directions from the mandorla behind Amida’s head. The contours of the Buddha and his attendants are delineated in thin red lines. Cut gold leaf is generously applied to create the decorative forms and details of Amida’s robe, as well as the finely preserved gold lines radiating from his head. The application of green pigment for the lotus daises and blue pigment for the background represents a technique that can often be seen in Amida raigô images.
Standing Jizô Bosatsu By Kaikei Lacquered Japanese cypress (hinoki) with polychrome and cut gold leaf, inlaid crystal eyes, metal staff Kamakura period, 13th century    Jizô (Skt., Ksitigarbha) is a bodhisattva believed to save sentient beings for 5670 million years between the death of the historic Buddha Sakyamuni and the future Buddha Miroku (Skt., Maitreya). For this reason, unlike other bodhisattvas who are bedecked in decorative robes and jewels, Jizô appears in the guise of a monk with head shaven. From the Heian period (794-1185) on, he is often depicted holding a staff in his right hand in order to express the idea that he is an itinerant, who does not live in the Pure Land, but stays in this world to save all beings.    Jizô Bosatsu here is rendered in the standard form with head shaven and body draped from the front to the left shoulder with a kesa surplice over which he dons a fugen’e robe from right shoulder to right arm. In his left hand, he holds a jewel, and in his right, a staff. His left leg appears as if stepping out in his salvific journey. His firm facial features and slender body reflect his youthful spirit.    Japanese cypress in several pieces was used to carve this sculpture. The hollowed out head area was fitted from the interior with crystal eyes. And especially noteworthy is the intricate execution of the cut-gold leaf for the linked tortoiseshell and interlinked circle motifs on Jizô’s lavish kesa.    During a recent restoration, the dismantling of the statue led to the discovery of an artistic name inscribed within the back head section, which revealed that this work was carved by the renowned Kamakura-period (1185-1333) Buddhist sculptor Kaikei. The exuberant countenance as well as the solid natural physique of this image, wrapped in elegant robes, represents Kaikei’s early style. Jizô also embodies the highly sophisticated decorative techniques seen in Kamakura Buddhist sculptures.

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