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Gallery Text

These sheets of paper bear short vows, poems, and sections of the Lotus Sutra; some have signatures on the reverse. One vow is signed by the nun Kangyō, whose name also appears at the end of a series of three prayers displayed nearby (2019.122.11). Here her name is accompanied by those of four men, all with noble ranks, who declare their shared commitment to the Buddha path. Kangyō may have been central to the commission of the sculpture, and perhaps enlisted the financial backing of these courtiers for the project.

An anonymous writer copied half of a well-known classical waka poem onto the sheet at the top of the board:

I have come to know

The true meaning of spring:

When the blooms are bursting,

There are none with quiet hearts!

The writer omits the final line, creating a permanent and poignant connection between the incomplete version interred within the sacred sculpture and the writer within whom the unwritten line remains.

Identification and Creation

Object Number
2019.122.17.5
Title
One of Six Sheets of Paper (some double-sided) inscribed with Religious Texts, Poems, Charms
Classification
Calligraphy
Work Type
calligraphy
Date
Kamakura period, datable to circa 1292
Places
Creation Place: East Asia, Japan
Period
Kamakura period, 1185-1333
Culture
Japanese
Persistent Link
https://hvrd.art/o/362247

Physical Descriptions

Medium
Ink on paper
Dimensions
H. 9.1 × W. 9.4 cm (3 9/16 × 3 11/16 in.)

Provenance

Recorded Ownership History
[Yamanaka Shoji Co., Ltd, Awata Kyoto (1936)], sold; to Ellery Sedgwick, Beverly, MA, (1936-1960), passed; to his wife, Marjorie Russell, Beverly, MA (1960-1971), inherited; by Ellery Sedgwick, Jr., Gates Mills, Ohio, (1971-1991), inherited; by Walter Sedgwick, Woodside, CA, (1991-2019), partial and promised gift; to the Harvard Art Museums.

Acquisition and Rights

Credit Line
Harvard Art Museums/Arthur M. Sackler Museum, Partial and promised gift of Walter C. Sedgwick in memory of Ellery Sedgwick Sr. and Ellery Sedgwick Jr.
Object Number
2019.122.17.5
Division
Asian and Mediterranean Art
Contact
am_asianmediterranean@harvard.edu
Permissions

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Publication History

  • John M. Rosenfield, The Sedgwick Statue of the Infant Shotoku Taishi, Archives of Asian Art (1968-1969), Vol. XXII / pp. 56-79
  • Keizaburō Mizuno, ed., Nihon chōkokushi kiso shiryō shūsei (Compendium of the History of Japanese Sculpture), Chūō Kōron Bijutsu Shuppan (Tokyo, 2019)
  • Rachel Saunders, “Hābādo Daigaku Bijutsukan shozō Shōtoku Taishi nisai zō ni komerareta imi” (Interpreting the Sculpture of Prince Shōtoku at Age Two at the Harvard Art Museums), Zōkei no poetika: Nihon bijutsushi o meguru aratana chihei (The Poetics of Form: New Horizons in Japanese Art History), ed. Sano Midori Festschrift Committee, Seikansha (Tokyo, 2021), pp, 71-86
  • Kenji Matsuo, "Nuns and Convents in the Eison Order and the Provenance of the Sedwick Shōtoku Taishi Sculpture at the Harvard Art Museums, The Eastern Buddhist, The Eastern Buddhist Society (Kyoto, 2022), vol. 2, no. 1, pp. 1-18, pp. 8-10, pl. 7
  • Rachel Saunders, Angela Chang, Penley Knipe, and H. Greg Lin, “Hābādo Bijutsukan shozō Namu Butsu Taishi zō: kyōdō kenkyū to sono seika” (When Art Meets Science: Interdisciplinary Research and Prince Shōtoku at Age Two at the Harvard Art Museums), Hābādo Bijutsukan Namu Butsu Taishi zō no kenkyū, Chūō Kōron Bijutsu Shuppan (Tokyo, 2023), pp. 191-235
  • Mika Abé, Yasurō Abé, Kensuke Chikamoto, Rachel Saunders, Ai Seya, and Takayuki Seya, ed., Hābādo Bijutsukan Namu Butsu Taishi zō no kenkyū (The Sculpture of Prince Shōtoku at Age Two at the Harvard Art Museums), Chūō Kōron Bijutsu Shuppan (Tokyo, 2023)

Related Works

Verification Level

This record has been reviewed by the curatorial staff but may be incomplete. Our records are frequently revised and enhanced. For more information please contact the Division of Asian and Mediterranean Art at am_asianmediterranean@harvard.edu