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<\/figure>\n\n\n\nTitle: Female Shinto Deity<\/p>\n\n\n\n
Artist: Unknown<\/p>\n\n\n\n
Period: Heian Period<\/p>\n\n\n\n
Date: mid-11th to mid 12th century<\/p>\n\n\n\n
Culture: Japan<\/p>\n\n\n\n
Medium: Japanese bigleaf magnolia with traces of color<\/p>\n\n\n\n
Dimensions: H 38 \u00bd in, W 9 \u00be in, D 5 in<\/p>\n\n\n\n
Classification: Sculpture<\/p>\n\n\n\n
Location: Metropolitan Museum of Art, New York City<\/p>\n\n\n\n
Description: This sculpture depicts a female Shinto deity, called a kami<\/em>. Carved from the wood of a nearly two-hundred-year-old magnolia tree, she is depicted as a member of the Chinese court. Her robes resemble robes traditionally worn by Buddhist deities, which was a popular depiction of kami<\/em> after Buddhism\u2019s introduction to Japan in the sixth century.<\/p>\n\n\n\n Title: Inr\u014d with Ema of Eight Fan Shapes and Framed Pictures<\/p>\n\n\n\n Artist: Unknown<\/p>\n\n\n\n Period: Edo Period<\/p>\n\n\n\n Date: Second half of 18th century<\/p>\n\n\n\n Culture: Japan<\/p>\n\n\n\n Medium: Four cases; lacquered wood with gold and silver togidashi maki-e, hiramaki-e, black lacquer, cut-out gold foil application on black ground Netsuke: puppy; ivory Ojime: metal with plum blossoms in gold inlay<\/p>\n\n\n\n Dimensions: 2 \u215d x 2 \u215c x 13\/16 in<\/p>\n\n\n\n Location: Metropolitan Museum of Art, New York City<\/p>\n\n\n\n Description: This inr\u014d depicts the votive plaque of a Shinto shrine. Pictured is the front of the inr\u014d, depicting a fan and three pictures. The back of the inr\u014d, which is not pictured here, depicts four more pictures, one of which is not depicted in a frame, but rather in the shape of a heart. These pictures showcase scenes of nature, depicting animals, plants, and humans tending to nature. Inr\u014ds were typically worn by the militant samurai class, who were influenced by both Buddhism and Shintoism in their practices, especially values of filial piety emphasized as Shintoism blended with Confucianism.<\/p>\n\n\n\n Title: Sacred Names of Shinto Deities and the “Oracles of the Three Shrines”<\/p>\n\n\n\n Artist: Mokujiki Sh\u014dnin<\/p>\n\n\n\n Period: Edo Period<\/p>\n\n\n\n Date: 1805<\/p>\n\n\n\n Culture: Japan<\/p>\n\n\n\n Medium: Hanging scroll, ink on paper<\/p>\n\n\n\n Dimensions: 31 1\/2 \u00d7 8 1\/8 in. (image); 62 \u00d7 12 1\/4 in. (overall with mounting); Overall with knobs: 62 \u00d7 14 in. (overall with knobs)<\/p>\n\n\n\n Location: Metropolitan Museum of Art, New York City<\/p>\n\n\n\n Description: This scroll lists the names of Shinto deities and oracles. It was created by the artist and priest Mokujiki Sh\u014dnin, who viewed Shinto kami<\/em> as local Japanese interpretations of Buddhas and bodhisattvas. Mokujiki Sh\u014dnin\u2019s art is often characterized as mingei<\/em> or \u201cfolk art,\u201d and this scroll became an object of devotion for visitors to many Shinto shrines.<\/p>\n\n\n\n Title: Young Women Visiting a Shinto Shrine<\/p>\n\n\n\n Artist: Katsushika Hokusai<\/p>\n\n\n\n Period: Edo<\/p>\n\n\n\n Date: 1814<\/p>\n\n\n\n Culture: Japan<\/p>\n\n\n\n Medium: Woodblock print<\/p>\n\n\n\n Dimensions: 8 \u215c x 5 7\/16 in<\/p>\n\n\n\n Location: Metropolitan Museum of Art, New York City<\/p>\n\n\n\n Description: This woodblock print depicts two women entering a Shinto shrine, as a smaller man guides them inside. One woman appears to be interested in entering the shrine, glancing upwards, while the other woman glances downward at her kimono. The shrine is decorated with a screen window, and an animal lies down inside. Outside the shrine, a lantern with Japanese writing hangs next to leaves hanging into the print. At the side of the print, Japanese writing forms an inscription, perhaps the title of the piece. Hokusai\u2019s prints depicted a variety of subjects, often depicting people and people in nature, however, this print is the only print explicitly depicting Shintoism.<\/p>\n\n\n\n Title: Shinto priest performing the seaweed-gathering ritual<\/p>\n\n\n\n Artist: Totoya Hokkei<\/p>\n\n\n\n Period: Edo Period<\/p>\n\n\n\n Date: 1830-1834<\/p>\n\n\n\n Culture: Japan<\/p>\n\n\n\n Medium: Color woodblock print; shikishiban, surimono<\/p>\n\n\n\n Dimensions: 8 \u00bc in \u2715 7 3\/16 in<\/p>\n\n\n\n Location: Chicago Art Institute, Chicago<\/p>\n\n\n\n Description: This image is a woodblock print of a Shinto priest performing a seaweed-gathering ritual. This was one print by Totoya Hokkei that depicted this ritual, with the ritual being completed by varying subjects. In this print, the priest appears to fight against waves in order to complete this ritual and bring seaweed back to land. The tradition of Shinto art continued even to the woodblock prints of the Edo period.<\/p>\n\n\n\n My exhibition would take place in a replica of the interior of a Shinto shrine. On the walls, I would hang the Shinto scroll and woodblock prints, and I would display the kami<\/em> statue and inr\u014d in a glass case. Outside the exhibition room, I would include a brief overview of Shintoism, as my exhibition would serve as an introduction to Shintoism for the viewer.<\/p>\n\n\n\n Since my midterm presentation, I have diversified my array of art forms included in the exhibit to include a more practical object, an inr\u014d to showcase Shintoism\u2019s inclusion in the everyday life of the samurai warriors. I also included a woodblock print that showcased the exterior of a Shinto shrine, since I would like for my exhibit to be displayed in a replica of a Shinto shrine. Although I attempted to find information about the \u201cseaweed gathering ritual\u201d depicted in Hokkei\u2019s painting, I could not find any information suggesting that the ritual ever existed.<\/p>\n\n\n\n Bibliography:<\/p>\n\n\n\n Jurji, Edward. \u201cShintoism.\u201d The Great Religions of the Modern World<\/em>, Princeton University Press, Princeton, New Jersey, 1967, pp. 141\u2013177. <\/p>\n\n\n\n Kageyama, Haruki. The Art of Shinto<\/em>. Shibundo, 1973. <\/p>\n\n\n\n Female Shinto Deity<\/em>. 2023. Metropolitan Museum of Art Collection<\/em>. https:\/\/www.metmuseum.org\/art\/collection\/search\/76086<\/a>. Accessed Oct. 2024. <\/p>\n\n\n\n Inro with Ema<\/em>. 1929. Metropolitan Museum of Art Collection<\/em>, <\/p>\n\n\n\n https:\/\/www.metmuseum.org\/art\/collection\/search\/58650<\/a>. Accessed 8 Dec. 2024. <\/p>\n\n\n\n Sacred Names of Shinto Deities and the \u201cOracles of the Three Shrines.\u201d<\/em> 2016. Metropolitan Museum of Art Collection<\/em>, https:\/\/www.metmuseum.org\/art\/collection\/search\/711871.<\/a> Accessed Oct. 2024.<\/p>\n\n\n\n Young Women Visiting the Shinto Shrine<\/em>. 1814. Metropolitan Museum of Art Collection<\/em>, https:\/\/www.metmuseum.org\/art\/collection\/search\/54768<\/a>. Accessed 8 Dec. 2024. <\/p>\n\n\n\n Shinto priest performing the seaweed-gathering ritual<\/em>. Chicago Art Institute Collection<\/em>, https:\/\/www.artic.edu\/artworks\/36447<\/a>. Accessed Oct. 2024. Another of the sanctums in the Itsukushima shrine<\/em>. 31 Mar. 2023. Wikimedia Commons<\/em>, https:\/\/commons.wikimedia.org\/wiki\/File:Another_of_the_sanctums_in_the_Itsukushima_shrine<\/a>. Accessed Oct. 2024.<\/p>\n","protected":false},"excerpt":{"rendered":" by: Grace Schmidt Shinto is the indigenous religion of Japan. The word Shinto roughly translates to “the way of the…<\/p>\n","protected":false},"author":155,"featured_media":6747,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[3,110],"class_list":["post-6414","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-uncategorized","tag-japan","tag-shinto","wpcat-1-id"],"_links":{"self":[{"href":"https:\/\/diluo.digital.conncoll.edu\/Asianart\/wp-json\/wp\/v2\/posts\/6414","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/diluo.digital.conncoll.edu\/Asianart\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/diluo.digital.conncoll.edu\/Asianart\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/diluo.digital.conncoll.edu\/Asianart\/wp-json\/wp\/v2\/users\/155"}],"replies":[{"embeddable":true,"href":"https:\/\/diluo.digital.conncoll.edu\/Asianart\/wp-json\/wp\/v2\/comments?post=6414"}],"version-history":[{"count":3,"href":"https:\/\/diluo.digital.conncoll.edu\/Asianart\/wp-json\/wp\/v2\/posts\/6414\/revisions"}],"predecessor-version":[{"id":6854,"href":"https:\/\/diluo.digital.conncoll.edu\/Asianart\/wp-json\/wp\/v2\/posts\/6414\/revisions\/6854"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/diluo.digital.conncoll.edu\/Asianart\/wp-json\/wp\/v2\/media\/6747"}],"wp:attachment":[{"href":"https:\/\/diluo.digital.conncoll.edu\/Asianart\/wp-json\/wp\/v2\/media?parent=6414"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/diluo.digital.conncoll.edu\/Asianart\/wp-json\/wp\/v2\/categories?post=6414"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/diluo.digital.conncoll.edu\/Asianart\/wp-json\/wp\/v2\/tags?post=6414"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}![\"\"](\"https:\/\/diluo.digital.conncoll.edu\/Asianart\/wp-content\/uploads\/2024\/12\/AHI-205-Image-2.png\")
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