THE ART OF CASTING BRONZE IN JAPAN. 621 



the law, and floral designs, uiost of which are coated with gold. In 

 front are the two fabulous animals (Koma-inu and Ama-inu) supposed 

 to represent lions. 



The tomb of lyemitsu (third Tokuwaga Shogun, died 1649 A. D.) 

 closely resembles that of lyeyasu in form, but the reliefs on its bronze 

 gates are simply Sanscrit characters in medallions. These tombs are 

 situated in a grove behind the chapels and oratory, and their simplicity 

 presents a striking contrast to the magnificence of these edifices, which 

 are the most richly decorated shrines in the world. It is said that their 

 plain and simple design is intended as a concrete expression of the 

 Buddhist ajihorism that " at death there is an end to all magnificence." 



Numerous large standard lanterns (toro) of bronze (PL LXYII), con- 

 tributed by the territorial nobles, who vied with one another in thus doing 

 honor to their departed chiefs, line the courtyards of the shrines. Many 

 hundreds of these "toro," which were favorite votive offerings of the 

 wealthy both to Buddhist temples and Shinto shrines, were cast during 

 this period of revival in bronze founding. They adorn the approaches 

 and grounds of every temple of note in the country, those of Zo-jo-ji 

 (Tokyo) alone number more than two hundred.' 



Each group or pair di tiers from any other, yet in outline and decora- 

 tion all are in harmony; and if no other examples of bronze founding 

 were in existence, the gracefulness of form and fertility of design which 

 characterizes all would alone mark their modelers and founders as art- 

 ists of the first rank. It will be noticed that both of these in the illus- 

 tration, although of the same general form, differ entirely in decoration. 



The mausolea of other Tokugawa Shoguns also afford some fine 

 examj^les of the bronze founders' art, notably the tombs of lye-tsuna 

 (1G50-1680), andTsuuayoshi (1681-1708), at Uyena (Tokyo), andof lye- 

 uobu (1709-1712), at Shiba (Tokyo). They are of similar form to those 

 at Nikko, differing from them chiefly in the more elaborate decoration of 

 their gates. Finely modeled dragons and the armorial badge of the 

 Tokugawas ornament the gates of lye-nobu's tomb, while in the tomb 

 of Tsunayoshi — who was a noted patron of art — there is still a further 

 departure from the simple style of earlier times, the symbolical combi- 

 nations of the fabulous unicorn (Kirin) and pine tree, the phoenix (Hoo) 

 and x>aulownia, and 6f the pine, bamboo, and plum being perhaps 

 almost too lavishly emuployed. 



Another important bronze at Nikko, representative of the period, is 

 a bronze column (1619 A. B.), termed so-rin-to, 42 feet in height, a form 

 of the Indian " stupa," as introduced into Japan through China. Before 

 removal to its present site it stood near the tomb of lyeyasu, and was 

 doubtless erected there in accordance with the Chinese superstitious 

 beliefs in the eflicacy of such structures in warding off evil influences 

 and insuring the protection of Heaven. Besides these, four huge lotus 



'Presented to the Shoguns lyetsugu (1716) and lye-shige (1762) by the territorial 

 nobility. 



