Gizan Katō

Gizan Katō, “Jigen”, 2019, Carved Wooden Figure, 110.2 cm without Metal Stand, Private Collection

Born in Tokyo in 1968, Gizan Katō is a contemporary Japanese sculptor that works with Buddhist themes and classical stories. He studied under the Busshi (sculptor of Buddist statues) Shubun Iwamatsu, who is descended from Takamura Koun. An Imperial Household Artist, Takamura was a modernist in the field of wood carving and greatly respected professor at the Tokyo School of Fine Arts. It was he who created the statue of Japanese samurai Kusunoki Masashige which stands in front of the Tokyo Imperial Palace.

With the understanding that he is both Japanese and Busshi, Gizan Katō focuses his work on the aesthetic roots of Japan, its history, tradition and culture, and the Buddhist realization of material existence’s impermanence. Gizan, as a modern sculptor, explores though his work the meaning of these cultural roots to contemporary art.

Instead of a sketch on paper, Gizan’s creative process begins with a model in plaster or clay. He next employs calipers to make a point-to-point transfer of the model to the wood that will form the actual sculpture.This lengthly and exacting technique requires both concentration and patience. Through this time-absorbing process, Gizan is able to reflect on his work’s expression of both longevity and dignity.

Gizan Katō’s first show was at the Takashimaya Exhibition in 2008. In 2016, he presented work at the Hakuin Exhibition held at the Tohoku History Museum. Gizan exhibited his work in several shows in 2017 including the “Amazing Craftsmanship Exhibition” at Tokyo’s Mitsui Memorial Museum, the Gifu Prefectural Museum of Contemporary Ceramics, Osaka’s Abeno Harukas Museum, and the Yamaguchi Prefectural Art Museum. A solo exhibition of Gizan’s work was held at the Nihonbashi Takashimaya X Gallery in 2019.

In 2011, Gizan, with Buddhist master Miura Yayama, participated in the Buddha Statue Dedication Project, an activity pf prayer and remembrance that carried Buddha statues to the disaster area in Toboku. He was also active in the 2019 Typhoon Number Nineteen Charity Exhibition and the 2020 Signs of a New Era Charity Project.

Gizan Katō’s “Jigen (Manifestation)” is a 110.2 centimeter carved wooden figure which sits on a metal stand. He represents the physical form of an intangible subject, either religious need or secular interest, that a person deeply craves. This subject, need or interest, is that which supports a human being’s existence among greater humanity. Even in our age of accelerated development in technology, the subject supports each human and it will perpetually conserve humanity for years forward.

Gizan’s “Jigen” was auctioned at Christie’s in September of 2020 and sold for 312,500 USD. The figure was exhibited at the Hiratsuka Museum of Art in the Kanagawa Prefecture of Japan from April of 2022 to March of 2023.

Gizan Katō’s website can be found at: https://gizan.tokyo/?lang=en

Note: Japanese naming conventions arrange names with the surname first and the given name second. Thus, Gizan Katō is a member of the Gizan family and was given the birth name of Katō, meaning ‘increasing wisteria’.

Second Insert Image: Gizan Katō and Yozan Miura, Leafing by Miyoko Washio, “Buddha Statue”, Cypress Wood, Crystal, Red Agate, 70 x 95 x 80 cm, Private Collection

Bottom Insert Image: Gizan Katō, “Jigen”, 2019, Carved Wooden Figure, Detail, 110.2 cm without Metal Stand, Private Collection

Seiganto-ji & Nachi Falls in Wakayama, Japan

Photographer Unknown, Seiganto-ji & Nachi Falls in Wakayama, Japan

The Seiganto-ji Temple is the oldest structure in Wakayama. It is registered as a UNESCO World Heritage site as part of “Sacred Sites and Pilgrimage Routes in the Kii Mountain Range.” Though the year of is establishment is not recorded, there are signs that nature worship has been carried out since ancient times in the area and a legend that the temple was founded during the 4th century.

From the middle period to the early modern period, the temple along with the adjacent Kumano Nachi Taisha Grand Shrine flourished as Shugenjo, a place for ascetic training.

The main highlight is a three-story red pagoda reconstructed in 1972. Its main hall, built in 1590, is designated as Important Cultural Property of Japan and exhibits a waniguchi drum, the largest Buddhist altar drum of its kind in Japan. The enshrined principal image, Nyoirin Kannon, Bodhisattva of Compassion, is said to grant any wish, including wishes for wealth, wisdom, and power.The public may view Nyoirin Kannon only on one day once a year, on August 17th.

This 3-meter high wooden image that was carved by Shobutsu Shonin during the reign of Empress Suiko which was from 592 – 628 AD. Inside the chest cavity, there is a small golden image of Kannon said to be just “1 sun 9 bu”, about six centimeters tall. This tiny golden Kannon was said to be the personal image that Ragyō the hermit enshrined in his hermitage in the 4th century. However, it is more likely to have been the personal image belonging to Empress Suiko.

Sonam Gyaitsen

Sonam Gyaitsen, “Thousand-Armed Avalokiteshvara”, Gilt Bronze, ca 1430, Jamchen Monastery, Tibet

The Lotus Sutra is generally accepted to be the earliest literature teaching about the doctrines of Avalokiteśvara. These are found in chapter 25. This chapter is devoted to Avalokiteśvara, describing him as a compassionate bodhisattva who hears the cries of sentient beings, and who works tirelessly to help those who call upon his name. A total of 33 different manifestations of Avalokiteśvara are described, including female manifestations, all to suit the minds of various beings.

One prominent Buddhist story tells of Avalokiteśvara vowing never to rest until he had freed all sentient beings from samsara, the wheel of birth and death. Despite strenuous effort, he realizes that still many unhappy beings were yet to be saved. After struggling to comprehend the needs of so many, his head splits into eleven pieces. Amitābha, the Celestial Buddha, seeing his plight, gives him eleven heads with which to hear the cries of the suffering. Upon hearing these cries and comprehending them, Avalokiteśvara attempts to reach out to all those who needed aid, but found that his two arms shattered into pieces. Once more, Amitābha comes to his aid and invests him with a thousand arms with which to aid the suffering multitudes.