Japanese Art and Eiichi Kotozuka (Buddhism)
Lee Jay Walker
Modern Tokyo Times
Eiichi Kotozuka was born in Osaka in 1906, during the twilight of the Meiji Period (1868–1912), an era when Japan was redefining itself while still deeply rooted in tradition. He is especially celebrated for his sōsaku hanga (creative prints), works that enriched Japan’s artistic soul through their quiet originality and personal vision.
Kotozuka benefitted immensely from the profound cultural inheritance of Kyoto and Nara, cities where history, faith, and aesthetics flow seamlessly together. Accordingly, this article centers on the Buddhist temples he depicted—prints that gently weave together the refined courtly culture and spiritual gravity of Kyoto and Nara through the contemplative medium of printmaking.
The serene city of Nara stands as the cradle of Japanese high culture. It was here, in the eighth century, that Buddhism emerged as the “guardian of the state” under Emperor Shōmu, shaping the moral and artistic foundations of the nation. In the print above, Kotozuka captures the natural grace of Nara, rendering its sacred landscape with a tender stillness that invites reflection.
The first and third prints turn our gaze toward Buddhism in Kyoto. Within these images, one can almost sense the rhythms of everyday life—monks, pilgrims, and the quiet dignity of temple precincts. Through Kotozuka’s eyes, Kyoto’s enduring cultural legacy unfolds softly, revealing a city where the past continues to breathe within the present.
As Nichiren wisely observed: “If you light a lantern for another, it will also brighten your own way.”
Kotozuka’s prints do precisely this—illuminating sacred spaces for the viewer, while deepening our own path of contemplation.
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