Tumulus, or Kofun, period
About 250 ce there appeared new and distinctive funerary customs whose most characteristic feature was chambered mound tombs. These tumuli, or kofun (“old mounds”), witnessed significant variations over the following 450 years but were consistently present throughout the period to which they gave their name. Some authorities have suggested that the development of these tombs was a natural evolution from a Yayoi period custom of burial on high ground overlooking crop-producing fields. While partially convincing, this theory alone does not account for the sudden florescence of mound tombs, nor does it address the fact that some aspects of the tombs are clearly adaptations of a form preexisting on the Korean peninsula. Indeed, implements and artifacts discovered within these tombs suggest a strong link to peninsular culture.
Changes in tomb structure, as well as the quantity, quality, and type of grave goods discovered, offer considerable insight into the evolution of Japan’s sociopolitical development from a group of interdependent agricultural communities to the unified state of the early 8th century. Of course, the material culture of the Kofun period extended far beyond the production of funerary art. For example, it is in this time that an essential form of Japanese expression, the Chinese writing system, made its appearance on the archipelago—a fact known from such evidence as inscribed metal implements. This system had a profound and comparatively quick influence not only on written language but also on the development of painting in Japan. Nevertheless, tombs are the repositories of the period’s greatest visual achievements and are excellent indicators of more general cultural patterns at work. And, in that wider context, three distinct shifts in tomb style can be discerned that define the chronology of the period: Early Kofun of the 4th century, Middle Kofun covering the 5th and early 6th centuries, and Late Kofun, which lasted until the beginning of the 8th century and during which tomb burials were gradually replaced by Buddhist cremation ceremonies. The Late Kofun roughly coincides with the periods known to art historians as the Asuka (mid-6th century–645) and the Hakuhō (645–710).
Tombs of the Early Kofun period made use of and customized existing and compatible topography. When viewed from above, the tomb silhouette was either a rough circle or, more characteristically, an upper circle combined with a lower triangular form, suggesting the shape of an old-fashioned keyhole. The tombs contained a space for a wooden coffin and grave goods. This area was accessed through a vertical shaft near the top of the mound and was sealed off after burial was completed. The deceased were buried with materials that were either actual or symbolic indicators of social status. The grave goods were intended, as well, to sustain the spirit in its journey in the afterlife. They included bronze mirrors, items of jewelry made from jade and jasper, ceramic vessels, and iron weapons. Adorning the summit of the mound and at points on the circumference midway, at the base, and at the entrance to the tomb were variously articulated clay cylinder forms known as haniwa (“clay circle”).
Haniwa were an unglazed, low-fired, reddish, porous earthenware made of the same material as a type of daily-use pottery called haji ware. These clay creations were shaped from coils or slabs and took the form of human figures, animals, and houses. The latter shape was usually set at the peak of the burial hillock. Many attempts have been made to interpret the function of haniwa. They seem to have served both as protective figures and as some type of support for the deceased in the afterlife. There is some suggestion that, similar to tomb figurines found in other cultures, they symbolized a retinue of living servants who might otherwise have been sacrificed upon the demise of their master. They are regionally distinctive and show a stylistic development from the decidedly schematic to realistic.
Another type of ceramic prominent in the Kofun period was sue ware. Distinct from haji ware, it was high-fired and in its finished form had a gray cast. Occasionally, accidental ash glazing is found on the surface. Until the 7th century, sue ware was a product reserved for the elite, who used it both for daily ware and on ceremonial occasions. Sue ware was more closely identified with Korean ceramic technology and was the precursor for a variety of medieval Japanese ceramic types. Interestingly, both haji and sue ware found roles in funerary art.
After the 4th century, tomb builders abandoned naturally sympathetic topography and located mounds in clusters on flat land. There are differences in mound size, even within the clusters, suggesting levels of social status. The scale of these tombs, together with construction techniques, changed considerably. The tomb generally assumed to be that of the late 4th-century emperor Nintoku, located near the present-day city of Ōsaka, measures nearly 1,600 feet (490 metres) in length and covers 80 acres (32 hectares). It is alternately surrounded by three moats and two greenbelts. Approximately 20,000 haniwa were thought to have been placed on the surface of this huge burial mound.
In the later part of the 5th century, the vertical shaft used to access the early pit tomb was replaced by the Korean-style horizontal corridor leading to a tomb chamber. This made multiple use of the tomb easier, and the notion of a family tomb came into existence. Also notable from the 5th century is the archaeological evidence of horse trappings and military hardware in tombs. Haniwa representing warriors and stylized military shields are also prominent. Contemporaneous Chinese records refer to the Five Kings of Wo (Japanese: Wa) to describe the rulers of Japan in this period, and Chinese and Korean documentation refers to Japanese invasions of the Korean peninsula in the late 4th and early 5th centuries. There is evidence that multiple Japanese diplomatic missions to China in the 5th century requested from the Chinese rulers suzerainty over portions of the southern Korean peninsula. These diplomatic and military forays combine with the grave goods of the period to suggest a strong military cast to 5th- and 6th-century culture. However, in time these accoutrements of war and symbols of physical power are found in ancillary tombs rather than in the grave sites of known leaders. This suggests a gradual consolidation of power and the formation of a specialized military service within the kingdoms.
Japan’s close relationship with Korean and Chinese cultures during the Kofun period effected an influx of peninsular craftsmen. This is reflected in the production of sue ware mentioned above and in the high quality of metalwork achieved. Mirrors are a particularly fine example of the development of metal craft. The typical East Asian mirror of the time is a metal disk brought to a high reflective finish on one side and elaborately decorated on the reverse. Such mirrors did not originate in Japan but seem to have been made and used there for religious and political purposes. The dominant Japanese creation myth describes the sun goddess, Amaterasu Ōmikami, being coaxed from hiding by seeing her reflection in a mirror. This may well have imparted a magico-religious quality to mirrors and caused them to be understood as authority symbols. Of particular note is the so-called chokkomon decorative scheme found on some of these mirrors and on other Early Kofun metalwork. Chokkomon means “patterns of straight line and arcs,” and the motif has also been found chiseled on a wall in a Late Kofun tomb at the Idera tomb in Kyushu. It has been suggested that the abstract interweaving pattern may symbolize rope binding the dead to the tomb, an aspect of Chinese cosmology of the Han dynasty.
Late Kofun tombs are characterized by schemes of wall decoration within the burial chambers. Two especially important tombs have been excavated in the area just to the south of present-day Nara. The Takamatsu tomb (1972) and the Fujinoki tomb (1985) suggest high levels of artistic achievement and a sophisticated assimilation of continental culture. The Takamatsu tomb is noted for its wall paintings containing a design scheme representing a total Chinese cosmology. Included are especially fine female figure paintings. At Fujinoki exquisite and elaborate metalwork, including openwork gold crowns, a gilt bronze saddle bow, and gilt bronze shoes, was discovered. Design motifs show evidence of Chinese, Central Asian, and Indian sources.
Thus, the Kofun period reveals both a consolidation of political power and the growth of requisite artistic skill appropriate to the celebration of an emerging and unified culture. The technical and artistic foundations were effectively laid for the reception of the demandingly complex artistic requirements of Buddhism.
