Autograph, motto, and inscription fans are referred to in another part of this work.[52] The practice of inscribing sacred texts upon fans, obtained during the latter part of the eleventh and beginning of the twelfth century, the period ‘when the Buddhist religion was openly professed by the wealthy and warmly supported by the luxurious.’ Fragments of Buddhist sûtras written on fans and fan leaves exist at the temples at Yamato, Ôsaka, the Imperial Museum Tôkyô, and elsewhere. These are copied from the ‘Lotus of the True Law,’ or other Mahâyâna texts of a like nature. The fans, though differing somewhat in size, are all alike in paper, pigments, and style of painting, and evidently had a common origin; they are overlaid with gold-leaf and dusted with fine sand; upon this a thin wash of red or black pigment is applied. The sacred text is written in ink, over a painting, usually a figure-subject and bearing no reference to the text; the faces sketched in a curious convention known as Hikimé Kagihana (eye with a line, the nose with a key), in which the eye is represented by a straight line and the nose with a somewhat acute angle. This convention has been traced to Kasuga Takayoshi (beginning of the twelfth century), who painted a number of picture rolls illustrating the tales of the Genii. [Illustration: The Tamagawa River. with tea-plant & flying cuckoo. by Kanō San Raku, 1633. Japanese: Mr Wilson Crewdson.] [Illustration: Japanese War Fans, Gumbai Uchiwa. Mr L.C.R.Messel. Mr. W Harding Smith. Mr W.L.Behrens.] A fan leaf owned by the Temple of Saikyôji, Sakamoto, Omi, is illustrated in _Selected Relics of Japanese Art_, S. Tajima. A hi-ogi, with figures and pine-tree, in the Shinto Temple, Itsukushima-Jinsha Aki, is illustrated in the same work: this latter, doubtless, is a production of the Taira era, possibly a dedication to the temple from a scion of the Taira family, and painted by a daughter of Taira Kiyomori, the premier, 1167-1180, the writer of the ‘Lotus of the True Law.’ A similar combination of painting and writing obtained later, and was practised by Kôyetsu Hon-Ami, the predecessor of Kôrin Ogata, the reputed founder of the Korin school. This artist was a skilful writer of Chinese ideographs, in which art he was one of the ‘Three Pens’ of his time, being the founder of the Kôyetsu school of caligraphy.[53] A fine example of Kôyetsu in the possession of Baron Ryûichi Kuki is reproduced in Mr. Tajima’s work. This is painted on a gold ground, and represents a rabbit in a flowered field. The fan is divided in two parts, the writing, which is by the artist, being on the gilt portion. Kôyetsu died at Kyoto in 1637, aged eighty-two.