Japanese aesthetic sense― Zen and Zen calligraphy，Zen painting，from Kamakura to Muromachi―

Japanese aesthetic sense― Zen and Zen

calligraphy，Zen painting，from Kamakura to Muromachi―

著者 Hajime Iwamoto

雑誌名 dialogos

号 4

ページ 1‑16

発行年 2004‑03

URL http://id.nii.ac.jp/1060/00005014/

Creative Commons : 表示 ‑ 非営利 ‑ 改変禁止

http://creativecommons.org/licenses/by‑nc‑nd/3.0/deed.ja

1

      Japanese aesthetic sense

−Zen and Zen calligraphy， Zen painting，

    from Kamakura to Muromachi一

Hajime lwamoto

［1］lntroduction

1．1The fiow of Chinese Zen

    Bodhi Dharma， the founder of the Zen schoo1， the 28th in the lin田ge from Buddha， came over to China from India in early 6th cenωry． He became the founder of Chinese Zen． Zen fitted in the spir▲t of Laotzu and Zhuangtzu which were very popular among Chinese people in those days． They loved Zen spirit．

As time passed， they fbund originality in Zen． Soon， Dharma s Zen exceeded the limit of Zen school and investigated into human essence． In addition， his teachings had deep relation with emotional training in the teachings of Buddhism They called his teachings J6gakピ（samadhi or meditation learning）． After En6， the 6th patrl−

arch in Zen lineage， Chinese Zen became divided into two sects、 Rinzai and S6t6．

In the late S6 period， Chinese Zen declined due to the invasion by the other race and intemal disturbances， and in the Min period， it almost vanished．

L2 The flow of Japanese Zen（Kamakura・Muromachi）

    In the Heian period Japanese envoy were no longer sent to China under the Tang Dynasty． As the result， Japaneg． e own culture− Kana ， Waka ， Yamato−

e and others became prosperous． The spirit of the Heian Buddhism died out． The Kamakura period began when Samurai came into power， Chinese culture was

2 Hajime Iwamoto

introduced through the trade between Japan and China（S6）． Then Zen in China was still prosperous． With a lot of Japanese Buddhist priests、 Eeisai and D6gen、 the f（）unders of Japanese Rinsai sect and S6t6 sect， came over to China（Sδ）． They retumed to Japan with Chinese culture（including Zen， Zen painting and Zen cal−

ligraphy）． While famous Chinease Zen prlestボRankeid6ryポvisited Japan to propagate Zen． He became the founder of Deizenin Kenchδtemple in Kamakura．

In the Nanbokuch6  period， Gozan institution was established at Zen temples in Kyoto and Kamakura ． Zen priests enthusiastically learned Chinese poetry and Zen paintings with Zen practice． ln the Muromachi period， Chinese Zen already vanished in China． The first period of Muromachi was the era that Ashikaga Sh6gun Yosimitsu attached great importance to Zen． Zen calligraphY（Sho）and Zen painting（Sumi−e）were also prospering with Zen． In the latter period of Muromachi， Gozan （Five Mountains）institution in Kyoto and Kamakura collapsed．

The center of Zen moved to Da▲toku temple and local cities． This equally influ−

enced Sho and Sumi−e： both Sho and Sumi−e concentrated not only in  Kyoto ，but also in Jocal cities． After that， two sects of Zen have been prospering till today．

［2］Zen and Zen calligraphy（Sho）

    Originally， Zen priests regarded Sho very highiy． In the Tang period、 youths of the nobility， who failed in  Kakyo  Test（f（）r public offi ces）， loved Chinese poems

in Zen temples， elevated their spirits， and created a lot of Zen paintings and Zen calligraphies． In the S6 period， the intellectuals called Shidaifu ， sympathized with Zen spirit， longed for the freedom of soul or sprit not restrained by anything， and grappled with Sho and Sumi−e． In the late 12th century， Chinese Zen priests Sho

（calligraphies）were highly regarded in Japan and was introduced thereto． From the

Japanese aesthetic sense−Zen and Zen calligraphy， Zen painting、 from Kamakura to Muromachi一 3

1ate 13th century to l 4th century， many Japanese Zen priests drew Sho as a means to express their religious experiences．

2．1Zen and Sho

    There are deep relations between Zen and Zen Calligraphy． Fisrt， FuryOi−m（ ji ， one of  f（）ur mottos of Zen ，means that Zen teachings are not in doctrines or words

（phrases）， but in one s own mind． Second， Zen teachings shouldn tf（）llow the Canon，

but follow the revered master（ Sonshi ）， practicing asceticism and Zen codes． Third、

Zen teachings held actual practice in high esteem and consldered Sonshi more important than the Buddha and Bohhisattva idealized in the codes． Therefore，

yo皿g monks were always keeping the handwriting of their master with the fine personality and their master s portraits℃Chinz6 ）by their sides． And these were the greatest supPort to practice asceticism．

    Zen priest s Sho and their handwriting are called Bokusekゴ（trace of brush）．

It is not a right way of writing， but is Sho written with their own spirits and per−

sonalities， only done by Zen priests who could overcome severe self−training． In short， the spirit of Zen equals to Bokuseki ．

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     Theme of Zen s Sho doesn t connect with doctrines of Buddhism． Common theme of this kind is Ens6 and K6an 、 Ens6 is drawn beside a poem or a phrase to indicate afeeling of satisfaction， perfection， or com−

pletion． The circle normally begins at the bot−

tom of its circumference and tums clockwise．

This is opposed to circles of the west which start at the top and proceed in a counter−clockwise

4 Hajime Iwamoto

direction． They can be tight circles or large thick ones． Some have ends that bare−

ly touch and other ends which overlap． All is in accord with the feeling the author hopes to convey． ln other wordg．， Ens6 is the freedom ot  sou1 and mind which are not restrained by anything． K6an is theme or Zen conundrum thinking in Zen medi−

ation． Also、 it is the thought problem used as an aid to attain enlightenment． Zen monks meditate on K6an and reveal and resolve Zen conundrum between mas−

ter and themselves． Zen conundrum seems seばcontradictory． Therefore． great questions， tricky questions， and rea1 pleasurable questions come from Zen conun−

drum． Through the conundrum truth is f（）und， Through such a strict training and long practice， Zen monks can attain enlightenment and get the ability to express their spiritual worid， furthermore， to express it in Bokuseki ． Zen priests strike to portray the significance of the experience in simplicity．i

．り汐．

．●

2． Shoaku Mansaku  by Ikky通S6jun  Bokuseki， Shinjuan，

 Kyoto

    The Sho of famous Zen priests such as Dait6 Kokushi，

IkkyU S6jun， Muso Soseki， Ryokan and more recently

Hisamatsyu Shinichi who is best known for his℃howataj

（harmonious style）is displayed in Zen temples， Also， in the tea ceremony， Sarei originates from Zen temple． A mas−

ter of the tea ceremony hangs Zen priests Bokuseki on the alcove． Murata Juk6， Master lklcyO s disciplie， first hung Bokuseki ， Kakemono （hung−thing）in the tea ceremony．

Its manner has been continuing till now．

［3］Zen and Zen painting（Sumi・e）

    There was a division of the temples into public and pri−

vate sectors． And it permitted several different kinds of

Japaneg． e aesthetic sense−Zen and Zen calligraphy， Zen painting． from Kamakura lo Muromachト 5

imagery in Zen paintings to coexist：traditiona1 Buddhist lhemes being used f（）r obj ects on public view，with motifs and styles more directly related to the Zen spirit for objects

in the subtemples． Zen Buddhism s focus on universal truth expressed in the pre−

sent moment vastly widened the range of themes painted by priests and for tem−

ples−from paintings of famous Zen eccentrics to evocative landscapes and themes reflecting the evanescence of nature． Furthermore、 artists connected with particular templeg， developed considerable−skill at working in very different styles

      1

and using different kinds of materials．

3．1Zen and Sumi・e

（1）The Kamakura period

    Zen and Sumi−e were introduced into Japan from China during the Kamakura period． Most of Sumi−e were painted in Zen temples． Zen priests modeled White−

robed Kannon ， Dharuma ， Hotei and so on． By the invitation of the Kamakura Sh6gun， HOj6 Tokiyori， the learned and virtuous priest， Rankei D6ry江visited Japan． Figures of Rankei D6ryO and Dharuma were portrayed by his disciples． They are well−known as the work of the first stages of Sumi−e paintings．

（2）The Nanbokuch6 period

    The priest−painter Mokuan ボFour Sleepers is said to be portrayed in a Chinese Zen temple． He left excellent ink figure paintings in the Dδshakuga tra−

dition． His Kakemono Four Sleepers depicts Kanzan and Jittoku entwined with the monk Bukan（who f（）stered Jittoku after he was orphaned）and his tiger， allfbur in sound sleep． He followed a formula for brush strokes and a gray ink medium．

Fairly broad lines describe the bodies of the sleepers， while fi ne strokes are used fbr the facial features， and dark ink accents for such details as shoes， belts， and hair．

6 Hajime Iwamoto

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3． Four Sleepers， by MOKUAN  REIEN．14th century．

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 Maeda Foundation， Tokyo

Alight wash suggests rocks beside the figures and the shoreline in front of them， while dark strokes are used fbr vines， branches and river rocks．31t evidences asophisticated use of ink．

（3）The early part of the Muromachi period

    The Samurais惰tactful paintings and Zen priestsヲ paintings were integrated at thistime． The result was that Sumi−e was in all its glory」n those days， the Ashikaga Sh6gun， Yoshimitsu， considered Zen very highly and established Gozan institution． Each Zen temple was the center of it own culture． Especially，

Sh6koku temple， as it became the center of Zen paintings under the Shogunate controL

    Josetsu and Sh面）un， Zen priests of Sh6koku temple， drew℃atching a Catfish with a Gourd and

Reading in the Bamboo StUdy ． Their painting style represents a small world where Zen priests have dreamed of， with the integrity of an ideal residence far away from the world． This is a form of  Shigajiku

（Kakemono with a poem or a painting）． They were very popular among Zen priests in those days．

    The priest−painter J6setsu left a picture of Catching a Catfish with a Gourd ． The painting is D6shakuga of a quite unusual kind， depicting a

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Japanese aesthetic sense−Zen and Zen cal］igraphy、 Zen painting、 from Kamakura to Muromachi一 7

K6an ． The thought problem was used as an aid to attain enlightenment． We飴el the following puzzle｛n thispainting． The center ofthe foreground shows him hold−

ing a pale orallge gourd in front of hinl as contrasted against the longer length of the wriggling gray fish swimming in the strealn at his feet． The man cuts a strange and solitary figure， with his porcine face， hisoddly animated clothing， and his stiff二

legged stance， placed alone in the flat． barren landscape． The pointed peaks of three mountains can be seen above the mist far in the distance． Thus， there is a comment included in a detailed， multifacedted landscape setting in this D6shakuga「．4     ShObun s Reading in the Bambboo Studゾsuggests an almost unending pro−

cession of motifs carrying the eye mr back into space， The brushwork emphasizes short， repetitive strokes that describe the natural elements but also give the pain仁 ing a somewhat decorative effect． It is clear that ShUbun was familiar with the S6 Dynasty landscape painting， because he uses several stock motifs such as the scholar and his attendant crossing the bridge， the scholar visible through the win−

dow of his study， fishing boats close to Iand， and the temple buildings in the dis−

     5

tance．

    The priest−painter Minch6 was a remarkably versatile artist and nourished in this particular type of environment． The White−robed Kannon belongs to the

D6shakuga tradition of imagery−descriptions of Buddhist themes intended to convey the suヒ，j ect▲ve experience of receiving spiritual insight or revelations． The su切ect matter of LD6shakuga includes such divinities as Kannon ． Also， his

℃ottage by a Mountain Stream is an example of Shig司iku ，ahanging scoll com−

bining poetry−often composed and copied by several different priests−with a monochrome image of an ilnaginary landscape． In these two types of paimings，

LD6shakuga and Shig司iku ，the Zen priest−artist could give his brush and his imagination free rein and create imagcs由at elnbodied his religious beliefs and goalS．6

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×内拓ん≠．︑更ρかkづメ千

⊂令．︾．・．三声＼ゆ． ﹂・﹁ぺ．︾

パーワ糸口 ・．︑．．一．へ〜．・・＆F僧．°︐◎め

双・・漣1ぜ．．寸︹︐々

d．のμ．＾4プ．り゜︐

タやFへ曜奇．﹂r■

「〆

鰭

涛い

6． Cottage by a Mountain Stream，

 by MINCHQ 1413． Hanging

 scroll． ink on paper；

 40×13s／註n．（101＿S×34．5   cm）．Konchiln，

7，White−robed Kannon， by M IN−

 CHQ l42 L Hanging scroll，

 ink on paper；24×107／Hin．

  （60．9×27．6cm），Museum of  Art、 Atami， Shizuoka prefξc一

ture

Japanese aeslhetlc、enle−Zen and Zen cai］igraphy、 Zen palntlng、 from Kamakura to Muromachi一 9

（4）The latter part of the Mしiromachi period

    The Onin War changed the wor】d of Zen painting very greatly． Kyoto was almost reduced to ashes． Ashikaga Sh6guパlost its authority． LGozan可institution collapsed and during the la腫er part ot   Muromachi the center of Zen was trans−

f｛》rred to Daitoku temple and to local cities called small  Kyoto ．Daitoku temple is the Zen temple built by」Dait6 Kokushi in the early 14th century．

    In that temple， Bunsei、Sh口bun and Oguri S6tan practiced Zen lneditation and created Zen paintings． Yuimazu＼written by Bunsei ls a portrait、 depicting a 飴mous lndian lay Buddhist． The work has characterlstics of a powerful painting with a sharp look．

8．LYuimazピby BunseL c1457，

 Ink on paper；92．4＞〈343cm，

 Yamato Bunka Kan， Nara

9，Winter Landscape， onc of four  h田1ging scrolls ofthe R）ur se asons，

 by SESSHU TOYO．c．1470s．

 Ink on paper；18［力×111／iin．

 （46．4×29．4cm）．Tokyo National

 Museum

10 Hajime Iwamoto

    IkkyO S6jun moved to Daitoku temple in his late years and left a strange por−

trait which compared himselfto KidδChigO， a Zen master he respected．

    During the China s Ming Dynasty the trade between Japan and China pros−

pered． Cities， such as Hakata and Yamaguchi， became the centers of culture． The Zen priest， SesshUemerged伽m the creative atmosphere of Shoko㎞temple in those

 是今裏吟︑同臥・南

員→止・稔う．k●十偽仏り下富＾砧

ヤ門∨庁︸4ヰ起姑

  ＄阻ψ〆よー● ︻日角． ．

 い▲樗W阜仇爪π川丈砥く

 ●e冶︵ヤn．社叶F﹂ふ．6

 ←ぱ卓1﹂．ハ﹂

1員♪Wぽ人4メ川﹂・．

°宇7鳩玉．パ←亨︑∨■

     ．﹁︑．P鶴  4●11°マSτ 赤．．コー・．目 勺μ．・民tJ．．日・︑宴 一t馳レ． ■ ﹁川・ーオ ．ぷ．．㍗ ．︐．占メ■ρ．礼φ闘↑WI  ．﹁4．oプ〆．      ︑−．悟 ︐ 1泊＾ぷレ P内んル句〃．tし．属4祇号ちぜκi．．ぷ駈肉t﹂遥X旬   餌旦ダヰK己ーさ笥﹂持補一■︑s

4申禽ぬ・ぴ4弍寸寸↑㎏印オ㌔しコー4．↑＝㌃ア  ．．．       済礼槍 ︷

メ人ぜダ←特㌔勺司4拭イ長2．X8．〆々λ竃・砂冑よ       ＄．ぴ＾4 創彬．．ハろ4々撒・﹃†τc皇φ力δ▲マ看W蟹砂もぷ輻・・㎏4片貿〃劣．直夫編・ぷZ°t㊦ε也血・ザ＋セt鯵ぷ︷ルふみ．斉︐ρ■也¶ふ血464∀

ψ．‖シ・．O楡6ハ零▲パ己ワ叉●賃4寄

町＋＄．ρよ・︷獅ぷ﹂←りヵ゜鴛゜︸盲46．人04象︷為ぷ←﹂＾§︑直基き但き●4ルW5▲f墨禽儂層児←浪←嘱

卵2貞．ムぢL︐直■．よ友月ξ▲

@司d擁18り仁−→ーピ．⁝ 患惣口．

  二｝      ． 一＿＿．． ．＿、

10．Landscape▲n the haboku   technique、 by SESSHU   TOYO．1495． Hanging   scrolL ink on paper：

  58り4×127／sin．（1479×

  32．7cm），

  Tokyo National Museum

days， but did not succeed there． Then he moved from Kyoto to Yamaguchi where the Ouchi family ruled． And he went over to China along with Japanese envoys in

1467．

    In China， he painted Winter Landscape ．one of lbur hanging scrolls of the four seasons． The t tyle of painト ing was an old一ねshioned one、 constructing a still land−

scape． One of his most characteristic landscapes is a winter scene， probably part of a set of landscape Kakemono of the four seasons and thoughuo date

from the 1470s． In this painting SesshO wove motifs廿e−

quently fbund in Chinese landscape paining into an o亘g−

inal and typically Japanese statemenL Furthermore， a work that demonstrates Sessh6 sfacility with brush and ink is the haboku惰or broken」nk landscape． Haboku is a term denoting the very 1ヤee and rapidly executed style

in which ink seems to have been splashed on the paper surface of the painting．7

    Sh6kei， a Zen priest of Kench6 temple in Kama㎞ra，

went up to Kyoto， and smdied under Geiami ，learned the new style ofpainting， and then retumed to Kamakura．

When he painted landscapes， he always left a big blank

Japanese aesthetic sense−Zen and Zen calligraphy， Zen painting， from Kamakura to Muromachi一 Il

space Iike the old−fashioned style and printed in a clear．1ight tone ofcolor．

    ThピSess加 sstyle ofpainting was succeeded by hisdisciples in each place．

One of SesshU s disciples， ShGgetsu、 who painted Saiko zピin China， followed Sessh百s style of painting． Also、 the Sh6kei sstyle of painting was succeeded by many painters of the Kantδdistrict． Keison， a descendent of Sh6kei， painted

購 繋 灘

11． Kacho zu By6bピ， by Scsson， Muromachi era，

lnk on paper，156．0＞〈

333．Ocm ， Yamato Bunka kan， Nara

℃hikurin Shichiken By6bu Zu （Seven Sages in the Bamboo Grove）． Hispainting was a curious picture with vcrtical bamboo and rocks painted by swift brushwork．

    A Zen priest， Sesson． traveled around various parts of Japan and learned the Chinese painting of Mookei and Gyoklcan． Also， he modeled h▲mself on SesshU and left fine pieces of work． His Kach6 Zu By6bu has a pecualiarity of a stream flowing into the ground， ocur−

ring remarkably fmm the right side of the picture， with a carp of the left side foaming at its mouth and flying in the sky． It is not at all restrained by the old−fashioned style

of painting．

    Consequently， in the Muromachi period， Kara−

e 唐浮モ?@as Baen∵Kakei ， Ry6kai ， Mookei and oth−

ers were introduced to Japan from China． Their works were the highest grade works in those days． San ami

（ N6ami ， Geiami ，and SOami ）purchased these great works f（）r decoration in ceremonies， and analyzed works of art for the Sh6gun family． They were like directors who were called Dδhosh6 and painted Sumi−e though they were not Zen priests． Also， Kan6 Motonobu was

12 Hajime Iwamoto

the fbunder of the Kan6s 、and created the studio system of where painters could create many works and drew paintings on paper sliding doors and screens． But the Kan6s did not follow Zen． Moreover， the number of professional Sumi−e painters who had nothing to do with Zen was gradually increasing． In the next period of

Momoya 、there were few Zen painters．

      握涜瀦

12． Sai ko zu ． by Shtigetsu， c．1496． Ink en paper，46．8×84cm．Museum of Art， Ishikawa prefecture

13．℃hikurin hichiken ze by6bu by Ke▲son， Muromachi era， Ink on paper．155，5×365．4cm．Tokyo   National Museum

Japanese aesthetic g．ense−Zen and Zen calligraphy、 Zen painting、 from Kamakura to Muromachi一 13

［5］Agreenient between Zen and Zen calligraphy， Zen painting

    The mental state of enlightenment in Zen involves a mysterious expression．

Ordinarily， we try to learn truth through symbols and language but truth is beyond their scope and can on］y be gained through communication from one mind to anoth−

er． Zen priests painted their circumstances only with black in Sumi−e as Zen kl zu ithe expression of Zen spirit）． Also， Zen priests expressed their mental states of enlightenment in  Geju （Buddhist teachings in Zen verses）， in the form of Zen handwriting． Geju by high−ranking Zen prieg． ts wag． a kind of guide to lead monks．

to enlightenment． And they hung it on the wall as Kakemono for their ascetic prac−

tice． They wrote Gej u in Sumi−e as San （words、 poems and so on to reveal the intent of Sumi−e）． Calligraphies by Zen priests are not their handwritings， but paint−

ings to directly comm皿icate from mind to nlind」n other words， it means that  Zen ki zu （Sumi−e）is equaho Zen calligraphy， The ascetic practice of Zen renounces materialistic desires， and is like a journey to an boundless and deep world， name−

ly， the world of Lemptiness ．It is said that emptiness is best expressed in black．

If all ofthe universal colors are mixed， they will make a very dark color． Dark black

color includes all colors． Therefore， emptiness which isexpressed in a dark color is not  emptiness ， but unboundedness． The color embracing the whole universe is the world of both Zen paintings and Zen calligraphy、 which is painted and writ−

ten in black． It is also the world of enlightenment． In Zen， both calligraphy and paint−

ing have the same spirit．

［6］Conclusion

    As Zen is the world of a spiritual en）ightenmentjust playing with  emptiness or boundlessness ， i亡is the world that is beyond letters and languages． In Zen we

14 Hajime Iwamoto

can paint and write what no one can whte and paint． In Zen we also can see the world no one can see、 This is the soul of Zen． Illdeed、 many high ranking Zen pnests

underwent severe ascetic practice and expressed their mental state ofenlightenment in a lot of calligraphies and paintings． The disciples considered them as a guide to enlightenment． Also， every time they saw their master s figure， they had a spiri−

tual relation with their master． ln Zen、 calligraphy is a voiced painting  and paint−

ing is  a voiceless poem ． We try to understand instantly the meaning of something written in letters， but Zen monks considered a calligraphy as a painting and con−

sidered a painting as a calligraphy every time they see them． Thus， in Zen， both calligraphy and painting have a deep relation with Zen sascetic practice

Note 1︵∠34戸︶67

Penelope Mason（1993）， PP 194・−195 1bid：． ppl99〜201

1bid ，． p201

1bid ，． pp201−−202

1bid ，． pp 195〜197

1bidl，． pp202〜203

1

︹∠2﹂

45

      Refeareces

Christopher J． Eamshaw（1988）， SHO Japanese Ca〃igraph Tuule publish−

ing co， Inc． Tokyo

Hakuho Hirayama（1979）， Sumi−E， K6dansha Intemational，Tokyo Penelope Mason（1993）， Histot y ofJaρanese Art， Harry N．Abrams， Inc． New

York

Motoaki kawano（2002）ノapanese A rt− Suibokuga， Bizyutsu nenkan sha Gakken（1994）， Zen no Hon

Japanese aesthetic sense−Zen and Zen calligraphy、 Zen painEing． from Kamakura to Muromachi一 15

6

78

9

Myochi Nancy O Hara（2003）． Zen B．）， The Brush Stewart、 Tabori＆Chang，

New York．

Stephen Addiss（1989）、 The Art qf Zen， Harry N． Abrams、 Inc．

Fujihiko Kaneda（1996）， Eozy Kanji、 Passport Books， NTC／Comtemporary Publishing Company

Rebecca Hon Ko（1987）． Chinese Ca〃igraρh．y Abbeville press． publishers， New

York・London

16