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/
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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 was2
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 theJapanese 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’．飼簑曇鷲舞縫鐘．
羅罐難竃蒜彗
m 測 輌迦
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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−clockwise4
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 ofJapaneg． 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
；t．、 tヌL
※・ 1”／／：・ 千ぷ ．．｜ 是萱︷沌 旙ゾ拝口、 ‡直渚 牢書天 眉埼 3． Four Sleepers， by MOKUAN REIEN．14th century． Hanging scrol1．▲nk on paper 271！ユ〉〈14）／sin．（70×36cm）． 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 a1灘羅雛｝難
1．i：i．i．i‖簗鰭熟il ii｝．職纏．ll… ：謬1藻i．糧墨li嫌三．i繊．「il耀灘雛灘鍵
4．Catching Catfish with a Gourd， by JOSETSU．c．1413． Hanging scro］1、 ink and color on paper； 437／s＞〈297／sin．（1115＞〈75．8 cm）．Taizoin， My6shinji， KyotoJapanese 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
8 ．寸資召●吟外勺 首♂Oβ与くぺ冶腎ぺぞ゜卜．ρ皐■．、、鴨S＜検雰ζ確・’ 、鴇∀人ぞ“争・．一傷’．R’■・ぴ刈．．．．ナヵ︵β兼ト‘’S内 6‘“上花WW．≒“◎パ‘ト冴゜㌔卑右工ト舟ドT＄t・ワ’． 鎗弧壌●障冶男㌣．ト吟︵・、・．，噺，﹀㌦゜．咋．号“戚シγ、免“ 夕●f，■・．，奪興今●追∨袖、熔冑“﹃転．十x﹄ウ．．．．責X 工鳥、，Ψ、・︿丸﹀堕、↑S、一写¶プ、人、◇．ダ褒昏入∪筒 、臥“．■斑も足頃亭W冷◇馬亨友卜Wユ．昏1て﹂衡吟⊥セ’ざ 圭’旨ぶ亮舎﹀い．％4．．＞M‘■執んふ壌才女人↑ら窃氏’ 4﹂．曳●義寿鷺貞∼ガ．恒︵“、﹁占・劇wぷ受氏、°占弓 らー．為●合量．︵ぷX膓ぶ嘱視7X’∨±X．W‘七障お﹁． S♪イ鴇人■﹀●“昂吟t事い冨人“芯頁彰冷δ・．べ’イ“． ・．D，Q●モ6宇雪札へ別セ呼鯵三＋へび軌●込暁WO取W． モ句タ克全◇へ硬基．、X↑■1．’、W爪4 鳳“鉦す 乳∨ ド㎏艮ψ之蕊牛⇔ト・・え噺吻斉旬4勺・×ユ辱㌔亀勇表亀，W4 、‘3“藍章∀−Sめこサ亀・皇主つじ人可2し取 吟毒●喜き●竈“ゲ六ち㊨丁友㎏拓？心．句￥V∨、 瞳村口村ぱ詳賢ぶ牡鋸謹． 志＄﹁＞Wら“5C．亙3’冑撒 ⇒㌧ゲ“∼ゴ∨受∨∧．ぺx‘ 叶÷ “ぐ，．“︶庁．﹂ ﹁茎．執ソ内罐P‘悟 侯句唆・フ49琴16・ご×号4 奮外旛⋮．ぺ65鑓 t畢つ．．th づメ ’．．膓ベ パiA）1＾？a； ︽造叉こ．．、﹁鋒・．’⊃ が．．“．﹁．r，巨ペモ・壽t “°ハ t亭 ﹁． ， 〆．野戚吐・．・蛸“疲﹀・，亘・ル ・篭．パ占．﹀盾ハ駆、璋◆’吉 り丁 ｡×Wぷ oーペぶ本㍍ 5．Reading in the bamboo study． by SHUBUN． c」446．Hangjng scrolJ、 ink and color on paper： 53Y，×131ムin．（136．5＞〈 33．6cm）． Tokyo National
Mvseum
H勾ime lwamoto
、．﹄促い・、．∼ハ 真 ﹂・ °［縄τダ’長 V﹁♂ 夕’〆≧苦苧叱 τ堕゜°卜、．てプ．〃，、‘凡 ㌔．至rト⋮．㌔ ﹁ ﹀，・．㌧’㌶∼、♪﹁声 文r’7町”．パ 、 z°ヌ戊 ．﹂人ξ﹁㌧ 敷、：〃 ぺ〃‘°．︵．¶ψ’tが ︷いぱ﹁，ド、，㌧W二． 、 ︵ヂ蓼 ラ ．：よ親． ﹀．U’︾ 内．Vソン．滉パ勺・︵ 悟︻、∴少X﹂ふ声電∨・．．︰ 弔万﹁︾■S氏・斥凹村パナポ．7． 首 虫．．JOぺえ．4皿パ．﹁・．．・“ ザダ∼ 虫ク・㍍鑓 ♂鬼︵﹁．ヂ揚、辺噺叙↑’．4 ‘．・﹀“☆’∀．・桜，t壌ば ’本こ、．﹀蝸ド手％ ㌻“は．バ、バ宅 ’ ．・ ﹂︽⋮’ ∫ “ ∵﹁．．ド． 7噛∧シ．ぴ︵ ρ゜“．”．．﹂﹁﹂ ス﹄二﹁．． 、 ’ p ぐ． ’ボ゜力丘▲％ 泊“杉＾こ入‘や．・一”．卓W ．■y護工・．．”﹁勒、．“．入必輪 ∨．一 ，︵碗“’‘“◆ 版哩、・．κ”万”苅令・汐 h、電メ畦、6﹂’肯ハW・﹀ ”へ需、、8∠・︵吋．ば﹂．．ふぺ ●．’レ・・．乾埠必≠°“ボ︵ イぷ夕．ド．﹁﹀幻、目覗z㎡縛ガ ‘、ぷ’・∨ク，パ’恒鵡み啓⊆ ・ぷr■オ．声兵﹁叱が川♪’ ●ザ＝．”︵7亀べ、♪∨4へ ︸一寸．°・．ゼ．・晒ふ4力亀婦ぼ皐 ×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 tureJapanese 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 blankJapanese 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
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繋
灘
溺彩 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’was12
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 MuseumJapanese 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 we14
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 practiceNote
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Christopher J． Earnshaw（1988）， pp98∼99 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． TokyoHakuho Hirayama（1979）， Sumi−E， K6dansha Intemational，Tokyo
Penelope Mason（1993）， Histot y ofJaρanese Art， Harry N．Abrams， Inc． NewYork
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
