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In Japan, calligraphic works for æsthetic appreciation are divided into two main classes, i. e. kohitsu and bokuseki. The kohitsu is typified by the good handwriting in kana or Japanese syllabaries at its ripe maturity in the Heian Period (794–1185). The bokuseki, literally Indian ink mark, is that sort of calligraphic specimen, Chinese or Japanese, either written by a Zen Buddhist priest or appreciated in Zen circles.\n Tuan-ch\u0027iao Miao-lun\u0027s (Japanese reading: Dongyō Myōrin) calligraphic work this essay deals with falls under the category of bokuseki. This essay is the first to introduce his handwriting to the world of art history. Specimens of his handwriting are very rare. Miao-lun\u0027s calligraphic specimen in the collection of the Atami Museum of Art, Atami, Shizuoka Pref., conducted by the religious organization Sekai Kyūsei Kyō, is a Zen Buddhist quatrain composed and written by him at the request of Priest Yün of Szŭ-ming, Cheh-chiang Province, China, in some year of Pao-you era (1253–1258).\n Tuan-ch\u0027iao (alias) Miao-lun (real name), a Chinese priest of Zen Buddhism, was born in the 1st year of Chia-t\u0027ai (1201) and died in the 2 nd year of Ching-ting (1261) under the Southern Sung Dynasty. He was a disciple of the distinguished priest Wu-chun Shih-fan (1177-1249). Miao-lun presided over the Ch\u0027i-yuan Szŭ temple, the Shui-yen Szŭ temple, the Kuo-tsing Szů temple, all in T\u0027ai-chou, and the Tsing-t\u0027zŭ Szŭ temple in Hang-chou. (See the Life of Miao-lun appended to the Analects of Miao-lun and the Wu Teng Nien T\u0027ung, Vol. XXI.) Miao-lun\u0027s calligraphic work in the Atami collection was written when he was in the Tsing-t\u0027zŭ.\n According to Japanese and Chinese source material of history of Zen Buddhism, not a few Japanese Zen priests visiting China practised Zen austerities under, or in company with, Miao-lun, Three Japanese priests had Miao-lun on his deathbed write an epigraph on his own portrait for each of them. On the Butsunichi An Kōmotsu Mokuroku or the list of treasures in the possession of the Butsunichi An Monastery, the Engaku \nJi temple, Kamakura, for the 2nd year of Jōji (1363), is placed a portrait of Miao-lun with his own epigraph. Miao-lun may be said to have been closely connected with the Zen circles of Japan.\n This calligraphic specimen of Miao-lun\u0027s was noted down in Kōgetsu Sōgan\u0027s (1574-1643) notebooks Bokuseki no Utsushi or copies of Zen Buddhist calligraphic works, Vol. V, owned by the Sōfuku Ji temple, Fukuoka. Twice-in 1615 and in 1628—this work of Miao-lun\u0027s was shown to \nSōgan for his expert opinion. Besides this work two more calligraphic works by Miao-lun were copied in Sōgan\u0027s note-books. They are both legends over the drawings representing Pu-tai, a queer Zen priest with a pot-belly carrying a large cloth sack. Another existing calligraphic specimen by Miao-lun is the legend written over the drawing attributed to Kê-shan (the Yüan Dynasty ?), “Tui Yueh” or a Zen priest reading a Buddhist sutra by moonlight, in the collection of the Gotō Museum of Art, Tokyo. \n Miao-lun\u0027s style of calligraphy was slender, curvaceous and rather effeminate. The present writer finds a resembling style in the handwrit ing of Miao-lun\u0027s contemporary Zen priest Hsü t\u0027ang Chih-yü (1185–1269), whose bokuseki is most highly valued among Japanese connoisseurs. Further, the writer traces this style of calligraphy to that of Wu Yüeh (12th cent.) who was famous for his hair strokes.", "subitem_description_type": "Abstract"}]}, "item_creator": {"attribute_name": "著者", "attribute_type": "creator", "attribute_value_mlt": [{"creatorNames": [{"creatorName": "田村, 悦子"}], "nameIdentifiers": [{"nameIdentifier": "27138", "nameIdentifierScheme": "WEKO"}]}, {"creatorNames": [{"creatorName": "Tamura, Etsuko", "creatorNameLang": "en"}], "nameIdentifiers": [{"nameIdentifier": "27139", "nameIdentifierScheme": "WEKO"}]}]}, "item_files": {"attribute_name": "ファイル情報", "attribute_type": "file", "attribute_value_mlt": [{"accessrole": "open_date", "date": [{"dateType": "Available", "dateValue": "2017-10-04"}], "displaytype": "detail", "download_preview_message": "", "file_order": 0, "filename": "261_14_Tamura_Redacted.pdf", "filesize": [{"value": "26.9 MB"}], "format": "application/pdf", "future_date_message": "", "is_thumbnail": false, "licensetype": "license_11", "mimetype": "application/pdf", "size": 26900000.0, "url": {"label": "261_14_Tamura_Redacted.pdf", "url": "https://tobunken.repo.nii.ac.jp/record/6595/files/261_14_Tamura_Redacted.pdf"}, "version_id": "f186966e-5d82-4ba0-8ebd-e09868b620a5"}]}, "item_keyword": {"attribute_name": "キーワード", "attribute_value_mlt": [{"subitem_subject": "断橋妙倫墨蹟偈頌(静岡 熱海美術館蔵)", "subitem_subject_scheme": "Other"}, {"subitem_subject": "Zen Buddhist Quatrain Composed and Written by Tuan-ch’iao Miao-lun, Atami Museum of Art, Shizuoka", "subitem_subject_language": "en", "subitem_subject_scheme": "Other"}]}, "item_language": {"attribute_name": "言語", "attribute_value_mlt": [{"subitem_language": "jpn"}]}, "item_resource_type": {"attribute_name": "資源タイプ", "attribute_value_mlt": [{"resourcetype": "journal article", "resourceuri": "http://purl.org/coar/resource_type/c_6501"}]}, "item_title": "断橋妙倫の墨蹟について", "item_titles": {"attribute_name": "タイトル", "attribute_value_mlt": [{"subitem_title": "断橋妙倫の墨蹟について"}, {"subitem_title": "Tuan-ch’iao Miao-lun’s or Dongyo Myorin’s Calligraphic Works", "subitem_title_language": "en"}]}, "item_type_id": "10001", "owner": "3", "path": ["1095"], "permalink_uri": "https://tobunken.repo.nii.ac.jp/records/6595", "pubdate": {"attribute_name": "公開日", "attribute_value": "2017-10-05"}, "publish_date": "2017-10-05", "publish_status": "0", "recid": "6595", "relation": {}, "relation_version_is_last": true, "title": ["断橋妙倫の墨蹟について"], "weko_shared_id": 3}
断橋妙倫の墨蹟について
https://tobunken.repo.nii.ac.jp/records/6595
https://tobunken.repo.nii.ac.jp/records/6595557b4aac-3212-4526-b9f3-3a0548e67ef0
名前 / ファイル | ライセンス | アクション |
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261_14_Tamura_Redacted.pdf (26.9 MB)
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Item type | 学術雑誌論文 / Journal Article(1) | |||||
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公開日 | 2017-10-05 | |||||
タイトル | ||||||
タイトル | 断橋妙倫の墨蹟について | |||||
タイトル | ||||||
言語 | en | |||||
タイトル | Tuan-ch’iao Miao-lun’s or Dongyo Myorin’s Calligraphic Works | |||||
言語 | ||||||
言語 | jpn | |||||
キーワード | ||||||
主題Scheme | Other | |||||
主題 | 断橋妙倫墨蹟偈頌(静岡 熱海美術館蔵) | |||||
キーワード | ||||||
言語 | en | |||||
主題Scheme | Other | |||||
主題 | Zen Buddhist Quatrain Composed and Written by Tuan-ch’iao Miao-lun, Atami Museum of Art, Shizuoka | |||||
資源タイプ | ||||||
資源タイプ識別子 | http://purl.org/coar/resource_type/c_6501 | |||||
資源タイプ | journal article | |||||
著者 |
田村, 悦子
× 田村, 悦子× Tamura, Etsuko |
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抄録 | ||||||
内容記述タイプ | Abstract | |||||
内容記述 | Calligraphy is regarded as a branch of the fine arts in the East. In Japan, calligraphic works for æsthetic appreciation are divided into two main classes, i. e. kohitsu and bokuseki. The kohitsu is typified by the good handwriting in kana or Japanese syllabaries at its ripe maturity in the Heian Period (794–1185). The bokuseki, literally Indian ink mark, is that sort of calligraphic specimen, Chinese or Japanese, either written by a Zen Buddhist priest or appreciated in Zen circles. Tuan-ch'iao Miao-lun's (Japanese reading: Dongyō Myōrin) calligraphic work this essay deals with falls under the category of bokuseki. This essay is the first to introduce his handwriting to the world of art history. Specimens of his handwriting are very rare. Miao-lun's calligraphic specimen in the collection of the Atami Museum of Art, Atami, Shizuoka Pref., conducted by the religious organization Sekai Kyūsei Kyō, is a Zen Buddhist quatrain composed and written by him at the request of Priest Yün of Szŭ-ming, Cheh-chiang Province, China, in some year of Pao-you era (1253–1258). Tuan-ch'iao (alias) Miao-lun (real name), a Chinese priest of Zen Buddhism, was born in the 1st year of Chia-t'ai (1201) and died in the 2 nd year of Ching-ting (1261) under the Southern Sung Dynasty. He was a disciple of the distinguished priest Wu-chun Shih-fan (1177-1249). Miao-lun presided over the Ch'i-yuan Szŭ temple, the Shui-yen Szŭ temple, the Kuo-tsing Szů temple, all in T'ai-chou, and the Tsing-t'zŭ Szŭ temple in Hang-chou. (See the Life of Miao-lun appended to the Analects of Miao-lun and the Wu Teng Nien T'ung, Vol. XXI.) Miao-lun's calligraphic work in the Atami collection was written when he was in the Tsing-t'zŭ. According to Japanese and Chinese source material of history of Zen Buddhism, not a few Japanese Zen priests visiting China practised Zen austerities under, or in company with, Miao-lun, Three Japanese priests had Miao-lun on his deathbed write an epigraph on his own portrait for each of them. On the Butsunichi An Kōmotsu Mokuroku or the list of treasures in the possession of the Butsunichi An Monastery, the Engaku Ji temple, Kamakura, for the 2nd year of Jōji (1363), is placed a portrait of Miao-lun with his own epigraph. Miao-lun may be said to have been closely connected with the Zen circles of Japan. This calligraphic specimen of Miao-lun's was noted down in Kōgetsu Sōgan's (1574-1643) notebooks Bokuseki no Utsushi or copies of Zen Buddhist calligraphic works, Vol. V, owned by the Sōfuku Ji temple, Fukuoka. Twice-in 1615 and in 1628—this work of Miao-lun's was shown to Sōgan for his expert opinion. Besides this work two more calligraphic works by Miao-lun were copied in Sōgan's note-books. They are both legends over the drawings representing Pu-tai, a queer Zen priest with a pot-belly carrying a large cloth sack. Another existing calligraphic specimen by Miao-lun is the legend written over the drawing attributed to Kê-shan (the Yüan Dynasty ?), “Tui Yueh” or a Zen priest reading a Buddhist sutra by moonlight, in the collection of the Gotō Museum of Art, Tokyo. Miao-lun's style of calligraphy was slender, curvaceous and rather effeminate. The present writer finds a resembling style in the handwrit ing of Miao-lun's contemporary Zen priest Hsü t'ang Chih-yü (1185–1269), whose bokuseki is most highly valued among Japanese connoisseurs. Further, the writer traces this style of calligraphy to that of Wu Yüeh (12th cent.) who was famous for his hair strokes. |
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書誌情報 |
美術研究 en : The bijutsu kenkyu : the journal of art studies 号 261, p. 14-29, 発行日 1969-12-15 |