Double Portrait of Sokuhi and Senpo(Sokuhi 和Senpo的双肖像)

Kita Genki (act. 1664-1698).

Ink and colour on paper,118.1×48.9cm.

Little is known of the artist Kita Genki who lived in Nagasaki and painted fine portraits of the Obaku Zen monks who had recently arrived from China. Genki clearly had learned certain that may have alternately derived from Western painting. The sense of volume achieved by this technique was not seen in contemporary Japanese portraits and was one of the many cultural influences brought over by Obaku monks.

Altthough Obaku Zen was syncretic,adapting elements from Pure Land Buddhism,the sect had an initial success in Japan,due in part to the impressive personalities of its founders, Ingen,Mokuan and Sokuhi. These monks, Known as ‘ three Brushes of Obaku’,were execeptional calligraphers, poets and scholars. Sokuhi(1616-1671) had and especially powerful brushwork style, emphasizing  strokes that were always graceful and well balanced.

Becoming a monk at the age of 18, Sokuhi achieved enlightenment under Ingen in 1651 in his native Fukien province. Ingen emigrated to Japan in 1654, and summoned Sokuhi there years thereafter. Sokuhi presided over the Sōfukuji temple in Nagasaki for six years, then spent oneyear in Mampukuji, the central Obaku temple. He then journeyed back towards Nagasaki in order to return to China, but was persuaded by the Daimyō(lord) of Kokura to stay and found the temple Fukushūji . He eventually retired to Sōfukuji. Obaku Senpo(1636-1705)emigrated  to Japan in 1657,receiving his seal of enlightenment from Sokuhi in 1665 and became Abbot of Mampukuji and sixth Obaku patriach in 1696.

This extremely rare double portrait  of Sokuhi his follwer Senpo shows the two monks in a landscape setting. The deer and pine are symbols of natural longevity. The elegant and detailed style of the painting displays how well Kita Genki had mastered the Ming Chinese style. He introduced techniques of brushwork into Japan that were to influence much later painting of the Edo period.

Sokuhi 和Senpo的双肖像。这是一幅水墨色纸上画。这幅画的画面非常符合我的口味,幽雅平和。笔法的风格也很特别。这是一幅很美的禅画。主人是来自福建省中国的僧人。

(注明:明天再找时间来写,太累了,大雨一天,雷声轰鸣,天终于安静下来,雷回家了,此刻就想睡觉,的确是找不出什么情绪来写后面的字。一天又过去、、、)

(今天天气还是不好,自己也稀里糊涂的,脑细胞处于没睡醒的状态,休笔时就在这继续写上天的字吧。)

这幅画的风格与特别的绘画笔法技巧,在后来的江户时代绘画风格中是常见的。清淡典雅,静而抒。松鹿同时出现画面上一般是指人生命的长久的意思,又很有元画的味道,自己也说不清楚具体细节感受,只是凭借在假木头那里细看过一点元画感受,可是,这画也还有明朝的东西,这是种合一品的绘制,很有特点,当看到这幅绘画的时候,心中有些无法言说的东西。就这是合一传到日本后,给日本绘画带去了新的绘画技巧?无论怎样,日本的绘画雕塑甚至其是日本文化都可以说完全无不渗透着中国字样。

有意思的是,这是一位在18岁就出家的,1651年获得启蒙,且在1654年移居日本 在长崎万年寺主持,后来他有回中国的愿望,就游历了日本,又在Obaku寺一年时间,再会长崎准备回中国,但是最后被大名主找到挽留下来,最终在Sōfukuji退休。也就终老在日本。

喜欢这画的意境,没有清晰线条的阻隔,整体是融合一起,尤其喜欢松叶与空是那么合一,似有似无,还有那朵朵无疆的祥云,那样清而柔美,鹿和人的那神态自若和人穿的衣衫的线条与松叶的弱弱的线相互衬托,真是很合美,使整个画面悠闲悠闲的充满恬静闲雅。

就填补到此,疲倦里还要赶晚之前要交的东西。当人很无聊!想那猫狗真幸福、、、

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About leng xuetian(冷雪天)

I am an art lover
This entry was posted in Art Appreciation 艺术鉴赏. Bookmark the permalink.

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