Calligraphy of the Edo Period Before, During and After A Collection of Japanese Scrolls from 600 AD to the Present By John P. Westfall 1st Edition
A History of Japanese Script Japan's first encounters with Chinese characters may have come as early as the 1st century AD with the King of Na gold seal, said to have been given by Emperor Guangwu of Han in AD 57 to a Japanese emissary. However, it is unlikely that the Japanese became literate in Chinese writing any earlier than the 4th century AD. Initially Chinese characters were not used for writing Japanese, as literacy meant fluency in Classical Chinese, not the vernacular. Eventually a system called kanbun (漢文) developed, which, along with kanji and something very similar to Chinese grammar, employed diacritics to hint at the Japanese translation. The earliest written history of Japan, the Kojiki (古事記), compiled sometime before 712, was written in kanbun. Even today Japanese high schools and some junior high schools teach kanbun as part of the curriculum. No full-fledged script for written Japanese existed until the development of man'yōgana (万葉仮名), which appropriated kanji for their phonetic value (derived from their Chinese readings) rather than their semantic value. Man'yōgana is thought to have originated from Bakje, a Korean kingdom and was initially used to record poetry, as in the Man'yōshū (万葉集), compiled sometime before 759, whence the writing system derives its name. The modern kana, namely hiragana and katakana, are simplifications and systemizations of man'yōgana. Due to the large number of words and concepts entering Japan from China which had no native equivalent, many words entered Japanese directly, with a pronunciation similar to the original Chinese. This Chinese-derived reading is known as on'yomi (音読み), and this vocabulary as a whole is referred to as Sino-Japanese in English and kango (漢語) in Japanese. At the same time, native Japanese already had words corresponding to many borrowed kanji. Authors increasingly used kanji to represent these words. This Japanese-derived reading is known as kun'yomi (訓読み). A kanji may have none, one, or several on'yomi and kun'yomi. Okurigana are written after the initial kanji for verbs and adjectives to give inflection and to help disambiguate a particular kanji's reading. The same character may be read several different ways depending on the word. For example, the character 行 is read i as the first syllable of iku (行く, "to go"), okona as the first three syllables of okonau (行う, "to carry out"), gyō in the compound word gyōretsu (行列, "line" or "procession"), kō in the word ginkō (銀行, "bank"), and an in the word andon (行灯, "lantern"). Some linguists have compared the Japanese borrowing of Chinese-derived vocabulary as akin to the influx of Romance vocabulary into English during the Norman conquest of England. Like English, Japanese has many synonyms of differing origin, with words from both Chinese and native Japanese. Sino-Japanese is often considered more formal or literary, just as latinate words in English often mark a higher register.* It is with the collection contained in this exhibit that one will find the early works by these artists that have been largely ignored by these larger institutions. It has been my good fortune to have been able to collect a number of these scrolls and to be able to display them for the enjoyment of others.** *Excerpt from Wikipedia ** It is my hope that these paintings are original, but without continuous provenance, it is impossible to know. John P. Westfall
Comments? Please contact me at johnpwestfall@gmail.com
The Plates Plate No. 1 Plate No. 2 Plate No. 3 Plate No. 4 Plate No. 5 Plate No. 6 Plate No. 7 Plate No. 8 Plate No. 9 Plate No. 10 Plate No. 11 Plate No. 12 Plate No. 13 Plate No. 14 Plate No. 15
Artist: Fujiwara no Kamatari (614-669) Artist: Emperor Go-Kōgon (1338-1374) Artist: Takuan Soho (1573-1645) Artist: Nakanoin Michichige (1631-1710) Artist: Imperrial Prince Sonkohosshino (1645-1680) Artist: Chuho Sou (1760-1840) Artist: Tani Buncho (1763-1838) Artist: Nakahara Nantenbo (1839-1925) Artist: Yamaoka Tesshu (1836~1888) Artist: Yamaoka Tesshu (1836~1888) Artist: Yamaoka Tesshu (1836~1888) Artist: Obaku Daiyu (1849-1929) Artist: Todai-ji Priest Sagawa Myoshun (1891~?) Artist: Diatoku-ji Priest Ohashi Korin (1901~1983) Artist: Diatoku-ji Priest Ohashi Korin (1901~1983)
Works: Works: Works: Works: Works: Works: Works: Works: Works: Works: Works: Works: Works: Works: Works:
Plate No. 16 Plate No. 17 Plate No. 18 Plate No. 19 Plate No. 20 Plate No. 21 Plate No. 22 Plate No. 23 Plate No. 24 Plate No. 25 Plate No. 26 Plate No. 27 Plate No. 28 Plate No. 29
Artist: Diatoku-ji Priest Shiozawa Daijo (Unknown) Artist: Shitenno-ji Priest Degushi Jojun (1901-1994) Artist: Diatoku-ji Priest Korbori Jotai (1911-?) Artist: Diatoku-ji Priest Yukio Yodo (1912-?) Artist: Diatoku-ji Priest Kono Tonan (1914-?) Artist: Diatoku-ji Priest Kono Tonan (1914-?) Artist: Diatoku-ji Priest Korbori Takugan (1931-?) Artist: Diatoku-ji Priest Korbori Takugan (1931-?) Artist: Diatoku-ji Priest Korbori Takugan (1931-?) Artist: Diatoku-ji Priest Adachi Taido (1937-?) Artist: Diatoku-ji Priest Adachi Taido (1937-?) Artist: Diatoku-ji Priest Adachi Taido (1937-?) Artist: Diatoku-ji Priest Kabayashi Taigen (1938-?) Artist: Diatoku-ji Priest Tachibana Sogi (1941-?)
Works: Works: Works: Works: Works: Works: Works: Works: Works: Works: Works: Works: Works: Works:
Calligraphy (Calligraphy Cat. No. 31) Waka (Calligraphy Cat. No. 30) Calligraphy (Calligraphy Cat. No. 32) Calligraphy (Calligraphy Cat. No. 29) “Contentment” (Calligraphy Cat. No. 1) Calligraphy (Calligraphy Cat. No. 22) Calligraphy (Cat. No. 8) Calligraphy (Calligraphy Cat. Nos. 16/36) Calligraphy (Calligraphy Cat. No. 33) Calligraphy (Calligraphy Cat. No. 34) Calligraphy (Calligraphy Cat. No. 25) “Eight Dragons” (Calligraphy Cat. No. 27) “Fukuju/Happy” (Calligraphy Cat. No. 20) “Kumpa Jinanrai” (Calligraphy Cat. No. 17) “Kissako” (Calligraphy Cat. No. 12); “Kanzashite Shofu wo Kiku” (Calligraphy Cat. No. 2) Calligraphy (Calligraphy Cat. No. 35) “Kotobuki” (Calligraphy Cat. No. 21) “Busshin” (Calligraphy Cat. No. 26) “Intense” (Calligraphy Cat. No. 11) Ensō (Calligraphy Cat. No. 18) “Michi/Road” (Calligraphy Cat. No. 10) Ensō (Calligraphy Cat. No. 23) Calligraphy (Calligraphy Cat. No. 13) “Yume/Dream” (Calligraphy Cat. No. 13) “Harunireba Shoshonihana” (Calligraphy Cat. No. 3) “Fukuju/Happy” (Calligraphy Cat. No. 19) Calligraphy (Calligraphy Cat. No. 4) “Yume/Dream” (Calligraphy Cat. No. 5) Ensō (Calligraphy Cat. No. 6)
The Plates cont… Plate No. 30 Plate No. 31 Plate No. 32
Artist: Diatoku-ji Priest Tachibana Sogi (1941-?) Artist: Godaibo Gaunken (Post 1940) Artist: Nishigaki Daido (1942-1984)
Works: Calligraphy (Calligraphy Cat. No. 7) Works: “Kan/Barrier” (Calligraphy Cat. No. 24) Works: Wakei (Calligraphy Cat. No. 28)
Note: I wish to acknowledge that the description of each artist contained herein has been taken from the Website “Wikipedia”, each with its own various contributors or from the seller of the scroll themselves.
Fujiwara no Kamatari Fujiwara no Kamatari (藤原 鎌足, 614 – November 14, 669) was a Japanese statesman, courtier and politician during the Asuka period (538–710). Kamatari was born to the Nakatomi clan and became the founder of the Fujiwara clan. He, along with the Mononobe clan, was a supporter of Shinto and fought the introduction of Buddhism to Japan. The Soga clan, defenders of Buddhism in the Asuka period, defeated Kamatari and the Mononobe clan and Buddhism became the dominant religion of the imperial court. Kamatari, along with Prince Naka no Ōe, later Emperor Tenji (626–672), launched the Taika Reform of 645, which centralized and strengthened the central government. Just before his death he received the honorific of Taishōkan (or Daishokukan) and the surname Fujiwara from the Emperor Tenji, thus establishing the Fujiwara clan. “Buddha Buddha” is a passage from the “Musume Kokei”. In Shinshu, it is also called “Buddha”. Both mean “a song that praises the Buddha”. To deepen your understanding, please read the outline of “Musume Kotobuki”. The translation is based on the Japanese translation of Iwanami Bunko “Jodo Sanbu Kei (above)”, so there are some parts that do not always correspond to the traditional way of reading in Chinese. “Just as you have a lot of treasure, your home will flourish.”
Fujiwara no Kamatari (614-669) Calligraphy w/ Box and Kiwamegaki Hand painted on Silk Size: 18.5” x 68.7” Plate No. 1 Calligraphy Cat. No. 31
Biography Kamatari was born to the Nakatomi clan, was the son of Nakatomi no Mikeko, and named Nakatomi no Kamatari (中臣 鎌足) at birth.]He was a friend and supporter of the Prince Naka no Ōe, later Emperor Tenji. Kamatari was the head of the Jingi no Haku, or Shinto ritualists; as such, he was one of the chief opponents of the increasing power and prevalence of Buddhism in the court, and in the nation. As a result, in 645, Prince Naka no Ōe and Kamatari made a coup d'état in the court. They slew Soga no Iruka who had a strong influence over Empress Kōgyoku; thereafter, Iruka's father, Soga no Emishi, committed suicide. Empress Kōgyoku was forced to abdicate in favor of her younger brother, who became Emperor Kōtoku; Kōtoku then appointed Kamatari naidaijin (内大臣, Inner Minister). Kamatari was a leader in the development of what became known as the Taika Reforms, a major set of reforms based on Chinese models and aimed at strengthening Imperial power. He acted as one of the principal editors responsible for the development of the Japanese legal code known as Sandai-kyaku-shiki, sometimes referred to as the Rules and Regulations of the Three Generations. During his life Kamatari continued to support Prince Naka no Ōe, who became Emperor Tenji in 661. Tenji granted him the highest rank Taishōkan (or Daishokukan) (大織冠) and a new clan name, Fujiwara (藤原), as honors.
Legacy Kamatari's son was Fujiwara no Fuhito. Kamatari's nephew, Nakatomi no Omimaro became head of Ise Shrine, and passed down the Nakatomi name. In the 13th century, the main line of the Fujiwara family split into five houses: Konoe, Takatsukasa, Kujō, Nijō and Ichijō. These five families in turn provided regents for the Emperors, and were thus known as the Five Regent Houses. The Tachibana clan (samurai) also claimed descent from the Fujiwara. Emperor Montoku of the Taira clan was descended through his mother to the Fujiwara. Until the marriage of the Crown Prince Hirohito (posthumously Emperor Shōwa) to Princess Kuni Nagako (posthumously Empress Kōjun) in January 1924, the principal consorts of emperors and crown princes had always been recruited from one of the Sekke Fujiwara. Imperial princesses were often married to Fujiwara lords - throughout a millennium at least. As recently as Emperor Shōwa's third daughter, the late former Princess Takanomiya (Kazoku), and Prince Mikasa's elder daughter, the former Princess Yasuko, married into Takatsukasa and Konoe families, respectively. Empress Shōken was a descendant of the Fujiwara clan and through Hosokawa Gracia of the Minamoto clan. Likewise a daughter of the last Tokugawa Shōgun married a second cousin of Emperor Shōwa. Fujiwara no Kamatari with his sons Joē and Fujiwara no Fuhito, who is wearing court robes. Among Kamatari's descendants are Fumimaro Konoethe 34th/38th/39th Prime Minister of Japan and Konoe's grandson Morihiro Hosokawa the 79th Prime Minister of Japan (who is also a descendant of the Hosokawa clan via the Ashikaga clan of the Minamoto clan).
Emperor Go-Kogon Emperor Go-Kōgon (後光厳天皇 Go-Kōgon-tennō) (23 March 1338 – 12 March 1374) was the 4th of the Emperors of Northern Court during the Period of the Northern and Southern Courts. According to pre-Meiji scholars, his reign spanned the years from 1352 through 1371. This Nanboku-chō "sovereign" was named after his father Emperor Kōgon and go- (後), translates literally as "later;" and thus, he may be called the "Later Emperor Kōgon", or, in some older sources, may be identified as "Emperor Kōgon, the second", or as "Emperor Kōgon II."
Emperor Go-Kogon (1338-1374) Waka w/ Box and Kiwamegaki Hand painted on Paper Size: 15.9” x 56.8” Plate No. 2 Calligraphy Cat. No. 30
Takuan Sōhō Takuan Sōhō 沢庵宗彭 1573-1645 was a major figure in the Rinzai school of Zen Buddhism. Takuan Soho was born into a family of farmers in the town of Izushi, located in what was at that time called Tajima province (present-day Hyogo Prefecture). At the age of 8 in 1581 young Takuan began his religious studies and 2 years later he would lead a life at a Buddhist monastery. By the age of 14 in 1587, Takuan started studying the Rinzai school of Zen Buddhism under the tutelage of his sensei Shun-oku Soen. By the impressive age of 36 in 1608, Takuan's mastery of Zen granted him the privilege of being made abbot of the Daitoku-ji Temple in Kyoto, Japan. Unfortunately, Takuan's appointment was shortened as he left for a prolonged period of traveling. Throughout his journeys, Takuan raised and collected funds for the renovation of Daitoku-ji Temple and other Zen temples. In 1629, Takuan was banished to northern Japan by the Shogunate of Hidetada Tokugawa due to his protest of political interference in Buddhist temple matters pertaining to ecclesiastical appointments. By 1632, there was a general amnesty after the death of Hidetada Tokugawa and Takuan's period of banishment came at an end. Later, Takuan was invited by Tokugawa Iemitsu (1604-51) to become the first abbot of Tokai-ji Temple in Edo, which was constructed especially for the Tokugawa family. Takuan Sōhō died in Edo (present-day Tokyo) in December of 1645. At the moment before his death, Takuan painted the Chinese character YUME ("dream"), laid down his brush and died. His tomb is located in the Shinagawa area of Tokyo at Oyama Cemetery of Tokaiji Temple Takuan Sōhō (1573-1645) Calligraphy Hand painted on Paper (w/ Box) Size: 21.8" x 38.3" Plate No. 3, Calligraphy Cat. No. 32
Nakanoin Michishige Nakanoin Michichige was a prominent representative of Japanese court culture. Today he is most remembered for his commentaries on the Genji Monogatari, on which he worked together with the Samurai and Confucian scholar Kumazawa Banzan.
Nakanoin Michichige (1631-1710) Calligraphy w/ Box and Kiwamegaki Hand painted on Paper Roller ends: Wood Size: 24.2” x 39.5” Plate No. 4 Calligraphy Cat. No. 29
Imperial Prince Sonkohosshinno Twelfth Son: Imperial Prince Priest Sonko (尊光法親王; 1645–1680) of Emperor GoMizunoo (後水尾天皇 Go-Mizunoo-tennō, 29 June 1596 – 11 September 1680), the 108th Emperor of Japan and Lady-in-waiting: Yotsutsuji Tsuguko (四辻継子; d.1657), Yotsutsuji Suetsugu's daughter according to the traditional order of succession. GoMizunoo's reign spanned the years from 1611 through 1629.
Imperial Prince Sonkohosshinno (1645-1680) “Contentment- Just as you have a lot of treasure, your home will flourish” Tea Ceremony Scroll Hand painted on Silk (w/ Inset Box and Kiwamegaki) Size: 32” x 46” Plate No. 5, Calligraphy Cat. No. 1
Chuho Sou
Diatoku-ji Priest (1760-1838)
Daitoku-ji Priest Chuho Sou (1760-1838) Calligraphy (Golden Butterfly?) Paper mounted on silk Roller Ends: Wood Size: 32” x 44.4” Plate No. 6 Calligraphy Cat. No. 22
Tani Buncho (谷 文晁, October 15, 1763 - January 6, 1841) was a Japanese literati (bunjin) painter and poet. He was the son of the poet Tani Rokkoku (1729–1809). As his family were retainers of the Tayasu Family of descendents of the eighth Tokugawa shogun, Bunchō inherited samurai status and received a stipend to meet the responsibilities this entailed. In his youth he began studying the painting techniques of the Kanō school under Katō Bunrei (1706–82). After Bunrei's death, Bunchō worked with masters of other schools, such as the literati painter Kitayama Kangen (1767–1801), and developed a wide stylistic range that included many Chinese, Japanese and European idioms. He rose to particular prominence as the retainer of Matsudaira Sadanobu (1759–1829), genetic son of the Tayasu who was adopted into the Matsudaira family before becoming chief senior councilor (rōjū shuza; 老中首座) of the Tokugawa Shogunate in 1787. Bunchō is best known for his idealized landscapes in the literati style (Nanga or Bunjinga). Unlike most bunjinga painters of his time, however, Bunchō was an extremely eclectic artist, painting idealized Chinese landscapes, actual Japanese sites, and poetically-inspired traditional scenery. He also painted portraits of his contemporaries (such as Ono Ranzan and Kimura Kenkadō), as well as imagined images of such Chinese literati heroes as Su Shi and Tao Yuanming. Since travel outside Japan was forbidden under the Tokugawa shogunate, Bunchō was unable to study in China; he spent many years traveling around Japan, studying Chinese, Japanese, and Western art (洋画, Yōga). Watanabe Kazan, Sakai Hōitsu and Takaku Aigai were among his disciples. One of his pupils was the renowned painter Okuhara Seiko.
Tani Buncho (1763-1840) Calligraphy (w/ box) Paper mounted on Silk Roller Ends: Bone Size: 24.5” x 48” Plate No. 7, Cat. No. 8
Nakahara Nantembo Nakahara Nantenbo (1839-1925) Nantenbo is counted among the greatest Zen masters of the 20th century. The famous statesman Yamaoka Tesshu was Nantenbo's student. Nogi Maresuke, the Meiji general who led Japan to victory in the Russo-Japanese war, was also a zen student of Nantenbo. Kodama, another general of the same conflict, was also a zen student of Nantenbo's. They both held the position of Governor-General of Taiwan in the Meiji era.
Nakahara Nantembo (1839-1925) Calligraphy (w/ box) Hand Painted on Paper Roller Ends: Bone Size: 24” x 48” Plate No. 8 Calligraphy Cat. No. 16
Nakahara Nantembo (1839-1925) Calligraphy (w/ box) Hand Painted on Paper Roller Ends: Bone Size: 24” x 48” Plate No. 8 Calligraphy Cat. No. 36
Yamaoka Tesshu Yamaoka Tesshu 山岡 鉄舟 (1836~1888) Yamaoka Tesshu was a samurai politician of Edo. He was well known by the sword, Zen, and calligraphy. Tesshu is known as a historical person of the end of Edo period to Meiji Restoration.
Yamaoka Tesshu (1836~1888) Calligraphy (w/ Original Box) Hand painted on Paper Roller ends: Wood Size: 17.9” x 82.9” Plate No. 9 Calligraphy Cat. No. 33
Yamaoka Tesshu Yamaoka Tesshu 山岡 鉄舟 (1836~1888) Yamaoka Tesshu was a samurai politician of Edo. He was well known by the sword, Zen, and calligraphy. Tesshu is known as a historical person of the end of Edo period to Meiji Restoration.
Yamaoka Tesshu (1836~1888) Calligraphy (w/ double box) Hand painted on Paper Roller ends: Bone Size: 17.2” x 77.6” Plate No. 10 Calligraphy Cat. No. 34
Yamaoka Tesshu Yamaoka Tesshu 山岡 鉄舟 (1836~1888) Yamaoka Tesshu was a samurai politician of Edo. He was well known by the sword, Zen, and calligraphy. Tesshu is known as a historical person of the end of Edo period to Meiji Restoration.
Yamaoka Tesshu (1836~1888) Calligraphy (w/ box) Hand painted on Paper Roller ends: Wood Size: 24.2” x 79” Plate No. 11 Calligraphy Cat. No. 25
Obaku Daiyu
Obaku Daiyu (1849-1929) “Eight Dragons” (w/ box) Hand painted on Paper Roller ends: Bone Size: 21.3” x 76.5” Plate No. 12 Calligraphy Cat. No. 27
Todai-ji Priest Sagawa Myoshun
Todai-ji Priest Sagawa Myoshun (1891-?) “Fukuju/Happy” Tea Ceremony Scroll Hand painted on Paper (w/ Original Box ) Roller ends: Pottery Size: 25.7” x 47.3” Plate No. 13 Calligraphy Cat. No. 20
Diatoku-ji Priest Ohashi Korin Ohashi Korin (1901~1983): Ohashi Korin was born in Gifu in 1901. Graduate Hanazono University and learned from Maruyama Deni. After being the chief priest of Ryuo-ji in Mie, he became the priest of Daitoku-ji. *薫風自南来 : Kunpu Jinanrai ： Fresh wind of early summer blows from south, which is to say, it is to be in an easy state without apprehension, feeling uncomfortable.”
Daitoku-ji Priest Ohashi Korin (1901~1983) “Kumpa Jinanrai” Tea Ceremony Scroll Hand painted on Paper (w/ Original Box ) Roller ends: Wood Size: 13.9” x 67.0” Plate No. 14 Calligraphy Cat. No. 17
Diatoku-ji Priest Ohashi Korin Ohashi Korin (1901~1983): Ohashi Korin was born in Gifu in 1901. Graduate Hanazono University and learned from Maruyama Deni. After being the chief priest of Ryuo-ji in Mie, he became the priest of Daitoku-ji.
*Kanzashite Shofu wo Kiku:
*Kissako:
The meaning is to sit down calmly and merely hear the sound of the wind through pine trees. People don't notice this sound, if they hurry
Zen language based on the episode of Zhengzhou Zheng Zhen in China and Tang Dynasty
Daitoku-ji Priest Ohashi Korin (1901~1983) “Kanzashite Shofu wo Kiku” Tea Ceremony Scroll Hand painted on Paper Roller ends: Wood Size: 13.9” x 71.2” Plate No. 15 Calligraphy Cat. No. 12
Daitoku-ji Priest Ohashi Korin (1901~1983) “Kissako” “Drink with tea” Tea Ceremony Scroll Hand painted on Paper (w/ Box) Roller ends: Wood Size: 13.9” x 71.2” Plate No. 15 Calligraphy Cat. No. 12
Diatoku-ji Priest Shiozawa Daijo
Diatoku-ji Priest Shiozawa Daijo Date: Unknown Caligraphy Tea Ceremony Scroll Hand painted on Silk (w/ Original Box ) Roller ends: Wood Size: 26.5” x 50.5” Plate No. 16 Calligraphy Cat. No. 35
Shitenno-ji Priest Degushi Jojun
Shitenno-ji Priest Degushi Jojun (1901-1994) “Kotobuki” Tea Ceremony Scroll (w/ Original Box) Hand painted on Paper Roller ends: Wood Size: 27.9” x 48.4” Plate No. 17 Calligraphy Cat. No. 21
Kobori Jotai 小堀 定泰 Kobori Jotai was born in Saga. In 1938 he became the chief priest of Daitokuji-temple Koouan.
Kobori Jotai (1911~?) “Busshin” Tea Ceremony Scroll Hand painted on Paper (w/ Box) Roller ends: Wood Size: 21.6” x 46” Plate No. 18 Calligraphy Cat. No. 26
Diatoku-ji Priest Yukio Yodo
Yukio Yodo (1912-?) “Intense” Tea Ceremony Scroll Hand painted on Paper (w/ Original Box ) Roller ends: Wood Size: 14” x 67” Plate No. 19 Calligraphy Cat. No. 11
Kono Tonan Daitoku-ji Meido Sosen (1914-?)
Kono Tonan (1914-?) Ensō Tea Ceremony Scroll Hand painted on Paper (w/ Original Box ) Roller ends: Pottery Size: 21.8” x 47.2” Plate No. 20 Calligraphy Cat. No. 18
Kono Tonan Daitoku-ji Meido Sosen (1914-?)
Kono Tonan (1914-?) “Michi”/“Road” Tea Ceremony Scroll Hand painted on Paper (w/ Original Box) Roller ends: Wood Size: 28.1” x 54.9” Plate No. 21 Calligraphy Cat. No. 10
Kobori Takugan Born in Aichi prefecture, he is the chief priest of Koho-an subtemple of Daitoku-ji temple. He practiced under Kobori Jitsudo
“Mujinzo”, “Enzō”
無尽蔵
A word that exemplifies a characteristic of Buddhism with a storage embracing limitless virtue
Korbori Takugan (1931-) Ensō Handpainted on Silk (w/ Original Box) Roller Ends: Wood Size: 25.0” x 44.5” Plate No. 22 Calligraphy Cat. No. 23
Kobori Takugan Born in Aichi prefecture, he is the chief priest of Koho-an subtemple of Daitoku-ji temple. He practiced under Kobori Jitsudo
Korbori Takugan (1931-) Calligraphy (w/ Orig. Box) Paper mounted on Silk Roller Ends: Wood Size: 12.5” x 68.3” Plate No. 23 Calligraphy Cat. No. 15
Kobori Takugan Born in Aichi prefecture, he is the chief priest of Koho-an subtemple of Daitoku-ji temple. He practiced under Kobori Jitsudo
Korbori Takugan (1931-) “Yume” (Dream) (w/ Original Box) Hand Painted on Silk Roller Ends: Wood Size: 21.3” x 45.4” Plate No. 24 Calligraphy Cat. No.13
Untaku-ji Priest Adachi Taido *Adachi Taido (1937-) Adachi Taido was born in Toyooka in 1937. In 1956, he became a pupil of Kyuko Roshi at Kokeizodo in Mino. In 1975, he became the chief priest of Untaku-ji. Because he's been under the training of Rinzai Sect Nanzen-ji ha in Gifu, he is very familiar with Gifu *Harunireba Shoshonihana: Spring gives all nature power and peace. That is nature’s mercy.
Untaku-ji Priest Adachi Taido (1937-) “Harunireba Shoshonihana” Tea Ceremony Scroll Hand painted on Paper (w/ Original Box ) Roller ends: Wood Size: 23.6” x 46.5” Plate No. 25 Calligraphy Cat. No. 3
Untaku-ji Priest Adachi Taido *Adachi Taido (1937-) Adachi Taido was born in Toyooka in 1937. In 1956, he became a pupil of Kyuko Roshi at Kokeizo-do in Mino. In 1975, he became the chief priest of Untaku-ji. Because he's been under the training of Rinzai Sect Nanzen-ji ha in Gifu, he is very familiar with Gifu
Untaku-ji Priest Adachi Taido (1937-?) “Fukuju/Happy” Tea Ceremony Scroll Hand painted on Paper (w/ Original Box ) Roller ends: Wood Size: 23.7” x 45.3” Plate No. 26 Calligraphy Cat. No. 19
Untaku-ji Priest Adachi Taido *Adachi Taido (1937-) Adachi Taido was born in Toyooka in 1937. In 1956, he became a pupil of Kyuko Roshi at Kokeizodo in Mino. In 1975, he became the chief priest of Untaku-ji. Because he's been under the training of Rinzai Sect Nanzen-ji ha in Gifu, he is very familiar with Gifu
Untaku-ji Priest Adachi Taido (1937-) Calligraphy Tea Ceremony Scroll Hand painted on Paper (w/ Original Box) Roller ends: Wood Size: 23.7” x 46.0” Plate No. 27 Calligraphy Cat No. 4
Diatoku-ji Priest Kobayashi Taigen *Kobayashi Taigen (1938~) : Kobayashi Taigen was born in 1941 and graduated from Hanazono University. Kobayashi Taigen is a Rinzai sect Daitoku-ji temple priest.
Diatoku-ji Priest Kobayashi Taigen (1938-) “Yume”/ “Dream” Tea Ceremony Scroll Hand painted on Paper (w/ Original Box) Roller ends: Wood Size: 21.3” x 48.2” Plate No. 28 Calligraphy Cat. No. 5
Diatoku-ji Priest Tachibana Sogi Ensō is a Japanese word meaning "circle" and a concept strongly associated with Zen. Ensō is one of the most common subjects of Japanese calligraphy even though it is a symbol and not a character. It symbolizes enlightenment, strength, elegance, the universe, and the void; it can also symbolize the Japanese aesthetic itself. As an "expression of the moment" it is often considered a form of minimalist expressionist art.
Diatoku-ji Priest Tachibana Sogi (1941-) Enso Tea Ceremony Scroll Hand painted on Paper (w/ Box) Roller ends: Wood Size: 22.6” x 47.5” Plate No. 29 Calligraphy Cat. No. 6
Diatoku-ji Priest Tachibana Sogi
Diatoku-ji Priest Tachibana Sogi (1941-) Calligraphy Tea Ceremony Scroll Hand painted on Paper (w/ Box) Roller ends: Wood Size: 28.1” x 54.9” Plate No. 30 Calligraphy Cat. No. 7
Godaibo Gaunken “Kan”, “Barrier” A word that exemplifies a characteristic of Buddhism
Godaibo Gaunken (Post 1940) “Kan/Barrier” Paper mounted on Silk (w/ Original Box) Roller Ends: Wood Size: 23.8” x 46.0” Plate No. 31 Calligraphy Cat. No. 24
Nishigaki Daido (1942-1984) was born in Hyogo prefecture in 1942. He became a priest in 1949 and assumed the post of the chief priest in 1978.
Nishigaki Daido (1942-1984) Wakei (w/ Orig. Box) Hand painted on Paper Roller ends: Wood Size: 24.6” x 48.0” Plate No. 32 Calligraphy Cat. No. 28
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