My grandfather and grandmother met during the Korean War. He was an African American solider and she a Japanese woman, who worked at a movie theatre he frequented. She had never left Japan and spoke very little English. In the end, my grandpa’s persistence won her over and he moved her back to the United States with him. With her, she brought much of her culture, including Japanese paintings, decorations and other Asian objects. Because I grew up around these things, I’ve always gravitated towards Asian art. One of my favorite types is the simpler paintings, typically on silk or paper. These have minimal color and varying brushstrokes to create a free and effortless feeling, like Bamboo in the Storm. I enjoy the simplicity of the strokes and thinking about the underlying meaning of the artist’s intentions. Many of these pieces have a calming effect and organic quality; two things which attract me to a painting. Until now, I hadn’t really known the term for this art that I’ve always loved. But have found through research that it’s called Zen Art, or Zenga, and often referred to as the art of enlightenment. To begin with, “Zen” can be defined as “a Japanese sect of Mahayana Buddhism that aims at enlightenment by direct intuition through meditation.”1 Zen “requests you to… find your peaceful abode.”2 Zenga, built from the word Zen, is the word the Japanese use to describe painting and Bamboo in the Storm, Obaku Taisei Ink on Paper, 48 x 13 inches
1
calligraphy by Zen monks from 1600 to the present.3 It was around 1600
“zen.” Merriam-Webster.com. 2012. http://www.merriam-webster.com. Web. July 9, 2012.
2 Suzuki, D.T. An Introduction to Zen Buddhism, (Grove Press, New York), 16. 3
Addis, Stephen. The Art of Zen, (Harry N. Abrams, Incorporated, New York), 6.
Leilani Sebolboro // Pg. 2 Zenga: The Art of Enlightenment
that “Zenga began to play a vital role in the transmission of Zen spirit.”4 Zen-inspired art was created “to aid meditation and to lead toward enlightenment.”5 And also embodied “spiritually and artistically the teachings of Zen masters *who painted them+” and tended “to be free, uninhibited, humorous… not guided by convention, precedent, or rules, but they instead express the artist’s creative energy freely and spontaneously.”6 For example, Sengai Gibon was an artist who “saw his painting and calligraphy as important means of communicating Zen Buddhist values.”7 In Suigetsu (Water-Moon) Cannon, the Bodhisattva of Compassion is calmly seated, mediating by the water. The deity gazes thoughtfully at the water’s reflection. Through this, Gibon shows the importance of meditation, an important part of a Zen monk’s life. Gibon also follows typical Zenga styles using varying brushstrokes and minimal color. Around the time when Zen-inspired paintings came to be called Zenga, marked the start of the Edo period (1615-1868) in Japan. At this time, “Zen Buddhisim was supplanted as the prevailing intellectual force by a form of Neo-Confucianism, a philosophy formulated in Song-dynasty China that emphasized loyalty to the state.”8 Because of this shift, and Suigetsu (Water-Moon) Kannon, Sengai Gibon Ink on silk, 33.7 x 12.5 inches 4
Addis, Stephen. The Art of Zen, (Harry N. Abrams, Incorporated, New York), 18.
5
Addis, Stephen. The Art of Zen, (Harry N. Abrams, Incorporated, New York), 6.
6
Addis, Stephen and Loori, John Daido. The Zen Art Book: The Art of Enlightenment, (Shambhala Publications, Inc.), 7. 7
Seattle Art Museum, et al. Song of the Brush: Japanese Paintings from the Sanso Collection, (Seattle Art Museum, Seattle), 33. 8
Stokstad, Marilyn, Cothren, Michael W., et al. Art History, (Prentice Hall, New Jersey), 821.
Leilani Sebolboro // Pg. 3 Zenga: The Art of Enlightenment
the idea that loyalty to the state was most important, Zenga didn’t fall within ideals of mainstream Japanese art of this period and later ones, as well. Throughout the Edo period “the tradition of the unsophisticated self-taught painter and calligrapher remained an important element”9 in Zen-inspired, not mainstream artwork. A lot of art at this time was being commissioned by wealthy patrons or created as a statement about society by the painter. Zen paintings were different. The works were used more to teach Zen followers. They were “given directly to followers of the Zen Masters, including both monks and lay pupils. As a result, the paintings tended to become much more simple and the Zen message more important.”10 This can be seen through the Zenga style, characterized by its simple and dramatic brushwork qualities. The unique quality of the style’s brushwork is “a result of an encounter between the artist, the subject of the work, and the medium and format… the art is created with a brush and ink (rarely color) on paper (occasionally silk), with the addition of red stamped seals.11 The simplicity of Zenga styles is a recurring theme throughout the paintings. Demon Meditating by Shunsō Shōjō (1750-1835) Demon Meditating, Shunsō Shōjō Ink on paper, 13 x 18 inches.
exhibits many qualities that Zen paintings embody, such
as Zen ideologies, creative energy and humor.
9
Seattle Art Museum, et al. Song of the Brush: Japanese Paintings from the Sanso Collection, (Seattle Art Museum, Seattle), 25. 10
Addis Stephen, Reflections on Zenga, The University of Richmond. (http://zenpaintings.com/reflections.htm). Web. July 7, 2010 11
Addis, Stephen and Loori, John Daido. The Zen Art Book: The Art of Enlightenment, (Shambhala Publications, Inc.), 16.
Leilani Sebolboro // Pg. 4 Zenga: The Art of Enlightenment
The Japanese oni is a demon or devil, but although his horned and ugly face can be frightening, he also has a touch of humor as depicted in Japanese art. Here the Zen master Shunsō finds a new activity for the demon: Zen meditation. With his incense stick marking the time of his zazen12, the oni sits with his legs crossed and his hands folded at his stomach. From the expression on his face–mouth frowning, eyes glancing away–we know he is not yet completely reconciled to his spiritual work.13
By using a demon, Shōjō states that all benefit from meditation. The demon looks uninterested and away from the incense, and is able to get up at any time, yet it still sits. In addition, Demon Mediating focuses on achieving enlightenment through the actions of the oni. There were many great Zenga art masters. Hakuin Ekaku (1685-1769) was a Zen Buddhist and one of the most famous Zen Artists during his time and to this day. Born in a small village near Mount Fuji, Hakuin became “the most important Zen master of the last 500 years, and invented many koan (question posed to novices by Zen masters to guide their progression towards enlightenment during meditation)… He was also, in his later years, a self-taught painter and calligrapher, who freely gave away his scrolls to admirers.”14 Hakuin was prodigious in his abilities to connect with people from all walks of life, spreading his knowledge of Zen and using Zenga as a means to do so.
Blind Men Crossing the Bridge, Hakuin Ekaku Ink on paper, 7.5 x 26 inches 12
Za means “to sit”, and zazen may be summarily taken as meaning “to sit in meditation”. Suzuki, D.T. An Introduction to Zen Buddhism, (Grove Press, New York), 4. 13
Addis, Stephen and Loori, John Daido. The Zen Art Book: The Art of Enlightenment, (Shambhala Publications, Inc.), 62. 14
Stokstad, Marilyn, Cothren, Michael W., et al. Art History, (Prentice Hall, New Jersey), 828.
Leilani Sebolboro // Pg. 5 Zenga: The Art of Enlightenment
Hakuin’s painting Blind Men Crossing the Bridge gives insight into some Zen philosophies. Noticing that there was a dangerous log bridge over a gorge near *Hakuin’s] temple, he visualized three men trying to cross over, a common metaphor in Buddhism, and to add to the difficulty, he imagined them as blind. The first reaches out with his staff, the second gets down on fingers and toes, and the third puts his sandals on the end of his staff for balance like a tightrope walker. The figures are tiny, created with only a few simple strokes, but within the empty space that Hakuin allows above and below them, they can focus our attention over the physical and spiritual journey. 15
By painting this picture and depicting the men as blind, Hakuin points to the difficulties that people must encounter in life. He creates an image that will resonate with the viewer. The theme of blind men crossing bridges was a recurring one, as he painted several different versions throughout his career. Often changing the number of blind men in the painting. In
addition
transcendent
to
being
character
“a who
man
of
made
commensurately wonderful art,”16 Hakuin was also known for his satirical side as seen in This is where Mice do Sumo. The painting has the inscription, This is where Mice do Sumo, and depicts a fat monk hiding in a bag watching two mice in the midst of sumo wrestling. Another mouse is referring the two. The humor comes
This is where Mice do Sumo, Hakuin Ekaku Ink on paper, 14 5/8 x 20 5/8 inches
from the satire that large men do sumo, not tiny little mice. Yet a fat monk happily watches the action, though it’s not clear what he’s doing there or why he’s in a bag. Much of the painting’s interpretation is left up to the viewer.
15
Addis, Stephen and Loori, John Daido. The Zen Art Book: The Art of Enlightenment, (Shambhala Publications, Inc.), 38. 16
Johnson, Ken. Spiritual Seeker with a Taste For the Satirical, December 23, 2010, The New York Times. July 7, 2010 (http://www.nytimes.com/2010/12/24/arts/design/24paintings.html?_r=1).
Leilani Sebolboro // Pg. 6 Zenga: The Art of Enlightenment
The works of the Zenga tradition weren’t always accepted as an art form. For years they were only appreciated in Japan by followers of Zen. They were “seen as a Buddhist teachings, or as the personal expression of Zen masters that somehow stood outside the types of works shown in museum.” 17 It was said that early Zen paintings lacked the intricacy that other paintings of the time had. The simple and minimal brushstrokes weren’t seen as true art. Since then, however, Zenga and Zen masters have found a place in the history of art. In conclusion, before starting this research, I had not heard of the term Zenga or knew the style of art that I was enjoying. Through this research I have gained a deeper admiration and respect for this type of painting, as well the ideologies that Zenga pieces embody. Of the many pieces I came across, one really resonated with me. Nakahara Nanembo’s (1839-1925), Hand, shows Zenga style in its simplicity. It conveys a simple message in a simple way. Instead of painting or writing calligraphy, the artist merely uses his hand as the tool, dips it in ink and presses it to the paper. Above it written in Japanese phonetic script, Saa kike! Which means “Hey Listen!” On the left, he added his age of eighty-five and a signature, stamped one opening and two closing seals, and everything else is empty.18
Hand, Obaku Taisei Ink on paper, 48 x 11.5 inches
Nanembo doesn’t tell the viewer what to listen to. Instead he simply states, “Hey Listen, ” and subtly refers to mediation as the hand sits quietly alone in its space. The piece also reminds the viewer to stop, as the hand is asking, to listen to what’s around them, but to keep an open mind.
17
Addis, Stephen and Loori, John Daido. The Zen Art Book: The Art of Enlightenment, (Shambhala Publications, Inc.), 82. 18
Addis, Stephen and Loori, John Daido. The Zen Art Book: The Art of Enlightenment, (Shambhala Publications, Inc.), 82.
Leilani Sebolboro // Pg. 7 Zenga: The Art of Enlightenment
PAINTINGS CITED Bamboo in the Storm (http://www.renzofreschi.com/pages/Frame/catalogues/catalogue-23.html) Suigetsu (Water-Moon) Kannon, Sengai Gibon (Seattle Art Museum, et al. Song of the Brush: Japanese Paintings from the Sanso Collection, (Seattle Art Museum, Seattle), 25). Demon Meditating, Shunsō Shōjō (Addis, Stephen and Loori, John Daido. The Zen Art Book: The Art of Enlightenment, (Shambhala Publications, Inc.), 62). Blind Men Crossing the Bridge, Hakuin Ikaku (Addis, Stephen and Loori, John Daido. The Zen Art Book: The Art of Enlightenment, (Shambhala Publications, Inc.), 38). This is where Mice do Sumo, Hakuin Ikaku (http://www.existentialbuddhist.com/2011/01/on-hakuinhotei-and-mice/) Hand, Nakahara Nantembō (Addis, Stephen and Loori, John Daido. The Zen Art Book: The Art of Enlightenment, (Shambhala Publications, Inc.), 38).
From left to right: Monks Staff, Seisetsu Shucho (1746-1820), Ink on paper, 36.8 x 10 inches; Curing Hemorrhoids, Hakuin Ekaku, Ink and colors on paper, 30 x 25 inches; Circle, Triangle, and Square, Sengai Gibon, Ink on paper, 11.5 x 18.9 inches All images from Addis, Stephen and Loori, John Daido. The Zen Art Book: The Art of Enlightenment, (Shambhala Publications, Inc.), 59, 43, 67.