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Kanzan (Ch. Hanshan) and Jittoku (Ch. Shide) were legendary recluses of the latter Tang Dynasty (later 9th C). Sometimes the former was claimed to be the manifestation of Monju Bosatsu (Sk. Manjusri Bodhisattva), and the latter, that of Fugen Bosatsu (Sk. Samantabhadra Bodhisattva). As their stories were dispersed, they became favored subjects in Zen ink paintings. Kanzan was often depicted holding a Buddhist scripture, and Jittoku holding a broom, and they were frequently painted together. The exhibit shows only Jittoku; the counterpart Kanzan painting was possibly lost during the years in which these paintings have been handed down. The unkempt hair, ragged clothing and a lifestyle of freedom from worldly cares…. Jittoku is depicted as the personification of general belief in the unique ink painting style. It is attributed to Ko Chokufu (Ch. Hu Chihfu). The Kuntai-Kanso-Chouki (a catalog of Chinese painters and their works created in the early 16th C. and brought over to Japan) puts painter Ko into the Yuan Dynasty category. Several paintings attributed to him are preserved in Japan, including the exhibit. However, all of them are mere attributions to this Yuan Period painter, for lack of a seal and signature. The calligraphy was added by Yono Gingon (phonetic Chinese translation: Y\u014dngnà Yínqín), most likely a Zen priest and painter Ko’s contemporary, but not much is known about his life. The inscription is not particularly impressive, although it shows a style of dried simplicity acquired after years of training in Zen Buddhism.<\/p>\r\n"},{"number":1,"jp":"

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