Image of Jittoku (Shide)
- Person
-
作者Hu ZhifuInscriptionYono Gingon
- Date
-
制作年 Yuan dynasty (14th century)
- Title
- ジットクズ
- Measurements
- 88.8×28.2
- Materials, techniques and shape
- Ink on paper
- Collections
- Century Akao Collection
- Depository
- Keio Museum Commons Campus Mita
- Ref. number
- AW-CEN-000093-0000
- License
- CC BY Images license
- Creditline
-
Keio University (Century Akao Collection)
- URL
- Classification
- Art
- AI Tagging
- Wood Font Rectangle Art Handwriting
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: Yōngnà 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.
手舞足蹈是何儀軌便是普賢只堪掃地慵衲勤賛（印）「」（印）「慵衲」
中国天台山国清寺の禅僧拾得は、寒山とともに、世俗の価値観に囚われない自由な精神の持ち主として、多くは寒山が巻物を、拾得が箒を持った姿で、二人一組あるいは対として描かれる。実は寒山は文殊菩薩、拾得は普賢菩薩の化身だという伝説も生まれた。本作品も元は対になっていた片方かもしれない。
胡直夫（こちょくふ）（？－？）は中国の記録に登場しない逸伝の画家。足利将軍家の所蔵した東山御物に含まれる「布袋図」（徳川美術館所蔵）の作者として伝えられるなど、日本にいくつか伝承作品がある。賛者については、五祖法演の弟子仏鑑慧懃とする江戸時代の鑑定書が付されている。
「常盤山文庫×慶應義塾 臥遊─時空をかける禅のまなざし」展（2023.10 慶應義塾ミュージアム・コモンズ）図録 掲載
手舞足踏
是何儀軌
便是普賢
只堪掃地
慵衲 吟（？）勤賛
（印「 」「慵／衲」）
知らず知らず手を振り足を踏んで踊っているような姿は、どんな儀軌 （仏像の見本図像集） に基づいているのか（いやこんな姿は載っていないだろう）。でもこれこそが普賢菩薩、ただ地面を掃除するしか能がないのだが。
「常盤山文庫×慶應義塾 臥遊─時空をかける禅のまなざし」展（2023.10 慶應義塾ミュージアム・コモンズ）図録 掲載
Overview
Rights
Depository and ID
Components
OPEN DATADESIGN
Keio Object Hub makes data on cultural objects open and tries designing various experiences using open data.
Details
Identifiers
- Title (EN)
- Image of Jittoku (Shide)
Physical description
- Weights and quantities
-
Quantity 1幅
- Attachments
- 玉舟宗幡添状 了意極札
Provenance
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