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ZEN ART
 ZEN MVSZET 
<a href="../index-2.html"
target="_parent"> Zen foldal </a> 
<a
href="https://terebess.hu/index.html" target="_top"> vissza a Terebess Online
nyitlapjra</a>
 Dingxiang
(Rmaji:) Chinz (or chins) 
(English:) Ritual portraits of
Zen masters 
<img
src="https://terebess.hu/zen/mesterek/WuzhunShifan1.jpg" width="306" height="700"
border="0"> 
Chinz of Wuzhun Shifan (11781249)
 
<a name="1"
id="1"></a>
 
chinsou
 
<a
href="http://www.aisf.or.jp/~jaanus/deta/c/chinsou.htm" target="_blank">http://www.aisf.or.jp/~jaanus/deta/c/chinsou.htm</fon
t></a> 
Alt. reading chinzou . Lit. head's appearance. A
naturalistic portrait, sculpted or painted, of a Zen master's head. Chinsou
can be divided into two types depending on their function. First are inka
, given by a master to his disciple as a certificate of the student's
attainment of spiritual awareness and as a symbol of the clear and unbroken lineage
of a sect. These portraits often include hougo , or words of religious
enlightenment, inscribed by the priest depicted. A portrait done in a realistic and
detailed style, together with an inscription, provided the disciple with both the
tangible presence and the inspiration of the teaching of his master long after
personal relations were severed through parting or death. Second are keshin
 which were to be hung or placed together with imaginary portraits of Zen
patriarchs * <a href="http://www.aisf.or.jp/~jaanus/deta/z/zenshuusoshizou.htm"
target="_blank">zenshuu soshizou </a> in either the dharma hall *
<a href="http://www.aisf.or.jp/~jaanus/deta/h/hattou.htm"
target="_blank">hattou </a>, or main gate * <a
href="http://www.aisf.or.jp/~jaanus/deta/s/sanmon.htm" target="_blank">sanmon
</a>, of Zen sect temples in connection with memorial services.
Chinsou of this second type were made after the master's death and the
inscription was usually added by a close contemporary. Chinsou sculpture
belongs entirely to the keshin category. The desire to symbolize the
personal relationship between sitter and disciple recipient, or to memorialize a
master for later followers, necessitated a high degree of verisimilitude. Moreover,
the chinsou artist was encouraged to go beyond the mere physical likeness
to capture something of the inner spirit of his subject. Painted chinsou
are known in three formats. The most orthodox type show the priest wearing his
full robe * <a href="http://www.aisf.or.jp/~jaanus/deta/n/noue.htm"
target="_blank">noue </a> and surplice * <a
href="http://www.aisf.or.jp/~jaanus/deta/k/kesa.htm" target="_blank">kesa </a>
, seated en face in a large upholstered wooden armchair * <a
href="http://www.aisf.or.jp/~jaanus/deta/k/kyokuroku.htm" target="_blank">kyokuroku
</a>, holding a bamboo baton shippei or whip kyousaku
 in the right hand. He is often shown with legs tucked under and shoes on
Pgina 3
chinzo.txt
a small footrest kutsudoko . A second format which evolved later was
the half-length or bust portrait hanshinzou that focuses on the
individualistic details of the face. Typically in such depictions, even the hands
of the priest will be hidden beneath the voluminous sleeves except for the exposed
thumb of the left-hand. Orthodox painted chinsou feature a naturalistic
style with fine linear details and a full range of colors, although some later
examples are rendered more simply in ink monochrome. The third category may be
termed special formats, including portraits of a master walking or resting * <a
href="http://www.aisf.or.jp/~jaanus/deta/k/kinhinzou.htm" target="_blank">kinhinzou
</a> and usually including landscape elements, as well as bust portraits
in a circular framework * <a
href="http://www.aisf.or.jp/~jaanus/deta/e/ensouzou.htm" target="_blank">ensouzou
</a>. The chinsou tradition is said to have begun in China,
possibly initiated by the needs of Japanese students. In the late 12c when Japanese
priests returned from study in China, they often brought chinsou of their
Chinese masters. A representative early example is the anonymous 1238 portrait of
Bujun Shiban (Alt. reading Mujun Shihan, Ch: Wuqun Shifan) presented to
the Japanese priest Enni (Shouichi Kokushi ; 1202-80), who on his
return founded Toufukuji . Initially Japanese Zen temples lacked the artists
to produce chinsou and therefore employed portrait specialists from other
sects. A good example is the 1265 portrait of Gottan Funei (Ch: Wuan
Puning; 1197-1276) by Takuma Chouga , priest-painter of the esoteric temple
Shoudenji . Early chinsou are unsigned, a fact that has greatly
complicated the issue of determining the artist and even country of origin. Perhaps
the earliest signed chinsou by a Japanese painter priest of a Zen sect is
the portrait of Muhon Kakushin by Kakue in Koukokuji . By the
mid 14c, Japanese artists were producing high quality chinsou as
demonstrated by the anonymous 1334 portrait of Daitou Kokushi (1287-1337)
in Daitokuji and the 1349 portrait of Musou Kokushi (1275-1351) by
his disciple Mutou Shuui in Myouchi-in . From the late 14c
painter-priests such as Minchou (1351-1431) produced large numbers of
excellent chinsou at the ateliers of major Zen temples. The creative vigor
of the chinsou tradition continued in the 15c, exemplified by the
remarkable portrait of * <a href="http://www.aisf.or.jp/~jaanus/deta/i/ikkyuu.htm"
target="_blank">Ikkyuu </a> (1394-1481) in Daitokuji ,
attributed to his disciple Bokusai (?-1492). Chinsou were produced
throughout the Edo period, with the portraits of the Oubaku (Ch: Huangbo) sect
of special note.
Griffith Foulk and Robert Sharf, On the
Ritual Use of Ch'an Portraiture, Cahiers d'Extrme-Asie 7
(1993/1994)
<blockquote>
Pgina 4
chinzo.txt
Monks seated cross-legged on a chair with shoes placed in front on a
footstool (tj ). Dressed in full ceremonial costume, with inner and outer
robe (he ) and a kasaya (surplice) (kesa ) draped over the left shoulder.
The surplice of Zen lineage abbots is held together with a large ornamental ring
(hekikan ) that rests over the area of the heart. The priest is presented
holding an implement in his right hand, typically a whisk (hossu ), scepter
(nyoi ), staff (shuj ), or bamboo staff (shippei ), all of which are
proper regalia to the office of the abbot. The staff is often propped up against
the chair. The chair itself may be high or low-backed, straight or with curvilinear
arms, and is sometimes draped with an elaborately figured textile. Usually the
sitter is in three-quarter view, although other positions are also possible.
Finally, portraits are usually inscribed with a eulogy or appreciation (san )
in free verse, followed by a dedication recounting the circumstances of the
production of the portrait and eulogy. (p. 157.) 
<a
href="http://buddhiststudies.berkeley.edu/people/faculty/sharf/documents/Sharf and
Foulk 1993
Chinzo.pdf">http://buddhiststudies.berkeley.edu/people/faculty/sharf/documents/Shar
f%20and%20Foulk%201993%20Chinzo.pdf </a>

</blockquote>
 
<a href="https://terebess.hu/zen/szoto/Chinzo.docx"
target="_blank">Zen Portraits Chinz</a><a
href="https://terebess.hu/zen/szoto/Chinzo.docx"
target="_blank"></a>: Why
do They Look as They do? 
by Evgeny Steiner
<a href="Shinnyoji-portraits.pdf"
target="_blank">In Memoriam? Rethinking the Portrait Sculptures of
Princess-Abbesses Enshrined in the Dharma Hall at Shinnyoji Temple </a> 
by
Patricia Fister 
 
Pgina 5
chinzo.txt
<a href="Yamamoto-Hokyoji.pdf"
target="_blank">Visual and Material Culture at Hkyji Imperial Convent:
The Significance of Women's Art in Early Modern Japan</a> 
by Sharon Mitsuko Yamamoto 
 <a href="Obaku_Zen_Portrait_Painting.pdf"
target="_blank">Obaku Zen Portrait Painting and Its Sino-Japanese
Heritage</a> 
by Elizabeth Horton Sharf
 
In: Images in Asian Religions: Text and Contexts, UBC Press,
Vancouver-Toronto, 2004, pp. 294-349. 
La culture baku et le renouveau de l'art bouddhique au
Japon l'poque des Tokugawa 
par
Vra Linhartov 
Arts asiatiques, Anne 2002, Volume 57, Numro 1, pp. 114-136. 
<a href="http://www.persee.fr/doc/arasi_0004-3958_2002_num_57_1_1483"
target="_blank">http://www.persee.fr/doc/arasi_0004-3958_2002_num_57_1_1483
</a>
<a
href="../mesterek/fametszet1.html" target="_blank">Portraits of Chan Masters I</a>
 
<a href="../mesterek/fametszet2.html" target="_blank">Portraits of Chan Masters
II</a><a href="../mesterek/fametszet3.html" target="_blank"> 
Portraits of Chan Masters III</a><a
href="https://terebess.hu/zen/szoto/Chinzo.docx" target="_blank"> 
</a><a href="../mesterek/portrait.html" target="_blank">Portraits of Chan Masters
IV</a> 
<a href="../mesterek/portrait2.html" target="_self">Portraits of Chan Masters
V</a> 
<a href="../mesterek/28patriarchs.html" target="_blank">The 28 Indian
Patriarchs</a><a href="https://terebess.hu/zen/szoto/Chinzo.docx"
target="_self"></a>
Awakenings: The Development of the Zen Figural
Pantheon 
by Gregory Levine and Yukio Lippit (Japan Society, 2007) 
<a href="http://www.japansociety.org/development_zen_figural_pantheon"
target="_blank">http://www.japansociety.org/development_zen_figural_pantheon
</a> 
<a href="http://www.japansociety.org/content.cfm/zen_awakenings"
target="_blank">http://www.japansociety.org/content.cfm/zen_awakenings
</a>
Pgina 6
chinzo.txt
 mokuz = wooden effigy 
chins chkoku = portrait carving; usually life-size portrait sculpture
in wood

 
Obaku Patriarchal Portraits 
<a href="http://www.kakuonji.com/busso.html" target="_blank">http://www.kakuonji.com/busso.html</a> 
<div align="center">
<TABLE WIDTH="71%" BORDER="1" cellpadding="5" cellspacing="0">
<TR>
<TD width="2%"><div align="center"> <img width="208" height="208"
src="https://terebess.hu/zen/szoto/chinzo22.jpg" alt=""> 

Shkyamuni Buddha </div></TD>

Mahkshyapa </div></TD>

nanda
 </div></TD>
</TR>
<TR>
<TD><div align="center"> Bodhidharma
Pgina 7
chinzo.txt
(?-532/5)
 </div></TD>
<TD>
Huike
(487-593)
 </TD>
<TD><div align="center">
Hongren (601-674)

 </div></TD>
</TR>
<TR>
<TD> <div align="center"><img width="208" height="208"
Huineng (638713)
</div></TD>
Nanyue Huairang (677-744) </div></TD>
Mazu Daoyi (709-788) </div></TD>

</TR>
<TR>
Pgina 8
chinzo.txt
Baizhang Huaihai (720-814) </div></TD>

Huangbo Xiyun (?-850?) </div></TD>

 Linji Yixuan (?-866) </div></TD>
</TR>
<TR>
<a href="../yangqi.html" target="_blank">Yangqi

Fanghui</a> (992-1049) </div></TD>
<a href="../wuzu.html" target="_blank">Wuzu Fayan</a>

(1024-1104) </div></TD>
<a href="../Yuanwu.html" target="_blank">Yuanwu Keqin</a>

(1063-1135) </div></TD>
</TR>
<TR>
<a href="../mesterek/WuzhunShifan.html" target="_blank">Wuzhun
Shifan</a> (11781249) </div></TD>
Pgina 9
chinzo.txt
<a href="../mesterek/XueyanZuqin.html"
target="_blank">Xueyan Zuqin</a> (1215-1287)
</div></TD>
<a href="../mesterek/ZhongfengMingben.html"

target="_blank">Zhongfeng Mingben</a> (1263-1323)
</div></TD>
</TR>
<TR>
<a href="../mesterek/MiyunYuanwu.html"

target="_blank">Miyun Yuanwu</a> (1566-1642)
 </div></TD>
<a href="../mesterek/FeiyinTongrong.html"

target="_blank">Feiyin Tongrong</a> (1593-1661) </div></TD>
<TD> <div align="center">
<img width="208" height="208"
<a href="../mesterek/Ingen.html"
target="_blank">Yinyuan Longqi</a> (1592-1673) 
</div></TD>
</TR>
<TR>
<a href="../mesterek/MuanXingtao.html"

target="_blank">Mu'an Xingtao</a> (1611-1684 ) </div></TD>
Pgina 10
chinzo.txt
 Yueshan Daozong (1629-1709) </div></TD>

<TD> <div align="center"> <img width="208" height="208"
</div></TD>
</TR>
</TABLE>
</div>
 
 

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chinzo.

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<span class="style4">Shkyamuni Buddha</span></font></span></font> </div></TD>

<span class="style4">Mahkshyapa</span></font></span></font> </div></TD>

<span class="style4">Hongren (601-674)

<span class="style6">Huineng (638713)

<span class="style6">Mazu Daoyi (709-788)</span> </div></TD>

<span class="style6">Baizhang Huaihai (720-814) </span></div></TD>

<span class="style6">Huangbo Xiyun (?-850?) </span></div></TD>

<span class="style6"><a href="../yangqi.html" target="_blank">Yangqi

<span class="style6"><a href="../wuzu.html" target="_blank">Wuzu Fayan</a>

<span class="style6"><a href="../Yuanwu.html" target="_blank">Yuanwu Keqin</a>

<span class="style6"><a href="../mesterek/ZhongfengMingben.html"

<span class="style6"><a href="../mesterek/MiyunYuanwu.html"

<span class="style6"><a href="../mesterek/FeiyinTongrong.html"

<span class="style6"><a href="../mesterek/MuanXingtao.html"

<span class="style6"> Yueshan Daozong (1629-1709)</span> </div></TD>

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