Portrait de Jifei Ruyi (Sokuhi Nyoichi, 1616–1671) 1666 Kita Genki Japanese Genki, artiste Nagasaki, a peint ce portrait du maître Ōbaku Jifei Ruyi, qui a été inscrit en chinois par le sujet lui-même alors qu'il résidait à Fukujuji, un temple patronné par le daimyo de Kokura (Kushita Kyu).Le port de Nagasaki était l'un des rares endroits sous le gouvernement Tokugawa étroitement réglementé où la culture et l'apprentissage chinois contemporains pouvaient être ouvertement discutés et étudiés.Au milieu du XVIIe siècle, de nouvelles idées sur le confucianisme et le bouddhisme zen (chinois: Chan) étaient rugueuses

• Contributeur: MET/BOT / Alamy Banque D'Images
• ID de l’image: 2HJ4F15
• Taille du fichier: 21,5 MB (1,3 MB Téléchargement compressé)
• Autorisations: Modèle - non | Propriété - non
• Dimensions: 1940 x 3880 px | 16,4 x 32,9 cm | 6,5 x 12,9 inches | 300dpi
• Date de la prise de vue: 22 janvier 2022

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Portrait of Jifei Ruyi (Sokuhi Nyoichi, 1616–1671) 1666 Kita Genki Japanese Genki, a Nagasaki artist, painted this portrait of the Ōbaku master Jifei Ruyi, which was inscribed in Chinese by the subject himself while he was resident at Fukujuji, a temple patronized by the daimyo of Kokura (present-day Kita Kyushu). The port of Nagasaki was one of the few places under the tightly regulated Tokugawa government where contemporary Chinese culture and learning could be openly discussed and studied. In the mid-seventeenth century, new ideas on Confucianism and Zen (Chinese: Chan) Buddhism were brought to Japan by Chinese monks travelling through Nagasaki (including Jifei Ruyi) and by envoys from Korea. These monks formed what was known in Japan as the Ōbaku school, after the Japanese rendering of the name of the Tang dynasty monk Huangbo Xiyun (d. 850).There are several versions of this portrait, each with a different inscription. In Zen, the teachings of the Buddha Shakyamuni are transmitted directly from teacher to pupil; in seventeenth-century practice, as in earlier ages, the Buddha's word lived in receiving instruction rather than in reading texts. A portrait of one's teacher, suitably inscribed, was a venerated symbol of accomplishment and a tangible reminder of the special relationship around which knowledge was structured. Since the Kamakura period (1185–1333), portraiture and inscriptions have merged religion, autobiography, and biography in images of great power, as in this hanging scroll.. Portrait of Jifei Ruyi (Sokuhi Nyoichi, 1616–1671) 45378