Chinzo

chinzo.
txt
<html>

<head>
<meta http-equiv="Content-Type"
content="text/html; charset=utf-8">
<title> Dingxiang, Chinz (Ritual portraits of Zen masters)</title>
<style type="text/css">

</style>
</head>
<body bgcolor="#ffe4b5" text="#008080"

link="#000080" vlink="#000080" alink="#000080">
ZEN
ART ZEN MVSZET 
Pgina 1
chinzo.txt
<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</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 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,
Pgina 3
chinzo.txt
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>
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
Pgina 4
chinzo.txt
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/S
harf%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 
 
<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
 
Pgina 5
chinzo.txt
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>
 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"> <img width="208" height="208"
 Bodhidharma
(?-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>
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>
Pgina 8
chinzo.txt
<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>
<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>
Pgina 9
chinzo.txt
<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>
 Yueshan Daozong (1629-1709) </div></TD>

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

</html>
Pgina 10

Chinzo

Uploaded by

Document Information

Original Title

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Chinzo

Uploaded by

Copyright:

Available Formats

chinzo.

<!-- Mirrored from terebess.hu/zen/szoto/chinzo.html by HTTrack Website

<body bgcolor="#ffe4b5" text="#008080"

<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

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

<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>

<!-- Mirrored from terebess.hu/zen/szoto/chinzo.html by HTTrack Website

You might also like