Iaido dude

With great research assistance from Hiro. Jitsuden Docho (実傳道釣) is known to have been a disciple of Mokuan Shoto (木庵性瑫 1611-1684) through a lineage database maintained by the Dharma Drum Institute of Liberal Arts and from among a list of 250 Ōbaku-related ink works donated to Komazawa University by Mr. Mochizuk (i望月氏). There is scant additional biographical information. The inscription of the current work reads: 繙經參月心 (fān jīng, cān yuè xīn) Translating/reading the scriptures, contemplating the moon-like mind (literal meaning) Turning the pages of the sutras, I contemplate the mind that is like the moon (poetic meaning) What is intriguing about the current work is that the painting is nearly identical to a treasure in the collection of The Metropolitan Museum of Art by Sokuhi Nyoitsu (another student of Mokuan) called "Reading a Sutra by Moonlight." The inscription in the latter suggests that enlightenment is not to be found in scripture such sutra (e.g. "words and letters"). This rejection of reliance on scripture is one of the principles of Zen Buddhism and attributed directly to the semi-lengendary Bodhidharma himself. Although not quite as crisp and precise as the version in The MET, it seems possible that the accompanying painting, which appears to be cut off at the bottom, is also by Sokuhi Nyoitsu, and that the signature and seals have simply been lost. Jitsuden and Sukohi were contemporaries in a small community of early Obaku monks who would have had many opportunities to meet and to interact or collaborate regularly. However, it may be that Jitsuden is suggesting that study of scripture can be a tool for achieving direct insight and awakening, much like koan study is used in Rinzai Zen practice for this purpose. If true, it would be a departure from traditional Zen belief and understanding. Would Sukohi have contributed the painting if this were the case? Perhaps this work is a deeper exploration of the role of study in facilitating the direct experience of kensho or satori. Exegesis of the two phrases of the inscription supports this hypothesis: 繙經 (fān jīng) — Engaging with sacred texts (specifically Sanskrit), but not merely intellectual study; "turning over" implies intimate, repeated handling, suggesting devotion or deep familiarity. 參月心 (cān yuè xīn) — In Ch'an/Zen Buddhism, "contemplating the moon" often refers to looking beyond words to direct insight. The famous metaphor says: the finger pointing at the moon is not the moon itself — teachings (sutras) are the finger; the enlightened mind is the moon. Here, cān yuè xīn suggests using scripture to investigate one's own original, luminous, and still nature — "mind-as-moon." The inspiration for the theme of "Reading a Sutra by Moonlight" may come from works such as this one with inscription by Yuxi Simin 玉谿思珉 (d. 1337). The painter is unknown. Prior to acquiring the present work, I have never seen another depiction of this theme except for a clear fake: In this one volume of sutra, The words have no clear meaning. The sun rises, the moon sets, When will I finish reading it? Inscribed by Simin of the Baofu [Temple]. [Seal]: Yuxi 只這一卷經，字字無分曉。 日出月又落，幾時看得了。 保福思珉讚。 [印]：玉谿

Also in the collection of The Metropolitan Museum of Art is a calligraphy/painting from the 14th century showing the same pictorial theme of "Reading a Sutra by Moonlight" and the belief since the beginning of Ch'an Buddhism after the arrival of Bodhidharma (Daruma) in the 5th/6th century CE that enlightenment cannot be attained by study alone. Commentary from catalog: Chan/Zen art and philosophy blend strict rigor with playful irreverence. The dignified image of an aging master learnedly poring over an abstruse scripture is undercut by the poetic inscription, which suggests that true enlightenment may just as well be found elsewhere Yuxi Simin 玉谿思珉 (d. 1337), 5 columns in semi-cursive script, undated; 1 seal: In this one volume of sutra, The words have no clear meaning. The sun rises, the moon sets, When will I finish reading it? [1] Inscribed by Simin of the Baofu [Temple]. [Seal]: Yuxi 只這一卷經，字字無分曉。 日出月又落，幾時看得了。 保福思珉讚。 [印]：玉谿 [1] Trans. from Wen C. Fong, Beyond Representation: Chinese Painting and Calligraphy 8th–14th Century. New York: The Metropolitan Museum of Art, 1992, p. 361.

My wife helped me translate Jitsuden's calligraphy: 繙經參月心 (fān jīng cān yuè xīn) Translating/reading the scriptures, contemplating the moon-like mind (literal meaning) or Turning the pages of the sutras, I contemplate the mind that is like the moon (poetic meaning) It's difficult to discern whether this is also a rejection of a reliance on "words and scriptures" like the work known to be by Sokuhi in which the monk is reading the sutra in the moonlight. Or could it be that Jitsuden is suggesting that study of scripture can be a tool for achieving direct insight and awakening, much like koan study is used in Rinzai Zen practice for this purpose. If the latter, it would be a departure from traditional Zen belief and understanding. Would Sukohi have contributed the painting if this were the case? Perhaps this work is a deeper exploration of the role of study in facilitating the direct experience of kensho or satori. 繙經 (fān jīng) — Engaging with sacred texts, but not merely intellectual study; "turning over" implies intimate, repeated handling, suggesting devotion or deep familiarity. 參月心 (cān yuè xīn) — In Chan/Zen Buddhism, "contemplating the moon" often refers to looking beyond words to direct insight. The famous metaphor says: the finger pointing at the moon is not the moon itself — teachings (sutras) are the finger; the enlightened mind is the moon. Here, cān yuè xīn suggests using scripture to investigate one's own original, luminous, and still nature — "mind-as-moon."

Thanks, Hiro. I have emailed Komazawa University to try to get connected to a curator at the Museum of Zen Culture and History. The relationship of Jitsuden Kocho to Mokuan Shoto, both Obako monks seems to be confirmed in two separate databases now. Sukohi Nyoitsu appears next to Mokuan, which is a known association, as both were students of Ingen. There are numerous collaborative works, truly wondrous, by Ingen, Mokuan, and Sukohi (known as the three brushes of Obaku), including the one below that were donated from a single American collection to The Metropolitan Museum of Art. The order from right to left is Ingen, Mokuan, and Sukohi. I saw these pieces in January while in NYC. They were not on display, but the assistant curator was kind enough to show them to me.

The translation of Sukohi Nyoitsu's inscription to the painting is marvelous. He suggests that the wisdom the monk seeks in the sutra resides elsewhere. This rejection of reliance on "words and scripture" is one of the principles of Zen Buddhism. Only personal experience of enlightenment is to be trusted. 月白紙一色　眼与墨俱黑 妙義个中圓　了亦不可得 Moon and white paper are of one color. The pupil of the eye and the ink are both black. The marvelous meaning, lodged in the circle, Is beyond comprehension. —Trans. Jonathan Chaves

Hiro, here is another related puzzle. The artist is said to be Jitsuden Docho (実傳道釣), whom I have confirmed to have been a disciple Mokuan Shoto (木庵性瑫) through a lineage database maintained by the Dharma Drum Institute of Liberal Arts https://authority-dev.dila.edu.tw//person/search.php?aid=A030882. The author of this work is a bit difficult to place historically because I can't seem to find any additional biographical information or other works of his for comparison of the mei and seals. In addition, although Jitsuden was well-regarded as a calligrapher, he is not known to be a painter. The subject matter highly resembles the same subject matter as a famous work called "Reading a Sutra Under the Moon," (The Met) which painted by Sokuhi Nyoitsu (即非如一)--a contemporary of both Mokuan and Jitsuden. Because the bottom is cut off, any mei and seals on the original are now lost. Still, I wonder if the painting is by Nyoitsu. It is clearly painted on silk cloth rather than paper. Inscription by Jitsuden Kocho. Painting possibly by Sokuhi Nyoitsu. Sukohi Nyoitsu

Thanks, Hiro. I have found additional evidence that Tokuho was not just a minor Obaku monk disciple of Kosen. As you have shown, he had two dharma heirs of his own. Here is another simplified lineage chart in Stephen Addiss' exhibit catalog "Obaku: Zen Painting and Calligraphy." In this volume of works belonging to American collections, another Kannon collaboration by Kosen/Tokuho is also featured. Here Kannon is depicted on a lotus rather than an outcropping above water. The translation is: Up on a green leaf, Kannon is quiet and peaceful, With eyes that hear sounds and ears that see colors-- How marvelous, how useful! Kosen's seals from this painting and two others in the catalog are shown here along with their translations.

Thanks, Steve. Greatly appreciated. Trying to decipher seal script is sometimes challenging. The Obaku monks from China practiced seal carving as an art form. Steven Addis has written that they tend to use the same set of three seals such that forgeries can be detected on close examination to determine if a seal(s0 appears altered. However, each artist also has a long career in most cases, using different seals depending on the context (different audience, different temple location, different artist name, etc.).

One of the interesting aspects of this is that Kosen used block/regular script throughout. His mei and the seals on the Kannon that I originally posted don't match other examples that I have found online and in books, but the top right seals of the two inscriptions for Kannon paintings appears very similar and contain the same characters carved on two distinct seals.

Tokuho Dosho became a disciple of Kosen at Manpuku-ji in 1670. So, I believe you have solved the mystery. It makes perfect sense that master and disciple collaborated on this work. I’m having a calligrapher/scholar in Singapore translate the kanji. smaller seal: Tokuho larger seal: Mei Dosho I have to learn from your reference sources how to identify seals that are based on seal script. Thanks so much.

Thanks, Hiro. I’ll follow up on your leads as to the identity of the painter through the seals you have tackled. I was surprised that he didn’t do the painting, as Kosen is admired as a fine painter as well, although his works are not numerous enough to know if he ever painted Kannon. Can you make out any of the brushwork?

Obaku Kōsen Shōton (Gaoquan Xingdun 高泉性潡 1633-1695) was born in Fuchow, China, and studied with Ingen. He would later become the 5th Abbot of Mampukuji. He ranks as among the very best Obaku calligraphers and was also an excellent painter, although there are a different set of seals on the bottom right, suggesting that he collaborated on this work. Would appreciate help with the translation, which is clearly kanji.

Absolutely. One of the concepts I have been taught is that what we paint evolves as our minds evolve, becoming truer as we discover the depths of our True Self/Original Nature--like a spiritual diary. I have seen motifs rendered before and after Zen masters had their enlightenment experiences; they often brush the same motif hundreds or thousands of times during their lives. There is greater and greater clarity. Keep at it!! If you would like to see examples of Enso painted by Zen masters through the ages, you should get the book "Enso--Zen Cirecles of Enlightenment" by my friend Audrey Seo. Here is my Kaisan Sokaku included in this lovely book. Compare Yamaoka Tesshu's mei from age 37-52 as his enlightenment deepened. They have even done an analysis of the ink grains in his strokes to show the complete absence of hesitation when the grains line up in one direction. He brushed more than 1 million works, as part of his practice, but also as a means of raising funds for a temple and providing for lay Zen practitioners. Yamaoka literally wanted to save all of the souls in Japan living in his time. I have works by him across this timeline. He died at age 52 of stomach cancer. It is said that he is the only known case of a Zen master from the Meiji who died upright in meditation.

Yagyu Shojo (柳生紹尚 1926-1989) was the Rinzai chief priest of Hotoku-ji (法徳寺) subtemple of Daitoku-ji (大徳寺). His calligraphy is prized among practitioners of Zen and Japanese tea ceremony (chinoyu). In this calligraphy, Yagyu brushes a phrase that is well-known in Japan: Meirekireki rododo 明歴々露堂々 Signature: 大徳法孫柳生紹尚 Daitoku Hoson Yagyu Shojo Seals: 大徳法孫 Daitokuji (prefatory); unclear; 紹尚 Shojo The literal meaning is "bright, clear, and unmistakable (明歴々), like dew in the open air (露堂々), with nothing to hide." 露 (dew, revealed) was also brushed by Tetsugyu in my collection as part of the phrase "Self Revealed." Figuratively, 明歴々露堂々 represents a state of mind where the truth is not hidden, but is completely evident and open to view--often in the concrete world of mountain streams, frost-covered leaves, and a lone flower growing through a crack in the concrete. It suggests living authentically, without pretense or obscurity. In Zen, it signifies that ultimate truth is not a hidden mystery but manifests openly and directly. If we don't perceive it, it is simply because we are not looking or our perception is clouded. The origin of this phrase is Zenrin Kushū (禅林句集), one of the compiled collections of "capping phrases (jakugo)" used in Zen koan training. In Rinzai Zen tradition, the practitioner is directed not to grasp a koan by fixing on its words or looking for intellectual explanations. One has to embody the koan so that self and koan are one. Once a particular koat has been completed, the roshi will instruct the practitioner to bring a verse or phrase that captures the insight of that koan. This phrase is called a jakugo. The sense is that although the awakened state of enlightened seeing can be likened to pure gold, undefiled by language ("not founded by words or letters"), in order to be conveyed to others, it has to be mixed with the sand of language (i.e. jakugo). I especially appreciate the beauty of his semi-cursive (gyosho) rendering of 露 in the scroll, as compared to the block/regular (kaisho) writing on the tomobako. There is an Obaku/late Ming Dynasty influence that also reminds me of Mokuan, another master calligrapher and disciple of Ingen.

I'm a Zen student of the Chosei Zen Dojo in Madison, WI that follows the Chozen-ji Rinzai lineage that was established by Tenshin Tanouye Rotaishi and his teacher Omori Sogen as the first training monastery outside of Japan. Later, Kenneth Kushner Roshi founded Chosei Zen on the mainland. Gordon Greene Roshi, current Abbot and my teacher, then established the Spring Green Dojo nearby as a rural training community. I live in Florida, but do both virtual and in-person intensive training with Chosei Zen and private training with Gordon. We all practice a martial art and a Japanese fine art to enhance our Zen training because it's an extremely physical practice through posture and breathing. Tanouye Roshi believed that we could enter Zen through the body and that "Zen without the accompanying physical experience is nothing but empty discussion." In my case these physical practices are kyudo, iaido, and shado. When we do calligraphy, often copying from a manual by Yamaoka Tesshu that he brushed for his wife, it feels like martial arts. The brush is like a sword. Breathing and focus are critical. Ink is laid down not through the wrist, but through the entire body. It is said that painting the Enso is one of the most illuminating activities for a Zen calligrapher. The result is a direct reflection of the state of one's mind, here and now, in this very moment. When I gaze on the Enso works displayed in my home, I feel the presence of Zen masters and their teachings (Nakahara Nantenbo in particular), stretching back 400 years and even more. The transmission of the mind-seal (inka shomei) from master to disciple ensures that the experience of enlightenment and the teaching of dharma is an unbroken strand that reaches all the way back to Siddhartha Gautama.