Iaido dude

Thanks so much, Steve. You are absolutely spot on. Turns out that "When poor, one should cultivate one's own virtue; when successful, one should benefit all under heaven," comes from Mencius, Book 7, Part 1, Chapter 9, which reads: "Therefore, a scholar does not lose righteousness in poverty, nor does he stray from the Way in success. When poor, he does not lose righteousness; therefore, a scholar holds possession of himself. Those who achieve success do not stray from the Way, therefore the people are not disappointed. In ancient times, those who were successful brought benefits to the people; those who were unsuccessful cultivated themselves and made their virtues known to the world. When poor, one should cultivate one's own virtue; when successful, one should benefit all under heaven." Yamaoka would have studied Confucian thought, as did all well-educated samurai.

I have been looking at this appealing work by Yamaoka Tesshu, whose calligraphy is consistent, but highly idiosyncratic. The large "One Word Barrier" is "窮 (poverty/poor)", rendered in an almost pictographic form that is rare for Yamaoka, but I cannot make out the rest of the inscription. There is some water damage, but I've never seen such an inscription done by this otherwise prolific artist who often produced many versions of the same theme. Thanks.

Most grateful. I’m generally not a collector of Confucian literati art, but I ended up with 8 scrolls in auction from a collector who clearly was interested in this genre. I was only interested in two of the scrolls brushed by Zen masters. However, this poem chosen by Ryu Kobi is quite lovely.

This is a calligraphy work in kanji that I cannot entirely translate. Even a partial translation will likely allow me to cross-reference with a well-known writing. Thanks. Totoki Shi (1749-1804), called Baigai, was born in Osaka but educated in Edo in the Chinese classics, philosophy, calligraphy and painting, achieving wide recognition as a scholar and literati artist. He was a figure deeply embedded within the intellectual and artistic currents of Edo-period Japan. His artistic expression flowed directly from his erudition. Baigai’s life unfolded against a backdrop of increasing cultural exchange with China, an influence that would profoundly shape his style and subject matter. Though born into a merchant family, his destiny lay not in commerce but in the refined world of art and letters. He received extensive education in Edo (modern-day Tokyo), mastering the intricacies of Chinese literature and painting techniques – skills highly valued amongst Japan’s educated elite. This foundation would become the cornerstone of his artistic identity as a prominent member of the Nanga school, also known as the ‘Southern School,’ a movement that consciously emulated the aesthetics and spirit of classical Chinese art. In Kyoto Baigai studied painting with Minagawa Kien (1734-1807) and Ike Taiga (1723-1776), creating an individual style that was based especially on that of Taiga. The painters shared an interest in creating textured surfaces and in the expressive effects of strong accents, seen here in the strongly varied accents of ink for the bamboo and rocks. It was likely in the company of such masters as Kien and Taiga that Baigai met Matsuyama Sessai (1755-1820), who on one recorded occasion invited a number of people to a large banquet. During the course of the dinner, presumably after drinking and becoming suitable inspired, Baigai entertained the group by singing popular songs, dancing solo, and even performing conjuring tricks. When the assembled guests were asked to contribute to a commemorative work of art, Baigai painted a picture and added a poem that were held by general agreement to be the best of all of the various efforts. In 1784 Lord Sessai asked Baigai to accompany him to his fief at Nagashima in Ise Province, where the versatile artist opened a school for the children of samurai. In 1790 Baigai received permission to visit Nagasaki but, after overstaying his permit for that fascinating port city, Baigai lost his job and returned to Osaka.

This is a 4-line poem that I cannot entirely translate. Even a partial translation will likely allow me to cross-reference with a well-known writing. Thanks. Ryū Kōbi , also known as Tatsu Sōro or Tatsu Kimiyoshi, was a pupil of Ogyū Sorai (1666–1728), a poet and one of the most influential Confucian scholars of the Edo period. Born in Fushimi, Kyoto Prefecture, as Tokinori Takeda, he had many names through his life depending on his position at the time. Most famously called Ryû Sôro, his artist name was Ryū Kōbi. He also went by his azena (formal name) Kungyoku. His common name was Hikojiro, which later changed to Emon. Sôro was his “go” or pen name. A disciple of Meika Uno, Ryū Kōbi founded Shisha, a poetry club in Karasmaru – Koji St. In 1750, he was invited to work as Shinkosha (one who explains achievements to nobility and royalty) to Naosada II, the Lord of Hikone domain. In 1756, he was appointed as Hanju (Confucian scholar who works for a domain) for 18 years before he resigned and returned to Kyoto. His publications include: “Soro shishi (Collection of Anthologies of Soro)”, “Kinran shishu”, “Materials for Poetry of Tang Dynasty”, “Book of Japanese Poetry”, “Summary of Rongo Analects” and “Mosh sha (Book of poetry of ancient China)”.1 1Stephen Addiss, "77 Dances : Japanese Calligraphy by Poets, Monks, and Scholars, 1568-1868"

Yamaoka Tesshu (山岡 鉄舟) was born in Edo June 10, 1836 and died July 19, 1888. As a master swordsman, lay Zen master, and prolific calligrapher/painter, he embodied the integrated practice of Ken Zen Sho. The inscription is the poignant last verse of a quatrain by Xiong Rudeng (熊儒登), a Tang Dynasty official and poet who served in Western Sichuan, called "Presented to Vice Minister Dou at a Banquet at Quchi." The inscription is the poignant last verse of a quatrain by Xiong Rudeng (熊儒登), a scholar-official and poet, called "Presented to Vice Minister Dou at a Banquet at Quchi." He lived around the time of Emperor Xianzong of Tang's Yuanhe era (806-820). After passing the imperial examination, he became a Jinshi (a successful candidate in the highest imperial examinations). He served as an official in the Western Sichuan provincial government and was a close friend of Bai Juyi and Liu Yuxi, frequently exchanging poems. He was a prolific writer, producing many poems, but only one collection has survived to this day. Many of these poems are exchanges of poems, containing numerous beautiful lines. Some of these lines are sincere and moving, and were widely recited in his time. It is easy to understand why this poem would have appealed to Yamaoka's Zen sensibility: 水自山阿繞坐來, 珊瑚台上木綿開。 欲知舉目無情罰, 一片花流酒一杯。 Water flows around the mountainside, and cotton blossoms bloom on the coral terrace. If you wish to know the merciless punishment before your eyes, see a single flower drift down to a cup of wine.

Interestingly, there are two works among the 8 scrolls that are by a father and son pair of Confucian literati scholars, suggesting a purposeful theme in the collecting interest of the previous owner Frank Preiser. Kameda Bōsai (亀田鵬斎; 1752–1826) was a Japanese literati painter (nanga in Japanese). He originally trained as a Confucian scholar, but spent the second half of his life as a literati and artist. The book "Mountains of the Heart" contains many of his most famous paintings. The inscription is in the form of a traditional quatrain of 7 characters per line: "Within the mountains apart from the mountain-top clouds, there is also the pine wind in which to take pleasure; If only I had a tea-whisk to send as a present to you, for elegant rhymes can mislead, as in what was said to the Liang dynasty Emperor" 山中除却嶺上雲, 別有松風可怡悅; 但謂巴鼻特賠君, 清韵讀向梁帝說 The poet T'ao Yuan-Ming (372-427) once wrote to the Liang Emperor Wu: "I have certainly had wide experience, but I am afraid I am not yet skilled..." T'ao then resigned his official post after serving only 83 days in office and spent the rest of his days in creative retirement. Here Bosai paints the pine tree piercing the cloud. The small figure of a scholar stands on the edge of a cliff in this polychrome work. Signature: (Painted and inscribed by old man Bosai) Seals: (Bosai, used 1820-1824), (Kanto dai-ichi futensei, The greatest fool in the Kanto area, used 1818-1823) Kameda Ryorai (亀田綾瀬, 1778-1853) studied under his father Kameda Bōsai, a distinguished Confucian scholar, painter, and calligrapher. The inscription in this large character single line work is an expression of the Confucian Doctrine of the Mean (Zhongyong), which espouses the natural order of things. The "Mean" represents a balanced, optimal approach to life, avoiding extremes through moral cultivation, sincerity, and finding the right path (Tao) in all situations. 鳶飛魚躍活潑潑地 "Kites fly and fish leap, those on the ground are lively"

Here is the Nakahara Nantenbo that was part of this set of 8 hanging scrolls. Nakahara Nantenbo (1839-1925), whose Buddhist name was Toju Zenchu (Complete Devotion), was in the last 17 years of his life the Exalted Master of the main temple of Moyoshin-ji of the Rinzai sect. A contemporary of the great lay Zen master, swordsman, calligrapher/artist, and statesman Yamaoka Tesshu, whom he met while teaching at the training hall at Sokei-ji in Tokyo and had daily private meetings with, he was a tireless reformer of Zen monastic training and activity, emphasizing strict practice and koan study. This brushwork was done when Nantenbo was 80 years old. A similar one offered by Gallery Friedrich Muller is listed for $1,700. The kanji inscription is the first verse from a famous Chinese couplet often used as a blessing for good fortune: 福如东海长流水, 寿比南山不老松 Fú rú dōnghǎi cháng liúshuǐ, shòu bǐ nánshān bù lǎosōng May good fortune be as boundless and enduring as the flowing waters of the East China Sea, and longevity stand firm like the ageless pines of South Mountain

This is the story of my "great find," which in this case is a masterpiece. Mu'an Xintao (木庵性瑫, 1611-1684), known in Japan as Mokuan Shōtō, underwent Zen training in China at Wanfusi with three of the greatest Ch'an masters of the early 17th century: Miyun Yanwu (1566-1642), Feiyin Tongrong (1593-1661), and finally Obaku monk Yinyuan Longqi (Ingen Ryuki, 1592-1673), who bestowed on him dharma transmission in 1650. He followed Yinyuan and an entourage of a dozen other monks from southern China to Nagasaki to help with the founding of Manpukuji, which Mu'an took over as its second abbott when Yinyuan retired in 1664. Over a period of 17 years he oversaw the expansion of Manpukuji and the founding of numerous other Obaku temples throughout Japan, including Zuishoji, the principle Obaku temple in Edo. Like Yinyuan, Mu'an was one of the most talented and prolific calligraphers of the Obaku lineage, whose work was much in demand by followers. Together with Yinyuan Longqi (Ingen Ryuki) and Jifei Ruyi (Sokuhi Nyoitsu), he is known as one of the "Three Brushes of Ōbaku" or Obaku no Sanpitsu. His work is characterized by precise brush control, sophisticated character composition, and a grasp of the styles found in the works of late Ming literati calligraphers. This powerful example of Mokuan's large character vertical brushwork, which displays the conventions of bold, cursive Ming styles with an insistent upward tilt, was purchased for $200 (Andrew Jones Auctions, Los Angeles) as part of a set of 8 scrolls, along with one by Nakahara Nantenbo. Both have been carefully and beautifully mounted at great expense. Both come in boxes that are labeled with the artist's name, yet in auction no details were provided. No one else noticed; no one else bid. Clearly these were under appreciated since Mokuan works of this quality routinely sell for over $3,000. The provenance is documented by a handwritten translation from the shop Oriental Art Sekisen where it was purchased by a prior owner. I'm still researching the other 6 works. These works appear to have come to auction from a single collector, as his name appears on tags in each box. Signature: Obaku Mokuan sho (黃檗木庵書, Inscribed by Obaku Mokuan). Seals: Hogai gakushi (方外学士, prefatory seal); Shakushi Kaito (釋氏戒瑫); Mokuan shi (木盦氏). The inscription is of the formal Chinese name of the bodhisattva of infinite compassion, the one who hears and sees all suffering. Kanzeon bosatsu (觀世音菩薩, Chinese Guānshìyīn púsà), originally a male depiction, is known as Kannon in Japan. Chapter 25 of the Lotus Sutra explains how Kannon will rescue those who seek his help in times of peril, specifically addressing the dangerous encounters at sea. In this representation, Kannon is most closely associated with Dogen Zenji (1200-1253), the Zen master who introduced the Soto sect to Japan. The story goes that upon returning from his studies in China, Dogen encountered tumultuous waves and strong winds at sea. He chanted the Lotus Sutra, and then he saw Kannon riding on a lotus petal, calming the waves to ensure his safe return to Japan. For Obaku monks who undertook perilous sea journeys from China to Japan, this image served multiple roles. It functioned as a metaphorical guide in their spiritual quest for enlightenment while also symbolizing the protective grace of Kannon during their maritime expeditions. The tragic fate of Yelan Xingui (a top pupil of Yinyuan Longqi), who perished at sea en route to Japan, underscores the real danger these monks faced, making the image a testament to their courage, faith, and vulnerability. This is another Mokuan of the same inscription (although small in scale if you compare to the size of the seals) offered on Jauce for $850, which is far less refined and has a more frenetic energy to it.

Here's another depiction that is even more rustic and pictorially deconstructed by using a dryer brush.

Suio Genro (遂翁元盧, 1717-1790) became a disciple of Hakuin Ekaku at age 30. After the death of his master, he took over the Shōinji Temple. His calligraphy and painting most frequently reflect his master's style and depictions, especially of Daruma. However, here he seems to be inspired by the work of his contemporary Jiun Onko (1718–1804, see below), who is famous for his powerful, abstract, and minimalist 3-stroke rendering of Daruma. Genro's inscription is the last line of the quatrain traditionally attributed to the First Patriarch of Ch'an: seeing original-nature, you become Buddha (kenshō jōbutsu 見性成佛). This piece was just auctioned on Yahoo Japan for $700, one of the few examples of this depiction of Daruma by Suio Genro. I'm hoping to acquire a Daruma by Jiun Onko, which is found in many Asian art museums and rarely offered for purchase. Examples of Jiun Onko's Daruma

Nakahara Nantenbo (1839-1925), Buddhist name Toju Zenchu (Complete Devotion), was in the last 17 years of his life the Exalted Master of the main temple of Moyoshin-ji of the Rinzai sect. The inscription is the second half of the quatrain traditionally attributed to the First Patriarch of Ch'an known as Daruma, who brought Buddhism from India to China: It's simple: pointing directly at mind. There, (jikishi ninshin 直指人心) seeing original-nature, you become Buddha (kenshō jōbutsu 見性成佛) Of course kenshō is the Japanese Zen phrase for enlightenment which resides within us. That is perhaps the major distinction between the "prayer" and "meditation" type of spirituality. In the former, the dialogue is directed within in order to awaken the already enlightened original-nature/true Self. In the latter, the dialogue is directed outward towards a deity. Suzuki and other Japanese intellectuals introduced Zen to the West as a philosophy in order to cater to the Western European tradition. In truth, if you visit a Zen monastery in Japan, you will find a deep and profound practice of spirituality (God within) that is indistinguishable from that of a Catholic Trappist Monastery. This depiction of Daruma is one of my favorites--a testament to Nantenbo's irreverence and Zen humor. I can't quite imagine an artist during the Italian Renaissance producing any form of iconography that portrays one of the disciples of Jesus Christ or of a Catholic saints in this manner.The work was done when he was age 86 (the last year of his long life). Translation: David Hinton, The Blue-Cliff Record, Shambala Publications, Inc (2024), pg. 226

Another "Mount Fuji) offered on Yahoo Japan auction: https://auctions.yahoo.co.jp/jp/auction/b1218599665

Another "Ichi" is offered on Yahoo Japan auction: https://buyee.jp/item/jdirectitems/auction/n1218134606?conversionType=mypage_watch_list

Indeed, I see this in Walmart Superstore during Black Friday sales!

This one of "Mynah Birds Attacking an Owl" (The Metropolitan Museum) bears the same seal and is also mumei.

The third work I have by Kobayashi Taigen is his version of Yamaoka Tesshu's Mount Fuji, which is his account of his own enlightenment experience. Comparing the images in all three, his brush style becomes quite evident. Here his calligraphy style is looser, perhaps gently influenced by Yamaoka's highly idiosyncratic cursive script. Fuji is written here as "not two," a play on words that is intended to indicate the absence of dichotomy that characterizes the state of enlightenment. The Tao/Universal Principle/Regenerative Tissue from which all phenomena of the world arise and return--is eternal and unchanging. Perfect when clear, Perfect when cloudy, Mount Fuji's, Original form, Never changes

Kobayashi Taigen was born 1938 in Shenyang, China and raised in a Buddhist monastery from the time he was six years old. In 1975 he became successor of abbot Miyanishi Genshō at Ōbai-in, a sub-temple of Daitoku-ji, Kyōto. He is a prolific calligrapher and maker of tea bowels and bamboo tea scoops for traditional tea ceremony (chanoyu). This Enso painting has the inscription "Inexhaustible (無尽蔵)," which is part of a wisdom poem attributed to the Sixth Patriarch of Ch'an Buddhism Hui-Neng. Zen practice seeks to free the mind from dualistic, discriminating thinking. However, "not one thing" or "nothingness" is not equated with emptiness. Rather, with a mind emancipated from delusion, the possibilities become truly inexhaustible. Mu ichimotsu chu Mujinzo 無一物中無尽蔵 In nothingness, there is inexhaustible abundance What an apt inscription to accompany an Enso--the circle that is at once empty and full. Kobayashi's work is characteristically and consistently elegant, as in his "Ichi," with a beautiful flying white brush technique.

Sesson Shūkei (雪村周継 1504-1589) was a Muromachi Period Soto Zen monk and self-taught artist who is considered the most distinguished and individualistic talent among the numerous painters who worked in the style of Sesshū, the 15th-century artist considered the greatest of the Japanese suiboku-ga (“water-ink”) painters. The two are referred to as "Sesshū of the west, Sesson of the east". He studied the paintings of Shūbun (a suiboku-ga artist active in the first half of the 15th century) and later, from 1533, those of Sesshū and called himself Sesson Shūkei in tribute to the two masters. He worked in a dramatic style that generally accentuated idiosyncrasy, humor, and exaggeration in his approach to subjects, whether figural or landscape. This sansuiga (ink landscape painting) work is an excellent example of his almost calligraphic brushwork style. The boatmen are depicted in a sunset scene, but the foreground is indistinct, abstract, a bit ominous, and filled with yugen (mystery). He juxtaposes heavy black ink and different shades of grey wash. Although unsigned, the seal in this work is similar to one that appears in his self-portrait, which is a Japanese national treasure. Similar example Seal comparison

Thanks Piers. You are right. I think I just pulled down the wrong kanji. I think this old dodger is still alive! Not sure if there is a particular symbolism or reference for hyotan and what appears to be a noh mask, but hyotan is near and dear to me and I use a pic of this vase as the image for my home page. I love that it has a "stopper," as part of its detail. I don't see any casting lines, but it is the only object of its kind that I have had the opportunity to examine.

A fine Japanese cast bronze (presumed) double gourd (hyotan) bud vase with tasseled cords, a stopper and Noh Theater Demon Mask "Netsuke" well detailed around the sides with reddish-brown colored patina. The slightly recessed base is impressed with a seal mark of Mouri Motonari (元就, 1947–present), a prominent metal craftsman working out of Takaoka City in Japan, specializing in creating high-quality, handcrafted, and detailed samurai helmet (kabuto) figurines and traditional bronze, iron, and brass-based metalwork. These traditional Japanese handicrafts (Takaoka Copper Crafts) are frequently designed for display and commemoration incorporating authentic, detailed, and symbolic designs. The work is deeply inspired by Mōri Motonari (1497-1571), a famous strategist and Sengoku period warlord from the Chūgoku region, often depicting items such as the "Three Arrows" story or specific kabuto armor. In hope of encouraging three of his sons, Mōri Takamoto, Kikkawa Motoharu, and Kobayakawa Takakage, to work together for the benefit of the Mōri clan, he is said to have handed each of his sons an arrow and asked each to snap it. After each snapped his arrow, Motonari produced three more arrows and asked his sons to snap all three at once. When they could not do so, Motonari explained that one arrow could be broken easily, but three arrows held together could not. It is a lesson that is still taught today in Japanese schools and the legend is believed to have been a source of inspiration for Akira Kurosawa when writing his samurai epic Ran. Height 9 1/4 inches X diameter 3 1/4 inches.

It's my pleasure and privilege, Greg. Cheers.

Hi Greg. Here is a write up that I took from my website: "The vast majority of his works were calligraphy from the Jubokudo lineage of Shodo established by Wang Hsi-chi (Wang Xizhi), a Chinese calligrapher of the 4th century. Yamaoka created a calligraphy manual based on the 154 Chinese characters of a poem – “The Eight Immortals of the Wine Cup” – by the Tang Dynasty poet Du Fu (712 – 770 A.D.) that is still practiced by the Chosei Zen Rhode Island Zen Dojo in the US." Part of the difficulty with translating Yamaoka's brushwork is that it is highly idiosyncratic, although extraordinarily consistent. He also mixed kanji with katakana in many of his works. Although his "calligraphy manual" is useful, it is only 154 characters long. It is often said that to read a Chinese newspaper requires fluency in at least 2,000 characters. And if we suspect that the work on the panels that I posted is taken from ancient Chinese poetry, we are now talking about this language in the hands of (e.g.) Tang dynasty poets! The only person I know of who was truly an expert translator of Yamaoka is John Stevens. I still mourn his recent passing. No longer can I reach out to him for help with translation. However, I continue to work on these panels whenever I see something familiar such as the kanji for "wind" as the second character in the last column. It gives me a cross reference. Interestingly, the Chosei Zen shodo practice uses the Yamaoka manual as a template for learning calligraphy as part of and to enhance zen practice. Breathing and form are very important in shodo, as they are in zazen and budo. I originally came into contact with Chosei Zen while seeking assistance with a Yamaoka work. No one there can read a complex Yamaoka work. In fact, I'm more familiar with Yamaoka's usage and range. As it turns out, they practice shodo without needing to know the meaning of the calligraphy--even purposely ignoring the meaning of the kanji in the process of focusing on the act of creating a beautiful brushwork that reflects the state of their minds in samadhi. So, I disagree with your statement that "calligraphy without translation is mere decoration, devoid of meaning." One of the remarkable qualities of a work by Yamaoka (or Otagaki Rengetsu for that matter) is that it is readily apparent that they were the work of a martial artist. His execution of characters on this particular panel is a perfect example. The columns and character spacing are perfectly aligned, one character flowing into the next without a break. The hand is sure, fast, and perfectly controlled as if he were engaged in a sword duel. His calligraphy has been analyzed under microscopic examination to reveal the absolute confidence in which the ink has been laid down on paper. Like a fortress, there is no way to attack or penetrate these lines from the outside. The panels are over 6 feet tall and stretch out to nearly 12 feet. When you stand in front of them, it is simply overwhelming. It feels like it a face-to-face encounter with Yamaoka's life force. Of course I would love to know the meaning of the poems on these panels. They will lead to other levels of meaning. Merely decoration? I don't experience them that way. One last thought. Here are two examples of the same Hanshan poem, brushed by Rinzai Zen master Gako (Tengen Chiben) and the Obaku Zen master Baisao. Their calligraphy reflects totally different pictorial styles separated by about a century and with different intentions--both admirable. Same poem/meaning. 吾心似秋月 (Wú xīn sì qiū yuè) - My mind is like the autumn moon, 碧潭清皎潔 (Bì tán qīng jiǎo jié) - clear and bright in a pool of jade, 無物堪比倫 (Wú wù kān bǐ lún) - nothing can compare, 教我如何説 (Jiào wǒ rú hé shuō) - what more can I say

This is an example of an incredibly well-preserved utsubo:

Thanks, Andrew. I see that they have sold a nice of pair of utsubo (http://www.kinokuniya.tv/others/G-020/index.php) and ebira (http://www.kinokuniya.tv/others/G-002/index.php).