Calligraphy; Japanese; Art; Zen calligraphy; Ink painting; Landscape painting; Kamakura-Momoyama periods
摘要
This dissertation is the first monographic study of the monk-calligrapher Yishan Yining (1247-1317), who was sent to Japan in 1299 as an imperial envoy by Emperor Chengzong (Temur, 1265-1307. r. 1294-1307), and achieved unprecedented success there. Through careful visual analysis of his extant oeuvre, this study situates Yishan’s calligraphy synchronically in the context of Chinese and Japanese calligraphy at the turn of the 14th century and diachronically in the history of the relationship between calligraphy and Buddhism.
This study also examines Yishan’s prolific inscriptional practice, in particular the relationship between text and image, and its connection to the rise of ink monochrome landscape painting genre in 14th century Japan. This study fills a gap in the history of Chinese calligraphy, from which monk-calligraphers and their practices have received little attention. It also contributes to existing Japanese scholarship on bokuseki by relating Zen calligraphy to religious and political currents in Kamakura Japan. Furthermore, this study questions the validity of the “China influences Japan” model in the history of calligraphy and proposes a more fluid and nuanced model of synthesis between the wa and the kan (Japanese and Chinese) in examining cultural practices in East Asian culture.
目次
Introduction 1 Chapter 1: A Chinese Monk-Calligraphyer in Kamakura Japan 21 Chapter 2: Calligraphy and Monk 39 Chapter 3: Yishan Calligraphy in Kamakura and the Wang Xizhi Tradition 65 Chapter 4: Yishan's Two Cursive in Kyoto Years (1313-1317) 88 Chapter 5: Inscribed Images 122 Conclusion 148 Bibliography 153 Appendix A: Works of Calligraphy by Yishan with Dates 169 Appendix B: Extant Paintings Bearing Yishan Yining Inscriptions 171
