ENSO - DER KREIS The ultimate symbol of Zen art is ... - Wieninger

ENSO - DER KREISThe ultimate symbol of Zen art is the enso, where an ink circle is brushed with just onestroke. As with portraits of Daruma. enso are often accompanied by inscriptions giving us aZen hint or question to ponder. From the beginning of Buddhism, enlightenment has beencompared to the ‘bright full moon’ and a ‘great round mirror’. This enso particularlyresembles the rising moon as it appears at the top of a long vertical composition. Onepopular inscription for enso was a line from a poem by the Zen eccentric Kanzan ‘My heartis like the autumn moon.’The inscription here also associates the moon with enlightenment as it echoes the Zenpainter Sengai, who wrote ‘Enlightenment is coming towards us. Who is bold enough tostep forward to attain it?’While the Zen circle enso represents fullness, it is also empty. The realisation as anindividual of being completely empty but perfectly aware is the Zen experience ofenlightenment. It is said that the 1st century patriarch Nagarjuna, often considered a‘second Buddha’, was transformed into a luminous circle whenever he taught in public toreveal, according to his biography, ‘the true form of Buddha-nature, that is neither large orsmall,neither wide nor narrow, neither good nor bad, neither transient nor eternal’. The Zenmonk Nantenbo was one of the tradition’s most prolific painters and the most important Zenartist of the 20th century. He produced most of his works in his 70s and 80s including manyenso.Collection conectionsSome call this "The Circle of Enlightenment". Others call it the "Infinity Circle". If youactually took the meanings of the two Kanji that make up the word "Enso", you could read itas "Mutual Circle" or "Circle of Togetherness". I think the Enso symbol can simply meandifferent things to different people. Therefore, you should let it have the meaning that youperceive.

HOJU - DIE PERLEThe stone having a sharp upper part with the sphere that Buddhist image andguardian deity of children has in his/her hand is hoju (a precious stone). All stones ofthe form that is the globe - almost global that Buddhist images have can call it nyoihoju.nyoi is a meaning "go as ones like". With the sacred book of Buddhism, it isregarded that hoju gives all the things which people imagined in their heart, andgrants their every wish.There are the following various opinions in the origin of hoju. It is handed down thatBuddha's ashes (a bone of Buddha) changed, taken out from a head of dragon king,a weapon of Sakra Deranam Indra broke at the time of fight with Asura and fell intothe terrestrial world, and made automatically as good deeds of human beings and areward of good fate."Giboshu (a knob of a bridge post)" are installed in top of pagodas such as FiveStoreyed Pagoda and Buddhist temples. They are regarded that it came out ofwishes of the people who feels the power of hoju close and tried to protect it for along time.Power of hoju is explained as follows.1. Suffered from a disease, they recover completely in a moment of wearing hoju.2. Wearing hoju, it moderates heat and cold, people can live in a good climate.3. See nothing in darkness, it lights up around brightly.4. Clothes and food, a house and household effects wanting, appear immediately.5. Even if take poison and bitten by a poisonous insect by mistake, poison disappearsif shading with hoju.6. Muddy water becomes transparent if soaks hoju into it.Of course there cannot be a treasure such as magic, and these are only allegories. Itis written in the sacred book that "cannot hear the voice of Buddha without cleanheart even if have hoju". In other words it preach importance of heart of a personhaving it.

B4MondJapan, 18. Jhsigniert: Tani Buncho (1762 - 1840)Tusche auf Papier139,5 cm x 81 cm

B11(Enso)Druck/Holzschnitt auf PapierJapan, 1989signiert: Tomikichiro TokurikiTaming the Wild OxTen Oxherding Pictures, by Zen MasterKakuan, China, 12th C#8. The Ox and the Man both gone outof sight.

G41Otafuku und der MondTuscheu Farbe auf PapierJapan, 2. H. 19. Jhsigniert123 x 73,9 cm

G116HOJUSignature of "Yokoyama Seiki (17911864)"Signature and Seal : Seiki.Datiert: Tempo 5 (=1834)*Yokoyama Seiki(1792-1864)A painter of the Shijo school of theEdo latter period.He was born andraised in Kyoto.He learned apainting of the Shijo school fromMatsumura Keibun(1779-1843)but itis also said that he learned fromShunpo Emurain another view. Hewas good at a painting of flowersand birds,landscape painting andperson image.He was praised asHeianshimeike with Kishi Renzan(1804-1855), Shiokawa Bunrin(1801-1877),and Nakajima Raisho(1796-1871).In Tozansyunju artexhibition known as a periodical artexhibition first in Japan,he played anactive part as a substantial operatorin the center of painting circles ofKyoto.

G113HOJUdatiert 1941Gathered writings (yosegaki): a collection of autographswith some drawings, poems and phrases by severalpeople on a sheet of paper or fabric, or in a blank book. Itis generally done to commemorate a wedding, majorbirthday, graduation or send off.

G40Wunschperle HOJUJapan, 2. H. 19. JhsigniertTusche auf Papier129 cm x 64 cm

B6abEnsoSonne und MondTusche auf PapierJapan, 1. H. 20. Jhsigniert: Fushihara Nobutaru(1845-1930)179,5 x 38 cm

G27 ASAHI /HI NO DE (Rising sun).This composition is loved many Japanesealways. This composition is symbol ofNIPPON.This type painting is often decorated atNew year's day and other auspicious day.Rising sun is holy symbol for Japanese.It's called also GORAIKO, in JapaneseBuddhism, it's often looked as same asBuddha callig for us from heaven..2. H. 19. JhSEHR SCHLECHTER ZUSTAND!!

B107Mond im WasserIchinomiya Nagatsune (17211787)Ichinomiya Nagatsune was a swordsmith inEchizen (Fukui prefecture).He was good atpainting.Signature & Seal = Echizen Daijo MinamotoNagatsune.Wooden boxRoller Ends = ZOGE.

B9 Ichi (eins)Tusche auf PapierJapan, 2. H. 20. Jhsigniert122 x 65 cm

B7 Ichi (eins)Tusche auf PapierJapan, 1. H. 20. Jhsigniert: Jotai181 x 37,3 cm

K62 Bamboo"by Rinzai-shu AbbotJapan, 2. H. 20. Jh195 cm x 51.7 cmTusche u Farbe auf Papier

K91BuddhaJapan, 1. H. 20 Jhsigniert SeigenTusche auf Papiercm x cm

B5 "GI" (Gerechtigkeit, Moral, Treue)signiert: Bokusen Watanabe.He is a very famous calligrapher from Shizuokaprefecture.Tusche auf PapierJapan, 4. V. 20. Jhsigniert116 x 50,7 cm

K69Calligraphy " KI"This KANJI means "Happy." (??)And similarly the number of 77 years old isexpressed.2. H. 19. JhTusche auf Papier

B3 Kalligraphie„SEHEN“Tusche auf PapierJapan, 2. H. 19. Jh

B1 Yume/TraumTusche auf PapierJapan, 2. H. 20. Jh

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G21 Drache /RyuTusche auf PapierJapan, 1. H. 20. Jh(Taisho 6?=1917?)signiert: Ryuzen

K87Spirit of CooperationTusche auf PapierJapan, 20. Jhsigniert109,5 x 40,7 cm

K102KalligraphieTusche auf PapierJapan, 2. H. 19. JhTusche u Abreibung(Druck)

K82Abreibungchin. Gedicht2. H. 20. Jh116 x 50,7 cm

Namu-Amida-ButsuNamu-Amida-Butsu is the pray to Amida Buddha. It refers topraise offered to Amitabha Buddha as a devotional act. Theoriginal Sanskrit phrase was Namo Amitabha Buddha, which canmean either "I entrust in the Buddha of Immeasurable Light andEternal Life" or simply "Hail to the Buddha of Immeasurable Lightand Eternal Life".In the mainstream Pure Land tradition, mindfully chanting of thename of Amitabha Buddha allows one to obtain rebirth inAmitabha's Pure Land of the West. It was felt that this act wouldhelp to negate vast stores of negative karma that might hinderone's pursuit of Buddhism. In addition, the Pure Land was a placeof refuge where one could become Enlightened without beingdistracted by the sufferings of our existence. In the Jodo ShinshuBuddhist tradition, Namu-Amida-Butsu was reinterpreted as anexpression of gratitude to Amitabha Buddha rather than apetitionary act. The idea behind this was that one was that rebirthinto the Pure Land was assured the moment one first had faith inAmitabha.

B10 "NAMU AMIDABUTSU"The formula, "Namu Amidabutsu" payshomage to Amida,the central diety of the Pure Land sects,Jodo shu and Jodo shinshu2. H. 20. Jh (?)186,6 cm x 54,2 cm

K97NAMU AMIDABUTSU. This is afamous Buddhism sutra in Japan.Especialiy this sutra is important forthe belivers of JODO, JODO-SHIN,JI sect.1. H. 20. JhDRUCK!

K64 SkeltonIt says ""NAMU AMIDABUTSU.The formula, "Namu Amidabutsu" payshomage to Amida,the central diety of the Pure Land sects,Joudoshu and JoudoshinshuTusche auf PapierJapan, 19/20. Jhsigniert175,5 cm x 46,7 cm

K110Gerippe u Gedicht"NAMU AMIDABUTSU“Tusche auf PapierJapan, Anfang 20. Jhsigniert171 x 50,8 cm

G115Totenkopf2. H. 19. Jh

B15 Tusche auf PapierJapan, 20. Jh Showa 25signiert

K96HANNYA SHINGYO (Heart Sutra)"Hannya Shingyo" is a cosmic chant containing262 characters,that has the power to affect a great many variety ofthings.Seide u Goldfäden164,5 cm x 32 cm

K49 NichirenTusche auf PapierJapan,Taisho 5 (1916)

K76NICHIREN MANDARA GOHONZONNichiren (1222-1282) was a Buddhist monk of 13thcentury Japan.A controversial figure during his lifetime, he is thefounder of Nichiren Buddhism,a major Japanese Buddhist stream encompassingseveral schools of often widely conflicting doctrine.Tusche auf PapierMehrere Datierungen aus der Meijizeit127,5 cm x 52,5 cm

K86Charm / „REIFU“35.8cm x 134cmDruck auf PapierJapan, 20. Jh (reifu) - Charm/ Amulet– The actual patterns found onan ofuda (paper charms handed out at temples), etc.vielleicht gehörts zu :Shugend! (jap. ; etwa: „Weg desTrainings von Wunderkräften“) ist eine altejapanische, synkretistische Religion.Die Anhänger des Shugend!, Shugenjaoder Yamabushi genannt, vollziehenmagisch-religiöse Rituale und asketischePraktiken in der Bergen, die das sokushinj!butsu(Buddha-Werden in diesem Leben)und das Erlangen von übernatürlichenFähigkeiten zum Ziel haben. Diese Fähigkeitenwerden zum Wohl der Bevölkerung,beispielsweise in Form von Wahrsagereieingesetzt.[1]Daoismus:Der Nordstern steht ruhig an seinem Platz,und alle Gestirne blicken zu ihm hin, er istder Thron des höchsten Wesens, und allesneigt sich vor ihm."Nordstern Bei Xing HOJU

B14 Tea Bowl & Poem"A Vessel Doesn't Matter in Enjoying Tea"signiert: KuJapan, 197878 cm x54 cm

K95TeapotTusche u Farbe auf Papier20. Jh

G23 SEN-CHATusche auf PapierMontierung aus gedrucktenTempelkalendernDaisho-kalender, 1866/67Japan, 2. H. 19. Jh

• B109chawan - teabowlsignature of "Eiraku Hozen (17951854) "Signature & Seal= Toko Hozen (signature) andEiraku (seal).• Eiraku Hozen was a ceramic artistof Kyo ware and active in 19stcentury. He was 11 generations ofDoburo-shi Zengoro.61.3cm x

K79Daikokusigniert: NANKO HARUKI (1759-1839)Japan, 18. JhTusche auf Papiercm x cm

K65DAIKOKU-TEN auf Reisballen(TAWARA)Mitte 19. Jhaus dem Kanji FUKU(Glück)zusammengesetzt

G36 Dharma, Gründer des Zen BuddhismusMitte 20. Jh

G34 Dharma, Gründer des Chan/Zen Buddhismus1. H. 20. Jh

G19 Dharma,Gründer des Zen Buddhismus2. H. 19. Jhsigniert: CHOKUNYU TANOMURA(1814-1907).He is a very famous Japanese painter from Oitaprefecture.He was an adopted child of a greatest painter ChikudenTanomura.

K51 BodhidharmaJapan, 20. JhVielleicht Showa 7 (1932)53.3cm by 202cm

G29 Bodhidharma2. H. 20. Jh

K53 Bodhidharmasigniert: Gessen1. H. 20. Jh

K56Shichiten HakkiTusche auf PapierJapan, 2. H. 20. JhShichiten Hakki means "You have to keep dusting yourself off and trying again"This Japanese proverb relays the vicissitudes of life. Some would more naturally translateit into English as "Always rising after a fall or repeated failures".The first Kanji is literally "7". The second means "fall down" (sometimes this Kanji means"turn around", "revolve" or "turn over", but in this case, it's holds the meaning of "fall"). Thethird is "8". And the last is "get up", "rouse", or "rise".Basically if you fail 7 times, you should recover from those events and be prepared to risean 8th time. This is also applies if it is the world or circumstances that knock you downseven times......just remember that you have the ability to bounce back from any kind of adversity.Note: This can be pronounced two ways. One is "shichi ten hakki", The other is "nanakorobi ya oki" also written, "nanakorobi-yaoki".VORSICHT: in diesem Bild wird das Sprichwort erweitert: 7-8-9! Siehe Text und neunPuppen

K48'Great ZEN monk Bodhidarma anda lady. The letters say"WAGOSHIN" This is a god's name.This god gives good relationship ofman & woman.1850-1899

G44 HoteiTusche auf PapierJapan, 19./20. Jhsigniert: Yushin196,7 x 65,8 cm

K54 Mt. Fuji and Japanese Poems=KAKEJIKU= Japanese Authentic HandwrittenHanging Scroll1900-1940Three ArtistsPainting = Japanese Paper, 136 x 32 cmMounting = Silk, 194 x 54 cm

G35 Shrimp u MuschelGlückssymbol, Textil mit „Fukui“-Zeichen

K63 Ise-ShrimpTusche auf PapierJapan, 19. Jhsigniert: Hoen Nishiyama(1804-1867)He is a very famous Japanese painter.He was born in Osaka and played an active part inKyoto.He was good at a person picture and flowers and birdsbeast picture.

G33 Falke (Taka)Japan, 18. JhsigniertTusche u Farbe auf Papier175,8 cm x 56 cm

G32 White HawkSignature of "Kano GyokuenSuenobu(1683~1743)"Kano-ha/-Schule66.2cm by 113cm

K112TANUKI / Raccoon Dog1. H. 20. Jh.31.6cm by 211.5cm = Tanuki (Marder-Hund), sind inJapan weit verbreitete Tiere, in Europaaber kaum zu finden. Man bezeichnetsie auch als Marderhunde. Sie sindnach japanischer Auffassung ähnlichbegabt wie die Füchse. Während dieFüchse aber elegant und schlau, bzw.heimtückisch agieren, sind die Tanukieher derbe, draufgängerische Gesellen.Auch sie können den Menschendas Leben ziemlich schwer machen,aber alles in allem scheinen sie ehergutmütig zu sein.In japanischen Fabeln ist er eine derHauptfiguren neben Kitsune, demRotfuchs. Der Marderhund erscheinthier als Meister der Verkleidung undGestaltänderung (Y!kai). Er ist sopopulär, dass seit alters Statuengebaut wurden, die Marderhundezeigen

K88Kuh (Wasserbüffel) und HerbstgedichtTusche auf PapierJapan, Anfang 20. Jhsigniert

K66Pferd/ UmaTuSche auf PapierJapan, 2. H. 19. Jh212,3 x 48,6 cm

K60Elefant (Zo)Japan, 1. H.20. JhsigniertTusche auf Papier176,5 cm x 48,5 cm

K101Elefant und LöweEnde 19. Jh (Meiji)And two kinds of this animal has animportant meaning in Buddhism.It is known as a vehicle of Fugenbodhisattva and the Monjubodhisattva.

B106Weisser ElefantSignatur: Reika Kikkawa(1875-1929)It is a very interesting title. The hanging scrolls inwhich the elephant are rare.There is a sign of Reika Kikkawa(1875-1929).His sign is written to the box.

K68Kind und KuhSignatur: Senkei Sasaki (1773-1848).Such a style of painting is called KANO-HA painting.Thema vielleicht eine Variante vonTaming the Wild OxTen Oxherding Pictures, by Zen Master Kakuan, China, 12th C.

G24 Alltagsszenen (Otafuku?)Japan, 2. H.19. JhsigniertTusche auf Papier188 cm x 78,7 cm

G26 GeishaTusche u. Farbe auf PapierJapan, 1. H. 20. Jh

K83Schönheit und TotenkopfJapan, 1. H. 20. JhsigniertTusche auf Papier181 cm x 39 cm

G37 KannonPilgerbild zu den 33KannonheiligtümernTusche, Farbe u Stempel auf SeideJapan, 1. H. 20. Jhsigniert116 x 50,7 cm

G38 The Shikoku Pilgrimage is a pilgrimage of eighty-eight templeson the island of Shikoku, Japan.It is believed all eighty-eight temples were visited by the famousBuddhist monk Kukai.The seals were stamped at each temples.Auf Rückseite Datum Meiji 43 (1910)181,8 cm x 66,4 cm

G39*Shikoku 88 Pilgrimage :The Shikoku Pilgrimage is a pilgrimage of 88 temples on theisland of Shikoku, Japan. It is believed all 88 temples werevisited by the famous Buddhist monk K"kai, who was born inZents"ji, Shikoku in 774. However, K"kai only mentionsvisiting two of them in his own extant writings.In addition to the 88 "official" temples of the pilgrimage, thereare over 200 bangai — temples not considered part of theofficial 88. To complete the pilgrimage, it is not necessary tovisit the temples in order; in some cases it is even consideredlucky to travel in reverse order. The pilgrimage is traditionallycompleted on foot, but modern pilgrims use cars, taxis,buses, bicycles, or motorcycles. The walking course isapproximately 1,200km long and can take anywhere from 30to 60 days to complete. "Henro" is the Japanese word forpilgrim, but the inhabitants of Shikoku call the pilgrims o-henro-san. They are often recognizable by their whiteclothing, sedge hats, and walking sticks. Many pilgrims beginand complete the journey by visiting Mount K!ya inWakayama Prefecture, which was settled by K"kai andremains the headquarters of the Shingon sect of Buddhism.The 21km walking trail up to Koya-san still exists, but mostpilgrims use the train.In addition to the main pilgrimage on the island of Shikoku,there are miniature versions of the pilgrimage north ofTakamatsu on the island of Sh!doshima, and on the groundsof Ninna-ji Temple in Kyoto. A much larger scale imitation ofthe Shikoku pilgrimage is located on Chita peninsula, nearNagoya.2. H. 20. Jh

G47There is the famous temple "YAKUSHIJI."Druck, um 1980(?)Yakushiji sowohl auf Rückseite alsauch im Text die erste (rechte) ZeileDer Yakushi-ji (jap. ) ist einbuddhistischer Tempel und der Haupttempelder Hoss!-Sekte. Er liegt in Nishinokyo, demnordwestlichen Teil der Stadt Nara in Japan.In ihm wird hauptsächlich der BuddhaYakushi verehrtYAKUSHI NYORAI, YAKUSHI TATHAGATABuddha of Medicine & HealingYakushi literally means Medicine TeacherLord of the Eastern Realm of Pure LapisLazuli

G25"Sansanzu"/"Sansei-Kyusan-zu".three famous Saints, "Toba So" ofConfucianism, "Sanku Ko" of Taoism, and"Butsuin" of Buddhistic , lick vinegar called"Tokasan", and frown.signiert: Ryukinsai19. Jh128,3 cm x 68,7 cm

K72YUNMEN, ZEN MasterYunmen Wenyan (864-949),also known as "Ummon Daishi",was a major Chinese Zenmaster in Tang-era China. Hefounded one of the five majorschools of Chan (Chinese Zen),the "Yunmen School", aftersucceeding his famous master,Xuefeng Yicun (822-908), forwhom he had served as a headmonk. When founding hisschool, he taught at the Yunmenmonastery of Shaozhou, fromwhich he received his name.1. H. 19. Jhsigniert205 cm x 49,8 cm

G4616 RAKAN (Arhat)Japan, 1. H. 20. Jhsigniert NichiunTusche u Farbe auf Papier182.8 cm x 62.5 cm

K99MöncheTusche auf PapierJapan, Mitte 20. Jhsigniert

K80PriesterTusche auf PapierJapan, 20. Jhsigniert

G20Jizo BosatsuTusche auf PapierJapan, 2. H. 20. Jh

B16ShokiTusche auf SeideJapan, Anfang 20. Jhsigniert: Gazan ...116 x 50,7 cm

B8Shoki und OniTusche und Farbe auf SeideJapan, 1. H. 19. Jhsigniert: Buncho Tani (1762 - 1840)

K67Shoki & OniTusche auf PapierJapan, 2. H. 19. Jh

K70WindgottTusche auf PapierJapan, 20. Jhsigniert116 x 50,7 cm

K61Raijin und ein KaufmannTusche auf PapierJapan, 2. H. 19. Jh

B2ab"FUJIN&RAIJIN" w/boxSignature of "Morikawa Sobun (1847~1902)"(British museum)Morikawa Sobun (1847-1902) was born to aKyoto merchant family. He was first apprenticedto Matsubara Tamaru, and, from the age oftwenty he began to study with Maekawa Goreiand started to learn painting. His real name wasEijun and his familiar name was Shisen. His workis little known today.Sobun also sought guidance from the painterHasegawa Gyokuho, who was working in Omi.His steady efforts eventually brought him into hisown as an artist. When the Kyoto MunicipalSchool of Painting was established in 1880,Sobun was brought in as a member of the faculty,which speaks for the public recognition of hisstanding as a painter. In addition, two years laterhis 'Autumn in Takao' was selected for the FirstParis-Japan Fine Arts Exhibition.

K71WeintraubenTusche auf Papiersigniert: ShunzoJapan, 2. H. 20. Jh124 x 51,3 cm

B13ZESHIN SHIBATA1807-1891 : A monk & poetry. I think thismonk is IKKYU-ZENJI. This poetry singing about YUKAKU(licensed quarter for men playing).IKKYU played in thelicensed quarters putting on the tearing (However, Thoseaction is based on his own philosophy).

K74myth "INABA-NO-SHIRO-USAGI" which spreadsover INABA (Tottori Prefecture) from old times.It is a famous myth about White Rabbit.Tusche u Farbe auf PapierJapan, 1. H. 20. Jhsigniert116 x 50,7 cmDAS ERSTE BILD!

K77SHIMENAWA (Japanese shrine's rope made fromrice straw).This rope is decorated to devide holy space fromnormal space.2. H. 19. Jhsigniert: SojuTusche auf Papier

K93Gods of SHIOGAMA shrine.SHIOGMA shrine is the shrineof SHIOTSUCHI NO OJI,TAKEMIKADSUCHI, FUTSUNUSHI.This shrine gives fortune of seaproduct, salt, road safety, safedelivery.Druck2. H. 19. Jh.

K85DruckText fehltnoch

G18Text for prasing godTusche auf PapierJapan, 2. H. 19. Jh

G28Seals and signatures of shrines andtombs related to MASASHIGEKUSUNOKI.a famous SAMURAI hero of Japanwho fought and died for his emperor.1. H. 20. JhKusunoki Masashige (jap. ;* 1294 in Akasaka, Provinz Kawachi(heute: Chihaya-Akasaka, Präfektur#saka); † 5. Juli 1336 am FlussMinato) ist heute einer der größtenVolkshelden in Japan und wird sehrverehrt. In Kobe wurde ihm derMinatogawa-Schrein gewidmet.Außerdem ist er auf der japanischenVerwundeten-Medaille dargestellt.

G31KalligraphieTusche auf PapierJapan,

G30TigerTusche auf PapierJapan, Showa 20 (1945)

K52Kat! Kiyomasa (1562-1611)MeijiDruckKat! Kiyomasa (1562-1611) was a Japanesedaimy! of the Sengoku and Edo period.Kiyomasa was born in Owari Province to Kat!Kiyotada. Kiyotada's wife, Ito, was a cousin ofToyotomi Hideyoshi's mother. Kiyotada diedwhile his son (then known as Toranosuke) wasstill young. Soon after, Toranosuke enteredservice with Hideyoshi, and in 1576, at age 14,was granted a revenue of 170 koku. He foughtin Hideyoshi's army at the Battle of Yamazaki,and later, at the Battle of Shizugatake. Owing tohis distinguished conduct in that battle, hebecame known as one of the Seven Spears ofShizugatake. Hideyoshi rewarded Kiyomasawith an increased revenue of 3000 koku.When Hideyoshi became the kampaku in thesummer of 1585, Kiyomasa received the courttitle of Kazue no Kami and junior 5th court rank,lower grade. In 1586, after Higo Province wasconfiscated from Sassa Narimasa, he wasgranted 250,000 koku of land in Higo (roughlyhalf of the province), and given KumamotoCastle as his provincial residence.Während der nationalistisch übersteigertenMeiji- und Taish!-Zeit wurde er zumNationalhelden stilisiert, der – loyal zum Kaiser– sich in aussichtsloser Lage für diesen opfert(jibakutei). 1944/45 wurde er daher der„Schutzpatron“ der Kamikaze-Piloten.Druck, Meiji-Periode

K84 Sugawara no Michizane (845-903) , 2. Hälfte 19. Jh.was a scholar, poet, and politician of the Heian Period of Japan. He is regarded as an excellent poet, particularly in Chinese poetry.He was born into a family of letters. Beginning with his grandfather, his family served the court, teaching history in the national school for futurebureaucrats. His father began a private school in his mansion and taught students who prepared for the entrance examination to the national schoolor who had ambitions to be officers of the court.Sugawara passed the examination, and entered Daigaku, as the national academy was called in those days. After graduation he began his career inthe court as a scholar. He was also appointed to a position as a government official. Sometimes, as a result of his Chinese language skill he wasappointed to diplomatic offices, to host foreign embassies. Besides his offices at the court he ran the school his father founded. He was alsoappointed Monjo Hakushi, the highest professorial office at Daigaku. This office was considered to be the highest honor a historian could achieve.At one point, Sugawara lost the favor of the court and was appointed to be governor of a province. Before that, he had been appointed to such officesbut it had been only nominally. He lost his office as professor and must have moved to the local province he was appointed to. But when a politicalconflict arose between Emperor Uda and Fujiwara no Mototsune, he sent his opinion to Mototsune, and gained his favor. Though his term asgovernor was not over, he was called back to Kyoto.He was appointed ambassador to China in the 890s, but instead came out in support of abolition of the imperial embassies to China in 894,theoretically in consideration for the decline of the Tang Dynasty. A potential ulterior motive may have lain in Michizane's almost complete ignoranceof spoken Chinese; most Japanese at the time only read Chinese, and knew little to nothing about the spoken language. Michizane, as the nominatedambassador to China, would have been presented with a potential loss of face had he been forced to depend on an interpreter.Sugawara rose to high positions of the imperial court under the grace of Emperor Uda, but in 901 he fell into a trap of his rival Fujiwara no Tokihiraand was demoted to a minor official of Dazaifu, in Kyushu's Chikuzen Province. After his lonely death, plague and drought spread and sons ofEmperor Daigo died in succession. The Imperial Palace's Great Audience Hall (shishinden) was struck repeatedly by lightning, and the cityexperienced weeks of rainstorms and floods. Attributing this to the angry spirit of the exiled Sugawara, the imperial court built a Shinto shrine calledKitano Tenmangu in Kyoto, and dedicated it to him. They posthumously restored his title and office, and struck from the record any mention of hisexile. Sugawara was deified as Tenjin-sama, or kami of scholarship. Today many Shinto shrines in Japan are dedicated to him.Emperor Uda stopped the practice of sending ambassadors to China. The emperor's decision-making was informed by what he understood aspersuasive counsel from Sugawara Michizane.

G111"KANZAN JITTOKU"18. JahrhundertUnkoku-ha/ -Schule*Kanzan (Hanshan):Kanzan / Hanshan (9th century) was a mythologicalfigure associated with a collection of poems from theChinese Tang Dynasty in the Taoist and Zen tradition.He is honored as a Bodhisattva -figure in Zenmythologyin Japanese and Chinese paintingstogether with his sidekick Shide and with Fenggan.*Jittoku (Shide):Jittoku / Shide (9th century) was a minor TangDynasty Chinese Buddhist poet in Guoqing Temple,in the Tiantai Mountain range on the East China Seacoast; roughly contemporary with Hanshan andFenggan, but younger than either. He was closefriends with both and together they formed the"Tiantai Trio". Shide lived as a lay monk, and workedmost of his life in the kitchen of Guoqing Temple.An apocryphal story relates how Shide received hisname: Once, Fenggan was travelling betweenGuoqing Temple and the village of Tiantai, when atthe redstone rock ridge called 'Red Wall' he heardsome crying. He investigated, and found a ten-yearold boy who had been abandoned by his parents;and picked him up and took him back to the temple,where the monks would raise him.Unkoku is a school of Japanese painting

K89YAKKO-OTSUOtsu Painting is folk paintingwhich was made in Otsu city fromEdo era.19. Jh

K55 mänliche Figursigniert: Nagasawa Rosetsu (1754-1799)A painter of the Edo middle.He was born in the house of thelow-class samurai and inherited the Nagasawas later.It issaid that he became a disciple of Maruyama Okyo (17331795) in Kyoto. He lets his talent flower immediately afterentering pupil and completely acquired technique of theMaruyama school.He showed original personality to tear theframe of the style of Okyo before long.He produced thefusuma picture of the Muryo-ji temple with Maruyama Okyofrom about 1786 and showed a characteristic to the birdsand beasts paintings with particularly good handling ofwriting brush and an original design.In this way,Rosetsucame to be good at a painting on a folding screen and walland participated in the painting on a folding screen and wallproduction of the Imperial Palace with Okyo in 1790.It washim made full use of composition to surprise people but hecame to gradually show the internal deepening of lateryears.Various anecdotes are left because of wild character.Forexample,he bring the picture copybook of the teacher with alook of innocence, and let a teacher adjust it,it is said that hewas expelled by the matter.In addition, he took jealousy, andit is said that he was poisoned.He died at 46 years old, andwas hushed up by ex-Emperor memorial service of Kyoto.Hedied at 46 years old, and he was buried in Ekoin of Kyoto.His pseudonym isNagasawa,Gyo,Masakatsunoinn,Chougyo,Hyokei,etc...

K103 u K104zwei Personen1. H. 20. Jh.

K100Madonna mit KindStickerei1960er Jahre (?)

K94SchwertTusche auf PapierJapan, 2. H. 19. Jhsigniert: Toko Matsumoto

B17 abc Moon & Rising Sun w/boxSignature of "Kano Sosen (1765~1826)"Signature and Seal : Kano Sosen (signature), Kano (seal).

B108Winterlandschaftsigniert: Kano Motonobu (1476-1559)Motonobu was the son of ancestor Masanobu. He succeededbuilding the base of Kano-ha painting. Motonobu's painting wasbased on the style of China ink painting and also used the styleof Yamato-e of Tosa-ha in it. He got many orders from hiscustomer and he taught the painting to his pupil to respondevery orders he got.His pseudonym is Motonobu.Signature & Seal = Hogen Motonobu (signature-given the rankas Hogen in 1545) and Motonobu (pot seal).

K90LandschaftTusche auf PapierJapan, 2.H.20 . JhsigniertSchlechter Zustand, mit Klebestreifen

K75LandhausTusche auf PapierJapan, 1. H. 20. Jhsigniert117 x 53 cm

K105BrückeTusche auf PapierMekuriJapan, 2. H. 19. Jhsigniert:Senshin Kano109,5 x 40,7 cm

K50 Wasserfall und AhornbaumTusche und Farbe auf PapierJapan, 1. H. 20. Jhsigniert178 cm x 47,6 cm

B12 Red BambooIn Japan & China, displayingpictures of Shuchiku (red bamboo)brings good luck and happiness.Tusche u Farbe auf Papier161 cm x 35,6 cm

K98Take/BambooTusche auf PapierJapan, 2. H. 20. JhMit Plastikknöpfen!

K92Reis und Gedicht

G45 Meiji-KaiserFarbe auf PapierJapan, 2.H. 20. Jhsigniert116 x 50,7 cmAnd downward, the different painter is drawingthe white flower.It is called "YOSEGAKI" that two or morepainters draw a picture.

K57/58 Doppelportrait2. Hälfte 19. Jh

G43 PorträtTusche u Farbe auf SeideJapan, 1. H. 20. Jhsigniert176,5 x 60 cm(ursprünglich ein Doppelbildnis)

G22 PriesterJapan, 2. H. 20. Jh

K81PorträtTusche auf SeideJapan, 1. H. 20. Jh186,2 cm x 54 cm

G42 PorträtTusche auf SeideJapan,Auf der Rückseite Showa 2 (1927)signiert205 x 60,5 cm

Inventarisierung- Die Nummerierung ist fortlaufend von 1 - x- mehrteilig ist xa, xb, xc- Die Nummer steht immer vor dem Titel- Größen/Standort-angaben sind zusätzlich auf der Beschreibung vermerkt, aber nicht am BildB: Bild in der original Schachtel/ BoxK: Bilder bis ca 55 cm RolleblängeG: Bilder über ca 55 cm Rollenlängez.b. G15 xy, B56 xy, K44 xyauf dem Bild aber nur 15, 56, 44letzte vergeben Nummer: 117 (Sa. 13. Aug. 11)