Obaku Monk Duhou Xingshi's 獨吼性獅 Calligraphy in Philadelphia Museum of Art

美国费城艺术博物馆藏清初渡日黄檗僧：独吼性狮禅师墨迹《禅诗》书法欣赏

http://blog.sina.cn/dpool/blog/s/blog_769fb5f30102vjf6.html?md=gd

A piece of calligraphy by Yinyuna's 隱元 disciple, the Obaku Monk Duhou Xingshi 獨吼性獅 (1624－1688) has been identified by some bloggers online. However, I was not able to verify its provenance through Philadelphia Museum of Art's online catalog.

Jiun Sonja's 慈雲尊者 Calligraphy at Philadelphia Museum of Art

Philadelphia Museum of Art has a piece of calligraphy of Onkō Jiun飲光慈雲 , Japanese, 1718 - 1804, commonly known as Jiun Sonja. It is the title of the Lotus Sutra. See below for detailed cataloging description.


Lotus Sutra of the Wonderful Law (Myōhō Renge-kyō)

Onkō Jiun飲光慈雲 , Japanese, 1718 - 1804

Geography:
Made in Japan, Asia
Period:
Edo Period (1615-1868)
Date:
Late 18th century
Medium:
Ink on paper; mounted as a hanging scroll
Dimensions:
6 feet 9 inches × 26 1/2 inches (205.7 × 67.3 cm) Image: 48 7/16 × 22 5/8 inches (123 × 57.5 cm)
Curatorial Department:
East Asian Art
Object Location:
Currently not on view

Accession Number:
2002-198-1
Credit Line:

Purchased with the Hollis Family Foundation Fund, 2002
Label:

One the most talented and individualistic of Edo period calligraphers, Jiun was trained as a Buddhist monk and became renowned for his studies of the Sanskrit language. Jiun's calligraphy is most influenced by the brushwork of the Öbaku Zen monks, known as bokuseki (ink traces), although he seems consciously to ignore the rules of calligraphy in his free and idiosyncratic handling of ink and brush. The five-character inscription of this calligraphy reads myöhö renge-kyö, or Lotus Sutra of the Wonderful Law, referring to the canonical Buddhist text more popularly known simply as the Lotus Sutra.

Obaku Calligraphy by Hyakusetsu Genyō 百拙元養

Philadelphia Museum of Art has three pieces of calligraphy by the Japanese Obaku monk Hyakusetsu Genyō 百拙元養 (1668 - 1749). Hyakusetsu was Gaoquan Xingdun's 高泉性潡 dharma heir and was famous for painting and calligraphy. The three pieces were titled as "Three Poems" and their cataloging information is as follows:

Three Poems

Hyakusetsu Genyō, Japanese, 1668 - 1749

Geography:
Made in Japan, Asia
Period:
Edo Period (1615-1868)
Date:
Late 17th - early 18th century
Medium:
Ink on paper, mounted as a triptych of hanging scrolls
Dimensions:
Exclusive of mount, each: 37 1/8 × 10 1/4 inches (94.3 × 26 cm)
Curatorial Department:
East Asian Art
Object Location:
Currently not on view

Accession Number:
2008-89-1a--c
Credit Line:
Purchased with funds donated by Andrea M. Baldeck, M.D., and William M. Hollis, Jr., 2008

Label:
One of the early major Obaku monks born in Japan, Hyakusetsu studied poetry, painting and tea ceremony in Kyoto, as well as Rinzai Zen Buddhism. He was well-respected among the aristocratic circles of Kyoto, as a leader in both religious and in cultural circles. He founded a new temple, Hozoji in Western Kyoto in 1733.

Hyakusetsu's calligraphy is characterized by strong contrasts between wet and dry brushwork. This triptych of scrolls is an homage to his spiritual roots in Rinzai Buddhism and his teacher, Hyakuju.

Calligraphy by Ōbaku Dokuryū (Duli Xingyi 獨立性易) at Philadelphia Museum of Art

 I came across a piece of calligraphy by Ōbaku Dokuryū  (Duli Xingyi 獨立性易, 1596 - 1672) at Philadelphia Museum of Art. Duli became Yinyuan's 隱元 disciple but never received his dharma transmission. The collection of his works has been published in Taiwan. The museum gives the following cataloging information.

Calligraphy of a Chinese Poem

Ōbaku Dokuryū, Chinese, 1596 - 1672

Geography:
Made in Japan, Asia
Period:
Edo Period (1615-1868)
Date:
Late 17th century
Medium:
Ink on paper; mounted as a hanging scroll
Dimensions:
Image: 49 x 20 3/4 inches (124.5 x 52.7 cm) Mount: 70 3/4 x 24 5/8 inches (179.7 x 62.5 cm)
Curatorial Department:
East Asian Art
Object Location:
Currently not on view

Accession Number:
2003-29-1
Credit Line:
Bequest of Elizabeth Prior Denis, 2003
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Öbaku Dokuryü was a noted calligrapher and poet in his native China before he emigrated to Japan in 1653 to join the Öbaku Zen temple Mampuki-ji, near Kyoto, Japan. His elegant and flowing calligraphy style strongly influenced his Japanese literati contemporaries.