COLLECTION NAME:
The AMICA Library
mediaCollectionId
AMICO~1~1
The AMICA Library
Collection
true
AMICA ID:
CMA_.1970.67
amicoid
CMA_.1970.67
AMICA ID
false
AMICA Library Year:
1998
aly
1998
AMICA Library Year
false
Object Type:
Sculpture
oty
Sculpture
Object Type
false
Creator Nationality:
Asian; Far East Asian; Japanese
crc
Asian; Far East Asian; Japanese
Creator Nationality
false
Creator Dates/Places:
Japan
cdt
Japan
Creator Dates/Places
false
Creator Name-CRT:
Japan, Kamakura Period
crt
Japan, Kamakura Period
Creator Name-CRT
false
Title:
Portrait of the Zen Master Hotto Kokushi
otn
Portrait of the Zen Master Hotto Kokushi
Title
false
Title Type:
Primary
ott
Primary
Title Type
false
View:
Full View
rid
Full View
View
false
Creation Date:
c. 1286
oct
c. 1286
Creation Date
false
Creation Start Date:
1284
ocs
1284
Creation Start Date
false
Creation End Date:
1288
oce
1288
Creation End Date
false
Materials and Techniques:
wood with hemp cloth, black lacquer, and iron clamps
omd
wood with hemp cloth, black lacquer, and iron clamps
Materials and Techniques
false
Dimensions:
Overall: 91.4cm
met
Overall: 91.4cm
Dimensions
false
AMICA Contributor:
The Cleveland Museum of Art
oon
The Cleveland Museum of Art
AMICA Contributor
false
Owner Location:
Cleveland, Ohio, USA
oop
Cleveland, Ohio, USA
Owner Location
false
ID Number:
1970.67
ooa
1970.67
ID Number
false
Credit Line:
Leonard C. Hanna, Jr. Fund
ooc
Leonard C. Hanna, Jr. Fund
Credit Line
false
Rights:
orl
<a href="http://www.clemusart.com/museum/disclaim2.html"target="_new">http://www.clemusart.com/museum/disclaim2.html</a>
Rights
false
Context:
In Japan, portraits of revered spiritual leaders have been produced since the eighth century. First in life-size sculptures of clay, wood, or dry lacquer and, later, in painted versions, these austere images of Buddhist priests demonstrate the early Japanese mastery of realistic portraiture. Hotto Kokushi (1203 ? 1295), known as Kakushin, journeyed to China twice to study Zen, a sect of Buddhism. He became renowned in Japan for his lectures and as a masterful interpreter and teacher of Zen doctrine. Away from the more doctrinaire centers in Kyoto and Kamakura, he founded a small number of temples in western Japan where his reputation attracted serious students of Zen as well as common parishioners. Three chinso (sculpture portraits) of Kakushin exist today at these monasteries, which continue to serve as icons of faith in the search for spiritual enlightenment. Such sculptural images were traditionally displayed only for special occasions, usually in a space such as a founder's hall specifically designated for that purpose. Memorial services marking the anniversary of the priest's death are still the most important observances each year. Each of the four extant chinso of Kakushin depict him slightly differently, corresponding either to his age or perhaps to how his physiognomy was transmitted posthumously to the sculptor. Traditionally this was done by sketch or finished painted image. Here the master is presented toward the end of his life, with prominent cheekbones and hollowed cheeks as well as the large ears and clean shaven pate that characterize his appearance in all four chinso. The weathered condition of the image's surface reveals the iron clamps holding the thinly carved pieces of wood together and the sculpting grooves normally hidden by layers of hemp cloth and black lacquer. The determined, meditative expression of Kakushin's aged face and his monk's robe seem particularly sympathetic to these materials. The sculpture separates where the torso meets the lower robes, at the elbows. The handsare carved as one piece but are not secured into the arm sleeves. They, like the monk's slippers and bench, are independent elements that allow for ease of transport and installation. These were matters of some concern to medieval temples and their patrons since damage from insects and fire was well known to them. In addition, fabrication by the joined wood system allowed for greater flexibility and detailing. M.R.C.
cxd
In Japan, portraits of revered spiritual leaders have been produced since the eighth century. First in life-size sculptures of clay, wood, or dry lacquer and, later, in painted versions, these austere images of Buddhist priests demonstrate the early Japanese mastery of realistic portraiture. Hotto Kokushi (1203 ? 1295), known as Kakushin, journeyed to China twice to study Zen, a sect of Buddhism. He became renowned in Japan for his lectures and as a masterful interpreter and teacher of Zen doctrine. Away from the more doctrinaire centers in Kyoto and Kamakura, he founded a small number of temples in western Japan where his reputation attracted serious students of Zen as well as common parishioners. Three chinso (sculpture portraits) of Kakushin exist today at these monasteries, which continue to serve as icons of faith in the search for spiritual enlightenment. Such sculptural images were traditionally displayed only for special occasions, usually in a space such as a founder's hall specifically designated for that purpose. Memorial services marking the anniversary of the priest's death are still the most important observances each year. Each of the four extant chinso of Kakushin depict him slightly differently, corresponding either to his age or perhaps to how his physiognomy was transmitted posthumously to the sculptor. Traditionally this was done by sketch or finished painted image. Here the master is presented toward the end of his life, with prominent cheekbones and hollowed cheeks as well as the large ears and clean shaven pate that characterize his appearance in all four chinso. The weathered condition of the image's surface reveals the iron clamps holding the thinly carved pieces of wood together and the sculpting grooves normally hidden by layers of hemp cloth and black lacquer. The determined, meditative expression of Kakushin's aged face and his monk's robe seem particularly sympathetic to these materials. The sculpture separates where the torso meets the lower robes, at the elbows. The handsare carved as one piece but are not secured into the arm sleeves. They, like the monk's slippers and bench, are independent elements that allow for ease of transport and installation. These were matters of some concern to medieval temples and their patrons since damage from insects and fire was well known to them. In addition, fabrication by the joined wood system allowed for greater flexibility and detailing. M.R.C.
Context
false
Related Image Identifier Link:
CMA_.1970.67.tif
ril
CMA_.1970.67.tif
Related Image Identifier Link
false