Zen Valley Rhyth

From the perspective of a Japanese student,this paper focuses on the Song Dynasty and Yuan Dynasty paintings in the Japanese collection and the Zen monks in Japan and China as keys to cultural transmission.This paper examines the relationship between the Bird-and-Flower Painting of Tohaku Hasegawa(1539-1610),one of the most important painters in the history of Japanese art,and the paintings of the Song Dynasty and Yuan Dynasty based on the analysis of painting methods.At the same time,it will analyze the trajectory and trend of the development and changes of ancient Bird-and-Flower Painting.In addition,from the background of the introduction of Buddhism,the relationship between Buddhism and the imperial court,the shogunate,society and culture,we will deeply explore the influence of Buddhism,mainly Zen Buddhism,on Tohaku’s life and its penetration into his spirit.Hasegawa Tohaku was born in Nanao,Noto during Muromachi period.He learned the paintings of the Song Dynasty and Yuan Dynasty that were introduced to Japan and created Buddhist paintings at the request of Hokke sect temples and Zen sect temples.After moving from Nanao to Kyoto,Tohaku entered a brilliant period in his life.So that he was given the opportunities to create large-scale Kinpeki Screen Painting at famous temples such as the Gozan in Kyoto.Together with his son Kyuzo and his disciples,Tohaku’s creations in the Hasegawa school reached the level of the Kano school,the largest school in Japan,and he experienced a turbulent “golden age” at the peak of splendor in the Kyoto art circles.There were two major painting fields in the Azuchi-Momoyama period: one is Kinpeki Screen Painting,which symbolize “extraordinary,public and power”,another is Ink Painting,which symbolize “ordinary,private and spirituality".In his later years,Tohaku,whose wife and son passed away,devoted himself to creating ink paintings at temples.In the final stage of his study of Song Dynasty and Yuan Dynasty painting – during the study of ink and brush expression,he was inspired by the spirit contained in the ink and brush expression of Zen painting of the painters in Southern Song Dynasty,such as Fa Chang and Liang Kai.He began to restrain the expression,at the same time paid attention to the empty space and afterglow.After the awareness of “color is empty”,he advanced towards the state of ink and brush expression,and his brush and ink skills made a qualitative leap and reached perfection.He reached at the state of “As painters get old,their artistic skills also get matured”,finally gave birth of the state of Zen “Pine Trees screen”.Tohaku passed away at the beginning of the Edo period.In addition,Tohaku’s oral tradition was recorded by Nittsu and is the oldest extant painting theory in Japan,and Tohaku has left behind indelible achievements and treasures in Japanese art.What is noteworthy about this paper is that it researches representative works of Bird-andFlower from each stage of Tohaku’s life,and conducts a comprehensive and detailed study of the relationship between the style of painting of Tohaku’s works and that of the Song Dynasty and Yuan Dynasty painting.This is the first research in Japanese art history.In addition,since the culture of Japan and China at the time and painters including Tohaku are closely related to Buddhism,this paper will explore the connection between the spirituality contained in Tohaku’s creations and Buddhist thought as an important point of view.The analysis of the commonalities and differences between Song Dynasty and Yuan Dynasty paintings listed in “Complete Works of Song Dynasty Painting”,“Complete Works of Yuan Dynasty Painting”(Zhejiang University Chinese Ancient Paintings Research Center)and Tohaku’s Bird-and-Flower Painting listed in“400 years after his death Hasegawa Tohaku”(Tokyo National Museum,Kyoto National Museum,Japan),will serve as the basis for the survey.Other innovative points are below.Most of Hasegawa Tohaku’s researchers are theoretical researchers,but this paper is a detailed analysis of painting methods from the perspective of ink painter.Therefore,I copied Tohaku’s painting as one of the basic research methods to make an in-depth study of the painting method.In addition,the research on the relevance of painting techniques in multiple works,such as horses and apes,is also new.There are few precedents of research for “Horses at pasture”,“Old Pine Tree”,“Crows on Pine and Egrets on Willow” and “Crows and Herons”.This paper will carefully interpret the intention contained in the composition and ink expression of these art pieces,and discover the profound narrative and connection with the spiritual world.In the end,based on the detailed analysis of the painting method of his later works,as well as the story and spiritual outlook,the author rearranges the creation sequence of this series of valuable ink painting works in his later period.Tohaku,who has been continuously learning,has grasped the trend of the development of the times,so the painting style of him has been constantly evolving throughout his life.How do the elements and Zen in Song Dynasty and Yuan Dynasty painting appear in Tohaku’s paintings? This research will be guided by birds and flowers,beyond time and space to find the combination of all things and spirit through art.