Page 101 - JAPAN THE SHAPING OFDAIMYO CULTURE 1185-1868

style tea in his own time, and perhaps the While still in his teens, Seika entered Shô-
most important (certainly the best known) kokuji, one of the five major Zen monas-
figure in the whole history of tea. He teries of Kyoto, where he studied Zen as
served as personal tea instructor to Oda well as classical Chinese literature and
Nobunaga (1534-1582) and then Toyotomi Song Neo-Confucianism. Seika eventually
Hideyoshi (1537-1598). This position en- returned to lay life and led a renaissance in
abled him to become a close confidant of Song Confucian scholarship.
Hideyoshi and to acquire the substantial In the Edo period, Confucianism be-
political influence inherent in such a rela- came the official teaching of the govern-
tionship. In 1591, however, for reasons now ing samurai class, and daimyo employed
unclear, Hideyoshi ordered him to commit prominent scholars to assist them in gov-
suicide. erning. Hayashi Razan (1583-1657), Seika's
Tanaka Sókei, thought to be related to student and one of the inscribers of this
Rikyû and one of the founders of the Raku painting, served the shogunate, but Seika
kiln (cats. 285, 286), commissioned this por- himself refused official engagement, and
trait. The Raku wares were developed un- in his later years retired to a mountain re-
der Rikyü's close aesthetic supervision. treat at Ichiharano north of Kyoto. That
The inscription was written by Shun'oku retreat is the setting for this painting. Al-
Sóen (1529-1611) of Daitokuji, the spiritual though the retreat no longer stands, an old
successor to Shôryô Sókin; both priests in- well remains.
structed Rikyü in Zen. The painter of the portrait, Kano
Rikyü is portrayed in this painting as a Sansetsu, was the leading student and
lay Buddhist, wearing a black robe and adopted heir of Kano Sanraku (1559-1635),
holding a fan. The style of the painting, es- whom he succeeded as head of the Kano
pecially in the face, recalls that of Hase- studio; he was also an admirer of Seika.
gawa Tohaku who frequently painted for The regular geometric composition is both
Rikyü and Sôen. Tôhaku was commis- characteristic of Sansetsu's work and
sioned by "Rikyü to execute the ceiling idiosyncratic within the Kano school. San-
painting of the gate of Daitokuji. He also setsu's signature can be seen at the lower
painted sliding door panels in Sangen'in, a right, followed by his seal.
subtemple that was Sôen's residential Razan wrote the lower inscription,
quarters. There is, thus, a strong possibil- read from left to right, with a seal follow-
ity that Tohaku painted this portrait. ing his signature; in his collected works,
The inscription reads, from left to this poem is dated to 1639. Hori Kyôan
right: (1585-1642), another close disciple of Seika,
wrote the upper inscription, read from left
Hat on his head and fan in his hand to right and with two seals underlying his
The solemn image he left behind captures signature at the right. Both inscriptions
what he always was
Like Zhao Zhou [a Chinese Zen priest eulogize Seika's retreat and his studies of
famous for his intuitive approach] he sits Confucianism. WA
awhile and drinks tea
This old man seems to gain knowledge 40 Ishikawa Józan
without struggle. Kano Tan'yü (1602-1674)
Sdkei showed me Layman Rikyu's portrait hanging scroll; ink and color on silk
and asked me to write an inscription, so I 100.6 x 38.3 (395/8 x 15)
have written a four-line verse and offer Edo period, mid-i7th century
this with incense. Jôzanji (Shisendô), Kyoto
Fourteenth day, ninth month, fourth year of
Bunroku [1595] Although Ishikawa Jôzan (1583-1672)
Sangen, Old Shun'oku Sôen fought with distinction in many military
Sôen [square intaglio seal] engagements for Tokugawa leyasu (1543-
MS 1616), in 1615, during the summer battle of
Osaka, he disobeyed his commanders out
39 Fujiwara Seika living in leisure of excessive zeal and was severely repri-
Kano Sansetsu (1589-1651) manded. Jôzan relinquished his domain
hanging scroll; ink on paper and went to Kyoto where he took the ton-
a monk at Myóshinji.
sure and became
x
119.5 V-3 (47 x 123/8 ) Later, in order to support his mother when
Edo period, early iyth century she became seriously ill, Jôzan entered the
Nezu Institute of Fine Arts, Tokyo service of the daimyo Asano Nagaakira,
lord of Kii and later of Aki domains; upon
Fujiwara Seika (1561-1619) was a Confu- his mother's death, he returned to Kyoto.
cian scholar whose teachings were of great At the age of fifty-eight, he built a retreat
significance in the early Edo period; Seika in Ichijôji village, in northeastern Kyoto,
was the name of his residence. He was de- and asked Kano Tan'yü, the foremost
scended from the aristocratic Reizei fam- painter of that time, to paint portraits of
ily, guardians and perpetuators of one of thirty-six Tang and Song Chinese poets.
the traditions of classical Japanese poetry. Hanging them on the walls, Jôzan called
his retreat Shisendô (Hall of Immortal

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