ILLiad TN: 36: 199847 HAE A Borrower: HLS Widener Library Interlibrary Loan Lending String: HLS 5/18/2011 1:37:54 PM Patron: Faculty: Galt Aviman Journal Title: Journal - Japan Studies Associaton Volume: 8 Issue: Month/Year: 2010Pages: 200.228 Article Author: Article Title: Om Monkeys, illusion and the Moon in he painting of Hakuin Ekaku and Seng Gon Special Instructions: Table of Contents ILL Number: 36: 199837 HN , | | THISIS Not ‘AN INVOICE! NON-IFM LIBRARIES WILL RECEIVE ay, INVOICE UNDER SEPARATE COVER For THIS TRANSACTION FROM HARVaj ACCOUNTS RECEIVABLE IN 4-5 WEEKS PLEASE DO NOT SEND pay YU RECEIVE AN INVOICE} ShT unr YO call#; WID WIDLC DS834.95 .J323 Location: HLS Scan&Deliver ipping Address: fanard Universi - Widener Library Interibrary Loan Harvard University Cambridge, MA 02138 Fax: el: Ooyssey: 206.107.43.109 MaxCost:On Monkeys, Illusion and the Moon in the Paintings of Hakuin Ekaku and Sengai Gibon Galit Aviman Ben-Gurion University of the Negev Abstract ‘This paper focuses on che image of the monkey in the paintings of «wo Prominent monk-paineers of the Edo period, Hakuin Ekaku (1685- 1768) and Sengsi Gibon (1750-1837). The paper shows that alchough ‘Hakuin and Sengai’s paincings are part of the Zen ink painting tradition, Which began following the importation of Zen Buddhism from China at the beginning of the Kamakura period, atthe same time they express an emancipation of this tradition Ae the base ofthis free articude stands the idea of breaking rules, conventions and conceptions, an idea chat otiginared in Zen Buddhism, As a manifestation of this attiude, as I wil ‘lim, Hakuin and Senga's paintings expressa freedom from the common conventions of the ink paincing tradition. This freedom is reflete theicpaincing chrough an amateurish and playful expression resulting in less concern with depicting paintings that ar technically highly skilful, as ‘he traditional early paintings wer. The precedence ofthe religious world ‘over the word of ae is expressed in Hakuin and Sengai’s artwork and biographies. Accordingly, s well as undertaking an investigation of their igs chrough both the Formalistc origins ofthe image of the monkey and ies iconography, che examination is supported further with some biographical facts about Hakuin and Sengai. These clarify their relations with the world oar and distinguish them from eacliet Zen painters. ‘The image of che monkey appears in many paintings by the prominent monk-painters of the Edo period (1600-1838) Hakuin 209JAPAN STUDIES ASSOCIATION JOURNAL 2010 Ekaku (ARSK48; 1685-1768) and Sengai Gibon (1750-1837; fill F3844). This theme of the monkey is a traditional one and was depiceed by ink paincers prior to Hakuin and Sengai’ time. Hakuin and Sengai’s artwork is usually referred co as Zenga (#itilil) which literally means Zen paintings. These paintings are part of a Zen ink painting tradieion that began following the importation of Zen Buddhism from China ac the beginning of the Kamakura period (1185-1333). “This paper focuses on the image of the monkey in Hakuin and Sengai’ paintings. My aim is to show that Hakuin and Sengai’s depictions of the monkey are on the one hand, part of the tradition and are influenced by the early Zen paintings in many ways, while at thesame time they differ from the earlier depictions and they express ‘emancipation from the traditional patterns in many other aspects. One of the reasons for the difference in the way Hakuin and Sengai depicted the traditional monkey lies in their attitude towards their arcwork. At the base of this attitude stands the breaking of rules, conventions and conceptions. As a manifestation of this attitude, as will claim, Hakuin and Sengai’s paintings express a freedom from thecommon conventions of the ink painting tradition. This freedom is reflected in their painting chrough an amateurish and playful expression resulting with less concern with depicting paintings that are technically highly skilled, as the early tradicional paintings were. accept to approach the artwork of Hakuin and Sengai from an arthistorical perspective, putting the paintings themselves and the lives of the monk-painters at the center of the discussion and approaching the paincings integrally, aking both form and content into consideration. Accordingly, I shall begin with the analysis of their artwork through an investigation of both the formalistic origins of this image together with its iconography. I will further support my ideas through historical and biographical discussions, which clarify the relations of Halauin and Sengai with the world of arcand elucidate their attitude towards their own artwork. "This paper develops ideas treated briefly in my dissertation, Aviman, “A Free Aicude’AvIMAN / ON Monkeys, ILLUSION AND THE Moon Before the analysis of the paintings, it is imporeant to understand the historical evolution of Zen ink painting, from ies early stages up to Hakuin and Sengai’s time. The Zen ink painting tradition began, 4s mentioned above, following the importation of Zen Buddhism from China at the beginning of the Kamakura period (1185-1333). ‘The ties between ink painting and Zen in Japan went through an interesting process of evolution and change over time. A tendency towards professionalization began alteady during the Kamakura and the beginning of the Muromachi periods, escalated during the Muromachi and Momoyama periods and reached its peak during ‘the Edo period, Hakuin and Sengai’ time. The links that began with Ther is another term, Oshé-y6 (AHH), meaning ‘Monk's painting syle, indicating Mokke’s painting style in general. On Mokke see also Fontein and Hickman, Zen Painting and Calligraphy, 28-29 and Dictionary of Japanese Art Terms, 621377. 4 For more on this pa Paintings, 15-21. and on Mokkei, se Barnet and Burto, Zen InkFigure 1: Mokkei (Ch. Mu-qi), Kannom, Monkey and Crane, Kamakura Peviod (thirteenth century), triptych of hanging scrolls, ink and slight color on silk, lef scroll: 173.9 x 99.3 em: center scroll: 1724 x 98.8 em: Fight scroll: 173.9 x99.3 em, Daitokji, Kyoro. National Treasure. ‘the scolls depicted in ink on paper are 155.6 115.0 em each and are kept in Ryusen-an, Kyoto, For more on Hasegawa Tahaku, see Mason, History of Japanese Art, 225-228, There ate additional paintings by Hasegawa Tohaku depicting ‘monkeys in the same manner, such as ‘Monkey Reaching for the Moon which is a four panel sliding door at the Konchiin temple in Kyoto; Mason, History of Japanese Art, 226227.Figure 2; Hakuin Ekaku, Monkey (S162), one of pair of hanging scrolls ink ‘on paper, 117.3 x 574 em, Fisei-Bunko, Tokyo.Figure 3: Sengai Gibon, Monkeys Ting Cach the Moon (EAR FZ), hanging serol, ink on paper, 97.5 x 36.3 cm, Idemitsa Muscum of Art.Japan Stupigs AssociaTION JouRNAL 2010 very sketchy and caricature-like, which contributes to the comical expression of the paintings. Hakuin and Sengai’s paintings are much more playful and humoristic; they are simplified and even seem amateurish compared with the other, earlier, example. Halain and Sengai’s artwork expresses a general tendency towards a freedom from the traditional conventions, through simplification, abstraction and caricaturization of the theme. The details and elaborations of technical skills of traditional Zen ink painting were replaced by looseness and freedom of expression. ‘This looseness and freedom of expression is, in face, part of a whole outlook of freedom deeply rooted in the thought of Zen Buddhism. ‘One of the recurring themes throughout the literature of Zen Buddhism is the Zen tendency to reject the Buddhist canon. This tendency is not a mere rejection of the Buddhist scriptures, bur in fact part of a general attitude of freedom towards authority and tradition in general, expressed in its different forms in the paintings of Hakuin and Sengai. This general attitude is so significanc that it affected both the lives and the arework of the monk-painters and it is, therefore, imbued in the arcwork and is expressed through both content and form. A full discussion of freedom in the art work of Hakuin and Sengai in particular, and in the thought of Zen Buddhism in general, isbeyond the scope of this paper. My focushere is on the monk-painters’ particular attitude towards their artwork, as one of the manifestations of the general attitude of freedom. ‘The difference in expression of Hakuin and Sengai’s depiction of the monkey isillustrated through an examination of the iconography of che paintings, as well. Looking closely at Sengai’s depiction of the monkey, one can see that the monkey is in fact stretching his arm forward in an attempt to reach something. Carefully reading the inscriptions of both paintings by Hakuin and Sengai, one realizes thae the image of the monkey is in fact connected with a specific narrative of the monkey attempting to grasp the moon reflected upon the water. I do nor wish to claim that the early depictions of « For full discussion of freedom in Hakuin and Sengai’s artwork see Aviman, “A Free Accieude’,Avian / On Monkeys, ILLUSION AND THE MOON the monkey, prior ro Hakuin and Sengai’s time, lose theirassociation with the Zen Buddhist context completely over time. I do, however, wish (0 stress that Hakuin and Sengais free attitude, and their emancipation from tradicional patterns and conventions, is reflected in their paintings chrough free and amateurish expression and therefore with less concern with creating technically highly skilled Paintings, like che early traditional paintings. This theme of the ‘Monkey Trying co Catch the Moon’ or Enkésokugetsu (S348 AQ) in. Japanese, is based on a story which can be traced back to the earliest collection of Buddhist wrieings, the Frpitaka? In che seventh chapter of the first part of the Tripizaka, the Book of Discipline’ (Vinaya Pitaka), there isa story told by the Buddha in order to criticize his cousin Devadatea. Devadacta, who ‘as jealous of the Buddha and his success attempted to kill him (on several occasions, eventually falling into hell! The story of the monkeys was told by Buddha to his disciples: Five hundred monkeys ‘wandering in the forest see a well with the reflection of the moon in it. The monkey's leader arranges all five hundred monkeys, hand to tail, while he, as the firse in the chain, holds a branch in order to catch the reflected moon, However, due to the heavy weight, the branch breaks and all five hundred monkeys fall into the well? The story is usually incerpreted as an allegory of a deluded etson who, taking the seeming for the real, arcempts to reach what 7 The most common version of che Triptake is Taisho Shinsit Daeilya ( TESFHEAEHE), popularly known as Taishé Tripiebe, a modem standardized «dition published in Tokyo in the late 1920s. On the origin of the story se also Furuta, Sengai: Master Zen Painter, 257. * On Devadatta attemps to kil ehe Buddha and on his end filling into hell, see Conze, Buddhist Sripture, 58. » The name of the text where the story is Found in Japanese is Maka-sgiisu (S820; Mahasimghika Vinaya in Sanslrt). Here i is quoted from the ‘Chinese Buddhist Electronic Text Astociation (CBETA) on the net: hep://wns cheta.org/esule/normal/T22/1425,007-hem (acessed June 10,2010) REMRTHERR, HTD, H— AO, BPI. Te WARS, MREILAR, RINE. AS BRERA, WI He, PHAR RENAL, SCRE ET. R TMH, BPRS, THEE, BUR MIER, UAE, MAEM, TAT. BPG REMEROAN 2 RIE, RE K, RR, BRERAJAPAN STUDIES ASSOCIATION JOURNAL 2010 is beyond his reach and to grasp the unattainable; an illusion that leads to frustration and failure. The monkey who mistakes the moon reflected upon the water for the real moon is an allegory for the unenlightened mind deluded by mere appearances." “The relation between monkeys and delusion can be found in several Buddhist terms, such as chiko (J8€4%), which means ‘a deluded monkey’: “The deluded monkey seizing the reflection of the moon in the water, eg. unenlightened men who take the seeming for the real.”" Another Buddhist term that is related to the monkey's mind is shinen ($8) and means ‘monkey-like mind, referring to “the mind as a restless monkey in its pursuit of objects of desire’. ‘The association of the monkey in Hakuin's painting (Figure 2) with the specific narrative of the monkey attempting to grasp the moon is revealed in the inscription of the painting. The full inscription reads as follows: ‘The monkey seeks for the moon in the water Continuously til death, Ihe were to let go of his hand, he would sinkin che deep spring. ‘The Ten Dicecrions light, a graceful brightness.” " See also Furuta, Sengais Master Zen Painter, 257 and the Hanazono University Hisorical Museum, Haun: Zeng to Bokusei, 62 The Digital Dictionary of Buddhism: hhecp://buddhism-dict.ner/egi-bin/xpr-ddb pl276.xml4+id('b7661-7334") (accessed June 10, 2010). Accordingo the dictionary, chit the ‘deluded monkey’ sizing the reflection of the moon in the water is mentioned in another Buddhist text called Make shikan (IE4JEHY), which is major exe of the Tendai school ( FRR) of Buddhism, ® "The Digital Dictionary of Buddhism: heep://buddhism-dict.nec/cgi-bin/xpr-ddb.pl25£.xml+id(‘b5fc3-733"") (accessed June 10, 2010). ° My translation is based on the Japanese verse which appears in laumi and Mizukami, Suibokuga no yoshi 102: SEM, AK HRD , FECES CORA UF. FEATHERS, THO, RIED. The inscription is nally written in the Chinesesyle poems SERRE A / S775 NK/ M0 L/L Is HEWEWR. “The Ten Directions: “(J Jippou: --I5) the four cardinal directions, che four in-between directions. and up and down": Hori, Zen Sand,714, For another translation into English ofthe full insription, see Miura and Sasaki, Zen Dust, 123.AvIMAN / ON Monkeys, ILLUSION AND THE Moon Hakuin did not intend to simply depict another traditional monkey. His monkey has a profound meaning and it symbolizes important Zen Buddhist ideas that he wishes to transmit through his painting, ‘Letting go’ is shown to be a central concept by Hakuin’ inscription. He uses ic in two senses, the literal meaning. of the monkey releasing his hand from it grip on the branch of the ‘ree, and the allegorical meaning of neglecting an idea or giving up a desire for something." Ic is imporcane to notice that in this specific example Hakuin does not even reveal his intentions. He attracts his viewers’ eyes by Using an image that has been known for generations. He emphasizes the image in his painting, which occupies most of the scroll in a way that gives it a significant place in this work of art. In spite of the significance of the inscription, Hakuin weakens its presence by ing light ink for the Chinese characters and by assimilating them Within the image as if they were par ofthe branches; the Chinese characters are writen in the cursive style and lie very close to the falling branches of the tree, while one of the branches is even depicted on top of one of the characters. Asa result, when looking at the painting from a distance one can mistake the written characters for the branches of the tree and one can easily ignore the inscription. Inaddition, the moon in his painting is omitted and remains outside the scroll’ frame, which leaves che viewer without an obvious clue relating his painting co the Buddhist story of the monkeys grasping at the moon, At the same time, as mentioned above, Hakuin's monkey is much more playful and amateurish in its expression. In this way, Hakuin makes use of the traditional visual language in his own free and untraditional way and with less concern with creating a technically highly skilled painting, like chose of the the early Muromachi period. For further discussion of the inscription and its relation with the Zen Budahise context see Aviman, “A Free Atitude”, 95-101. * Not al of Hakuin’ paintings on ths theme omit the moon. In this specific cxample, however, che association of the image with the specific narrative of the "monkey attempting to grasp the moon isnot obvious, probably ~ as I suggest ~ in order toateract the viewers eyestothe well-known traditional image of the monkey,JaPan SruDIES ASSOCIATION JOURNAL 2010 “The inscription in Sengai’s painting (Figure 3) emphasizes the meaning of his monkey further and clarifies that it is not merely another version of the traditional long armed monkey. The inscription, which is written along the left side of the scroll, reads: ‘To what shall we compare this world of ours? Aronkeys arms: Oneis stretched out ‘And che other ges shorter!* Sengai describes the idea of trying to achieve the unattainable as an existential problem. We can never fully gain what we desire; even if ‘we gain something on the one hand, we lose it on the other. Sengai presents the inherent problem existing in desire itself. Grasping’ in itself isa problem, when one is not able to ‘let go’ of holding on to some idea or conception, Through this desire, one loses something clse,an experience chat we ll undergo in this world of ours, as Sengai implies in his words, “The monkey in Sengais painting has a specific meaning, although this may not be obvious at fist glance. Sengai transmits a Buddhist :message that is important for him to convey while using the familiar image of the monkey and the accepted traditional ink painting technique and style. Ie is important to note that in spite of the centrality and significance of the contentand text of his artwork, the image itself has a place of honor in Sengai’s painting. The inscription that accompanies the image is visually assimilated with the lines and. strokes of the image; the Chinese characters are written in round strokes, which are similar co the round strokes of the image (che monkey's arms, the moon and so on), Sengai brings the inscription inco the boundary of the image; using round strokes, he integrates it with che image in a way that creates a strong bond beeween the text and the image of his painting, In this way, Sengai acracts the eyes of the viewers, which are used to the traditional seyle of ink painting his own painting in order to transmit Zen Buddhise ideas, 16 The translation is taken from Furuta, Sengal: Master Zen Painter, 124. In Japanese: HED PEA MS IRD DEE BUTI E IL,Aviaan / ON Monkeys, ILLUSION AND THE Moon Both Hakuin and Sengai put less emphasis on the details and elaborations of technical skills chat are mote characteristic of tradicional painting; the message of their arework is more important to them. Their paintings, therefore, express looseness and freedom from the traditional patterns and they use the traditional visual language as a means to transmit their Zen Buddhist message, ‘The precedence of the religious world over the world of art is expressed not only through the arework of Hakuin and Sengai, Ie is also reflected in their lives, as will be shown through the following stories and anecdotes, Hakuin was born in the small village of Hara (i), today the city of Numazu (227), near the foot of Mount Fuji. He began his religious path atthe age of fifteen (1699), when he lef his home, moved to Shinji and became a monk. He continued on the religious path and left the monastery to go on pilgrimage, but soon after he left he began to doube his religious calling.” Hakuin decided to turn his attention to the study of painting and calligraphy and the composition of Chinese poetry. “I would try to arn universal praise as one of the master artists of the age”, Hakuin wrote in his autobiography.” This may be considered the period when Hakuin established the foundation of his artistic skills and developed his technical abilities in both calligraphy and painting Nevertheless, this petiod did not last long. Drawn by stories ofa monk who was famous in the field of poetry and letters, Hakuin travelled to Zuiunji (Hii %) in the province of Mino (32%) in 1704." There he could improve his skills in poetry. Several years after that, however, following an event that occurred in 1706 (aged ewenty-rwo), Hakuin realized that even ifhe attained " As described in Hakan’ biography, which was compiled by his disciple Tei Enji (1712-1792): "He closed the book with sigh.,he began co doube the means ‘employed in Zen’s ‘special eeansmision ouside the sripare”: The quotation is taken from Waddell, “A Chronological Biography" no 1, 108. The Lous Sutra (3 VEE; Hokekys) is one of the most mporeane documents of Mahayana Buddhism, The sura consists of rwentycight chapters of che historical Buddha’ preachings spanese ~ Englith Zen Buddhist Dictionary, 221) See also Watson, The Lotus Suse, ™ Waddell Wildy, 19. "The monk’ name was Bab (Hh; 1629-1711), the founder of Zutnji ("A ‘Chronological Biography” no. 1,105).Japan STUDIES ASSOCIATION JOURNAL 2010 a high level of skill in poetry, it still would not bring him peace of mind. He understood that developing one’s spiritual and mental abilities was more important than developing the technical skills of a painter ora calligrapher. “This pivotal event took place during one of his visits to Shojiji (ZE%%%#) in 1706, where Hakuin participated in a memorial feast given atthe residence ofa high-ranking official. The host brought out collection of hanging scrolls, among them a piece of calligraphy by a famous Rinzai priest of the time.” Hakuin was greatly impressed by the scroll. “This is the product of truly enlightened activity’, he ‘wrote in his autobiography, oras Térei, Hakuin’s disciple, explained: “The brushwork was unstudied, almost offhand. There was no evidence of any great or unusual skill. The master was elated as he realized thatthe ‘merit ofthe calligraphy, ehe quality which commanded such respect, had nothing whatever to do with the skilflness with which ic was written, ‘Affe that he gave literature, painting and calligraphy a wide berth and focused his energies solely onthe practice ofthe way.” ‘Afer realizing this, Hakuin burned all the artwork he had done upto chen, as Hakuin describes: “I took them out into the cemetery, pur them in frone of one of the egg-shaped tomb-stones, and set fire to them, [watched until they were completely consumed by the flames”? This story can be viewed as an important turning point in Hakuin’ artistic activity, illuminating the disection chat Hakuin’s artistic style would take in che future. Hakuin, as noted above, returned to painting only in his sixties and he continued to paint until his death at che age of 84 (1768). Already early in his life Hakuin realized that developing one’s spiritual and mental abilities ‘was more important for him than developing the technical skills ofa painter or a calligrapher, and therefore, although he received a basic training as a painter he chose the religious path and returned. to painting only when experienced and spiritually trained. ® His name was Daigu Sochikeu (KWUA&2: 1584-1669). For more on the priest, sce Térei Enji, Hakuin Osho Nenpu, 85 and Waddell, Wild ivy 133 n,50. ® Waddell “A Chronological Biography" no. 1, 114. ® See Waddell, Wild iey, 23-24Aviman / ON Monkeys, ILLusion AND THE Moon In the case of Sengai, we do not have a written aucobiography ‘or biography as in Hakuin’s case, yer, it is commonly agreed that Sengai was born in Mino (382%) province, in the south central pare of today’s Gifu prefecture (1.3). In 1760, a the age of eleven, Sengai le his house and became a monk at Seitaiji temple (i482), not far from his birchplace—present-day Mino City. In 1768, at the age of nineteen, Sengai left on his frst pilgrimage. He traveled around Japan and studied under different Zen masters until his arrival in 1788, at the age of thirty-nine, at Shofukuji temple in Hakata city on Kydshi, where he became the head priest of the cemple. Most of our evidence for Sengai’s relation to the world of art and for the place of painting in his life is his artwork, Sengai did not regard himself as a painter. In one of his paintings of the view from the Tokian hermitage, which seems at first glance to be a mere landscape painting, Sengai writes in the last part ofthe inscription: ‘This play of mine with brush and inkstone Neither calligraphy nor painting. Mingling with ordinary people’ felings— escalligraphy, ie’ painting.” Sengai’s ‘play’ with brush and inkstone can indeed be misunderstood. IF we fall into the ordinary way of thinking, this 2 The ewo most important sources of Sengai’s writings, rom which we can tther information on his ife,too, ate The Manuscripts of Pris Sengai (Sengai Osb6 ‘ke; {FE FRSA) compiled by Kuramitsu Daigu (E223) in 1931, which ince poems nseripions, prose and ewes wteny Sena The cher souces 21992 edition by Nakayama Kiichiré ("PLL 38) which includes most of the ‘rings compiled by Kurata gtr with evo atonal chapers on Seg life and art. The paincing, created in 1823, i called "Tokian; HERWIE’ and ic is eld by the Idemitsu Museum of Art. See Furuta, Sengai: Master Zen Painter, 114-115. “This hermitage, which was founded by Sengai’s teacher, the priest Gessen Zenne (1702-81), was the place where Sengai stayed for thirteen years, under Gesse’s suidance. My translation. For two other translations to English see Furuta, Seng? ‘Master Zen Painter, 114 and Suzuki, Sengai,25. The last cwo lines are interpreted differenely by che ewo other translations. ‘Ninj@; Ait has soe ang and istranslated here a “the ordinary people’ feelings and/or way of thinking” rather than "nde avn Furuta Ina Chnetestyle poem: SSCAR/ ESE BAHAIJaran STUDIES ASSOCIATION JOURNAL 2010 activity may indeed be regarded as simply calligraphy and simply painting, Indeed, a cursory firse glance at che painting, wichout reading the inscription, could easily cause one to think it is another landscape painting that simply follows the Zen ink painting tradition. However, in his inscription Sengai leaves no room for doubt and scares clearly: “This play of mine with brush and inkstone is neither calligraphy nor painting, (‘hisho-higa; ##H:3# TH). In another painting, Sengai emphasizes to an even greater degree that his attitude rowards his paintings differs from that of ordinary people towards their paintings and he distinguishes his paintings from ordinary people's ones: “Worldly peoples paintings and works of calligraphy are like a beautiful they don't like to be laughed at by people, ‘Sengai’s paintings and works of calligraphy are like a caricature— they are pleased with people’ laugheer* Sengai did not paint for the sake of art; he had no intention of creating beautiful paintings. His paincings are like caricatures and as, such, the laughter of people viewing his paintings is pleasing, Sengai did not regard himself as a common painter, who probably would be concerned with the appearance of his paintings in terms of ordinary stylistic conventions, in the same way that a beautiful woman who takes herself and her beauty seriously would be concerned with her appearance.* Sengai was well known and loved by the people of Hakata, the city where he lived for almost fifty years. People used to come to Sengais temple asking for his paintings and calligraphy. In a ® My translation, The Japanese verse is taken from Izumi and Mizakami, Suibokuge no kos, 97: EAOBBISBADIML, ADS EHS, HE ILRI L, ADS ABT, For the full inscription as a Chinese- syle poem, sce Fuloka-shi Bijutsukan Kyokai, Sengai cen, 177. The painting is called: ‘Crane and Tarde; tsuru kame zu HAR" and itis held by the Idemiesu ‘Muscum of Art °For further discusion ofthe attitude towards beauty and painting in Hakuin and Sengaisareworksee Aviman, “A Free Attitude’ 103-113, For farther discussion ‘of humor in their arework see Aviman, ‘A Free Attitude’, 133-145,Avian / ON Monkeys, ILLusion AND THE Moon, caligrphy held in the Idemitsu museum’ collection called Family Precept (Kakun; SEA), Sengai wrote: How deplorable! Ismy house of seelusion Aroiler? Every visitor [receive brings Picces of paper and leaves them here.” As we can see, although both Hakuin and Sengai at some Point in their lives were engaged in artistic activities, they were not professional artists. From a young age they devoted themselves to the religious path; they were primarily monks, not attists. For both Hakuin and Sengai che message they conveyed through their paintings was the important and significant aspect. At the same time, one can not ignore the fact that both Hakuin and Sengai made significant use of a technique with a long tradition which they acquired early in cheir lives and that they practiced in order to express their message. For both, from their sixties onward, paintings and calligraphy played an imporcane role in thet lives and became a significant mode of expression for them, The art work of Hakuin and Sengai is an outcome of the encounter between the religious world and the artistic skills of the ‘monk-painters, as shown through their paintings and biographies, Both Hakuin and Sengai devored themselves to the religious path and were not professional artists. It is clear, therefore, that the religious world was dominance in theie lives and thus both the texts and the images integrated in their paintings were strongly influenced and affected by their religious world, At the same time, they are part of a long tradition of Zen ink paintings; they use the same techniques of ink painting, they portray many traditional themes with a specific iconography, and they follow, at lease partially, che style of painting of this tradition. They used the visual language The translation is taken from Furuta, Sengais Master Zen Painter, 202. In Iepaneses 15 58 US DANK NRIEGMD SALE CARI THC" For more on this calligraphy see Furuta, Senge, 183; Tj, Now ijuase zenshit, 176: Hisamatso, Zen to gejusu, 289; Stevens, Zeng Bruhsrokes of Enlightenment, 13.JaPAN STUDIES ASSOCIATION JOURNAL 2010 of this tradition in a most significant way. At times, as shown, the image is emphasized even more than the text and inscriptions. The traditional image holds a place of honor in their paintings. However, there is a break, sometimes even intentionally, with the patterns of the visual tradition of Zen ink paintings, resulting in an authentic free expression reflected in both the form and the content of the paintings. The visual language is in fact recruited in a sophisticated ‘way in order to transmit their Zen Buddhist ideas, so that che visual language becomes an integral part of the content of their artwork. Although Hakuin and Sengai’ artwork is regarded as pare of the Zen ink painting tradition, i is important to identify the fact chat they were at the same time free of this eradition, in the way they applied Zen Buddhist ideas to cheir paintings and in the way they laid che main emphasis on the content of their paintings and were less concerned with performing their highly skilled technique. 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