达鲁马的肖像 - 美国大都会艺术博物馆展品查阅

品名（中）	达鲁马的肖像
品名（英）	Portrait of Daruma
入馆年号	2015年，2015.500.9.9
策展部门	亚洲艺术（Asian Art）
创作者	Unkoku Tōgan【1547 至 1618】【日本人】
创作年份	公元 1600 - 公元 1618
创作地区
分类	绘画（Paintings）
尺寸	图像: 39 1/2 x 14 1/8 英寸 (100.3 x 35.9 厘米)
介绍（中）	Daruma（梵文Bodhidharma的日语缩写发音）是禅僧画家最常见的主题之一。达鲁玛于公元6世纪出生于印度，被公认为中国禅宗的第一位祖师 Unkoku Tōgan对达鲁马的肖像是以完整的轮廓呈现的，这是一种有点不寻常的渲染，尽管在Sesshū及其著名的中国前任Muqi（活跃到1279年）的幸存作品中存在先例。通常，佛教圣人以四分之三的侧面或全正面呈现。由于达鲁马来自印度，他不可避免地被描绘成南亚人，多毛，鼻子隆起。在这里，他的头盖骨的轮廓，从脖子后面到鼻孔的曲线，被巧妙地用一个单一的调制笔画描绘出来——这是后来其他艺术家对这位僧人的许多墨迹描绘的标志。面部表情是用最经济的笔触捕捉的。细长的耳垂和耳环象征着与历史悠久的佛陀的联系，佛陀出生于皇室，因此佩戴了珠宝。长袍的轮廓以大胆的、近乎书法的线条呈现。主人的身影基本上保留了下来，除了他蓬乱的头发和胡须的灰色线条，在周围的灰白色背景下形成了一个无定形的空白空间——不是黑暗，不是明亮的天空——什么都没有 Tōgan是一位在卡诺工作室接受培训的艺术家，他将自己定位为中国水墨画传统的继承人，其风格为T \333ō; y 333; Sesshū（1420–1506）。Tōgan出生于长崎的一个富裕的武士家庭，最终搬到山口县，担任森特鲁本的官方画家。当Tōgan住在山口时，他被允许住在曾被Sesshū占用的寺庙建筑Unkokuan，"云谷中的隐士"。Tōgan通过自己宣誓并沉浸在对Sesshū的研究中，创作了许多受禅宗启发的作品。
介绍（英）	Daruma (the Japanese abbreviated pronunciation of the Sanskrit Bodhidharma) was among the most common subjects for Zen monk-painters. Born in India in the 6th century A.D., Daruma is recognized as the first patriarch of Chan (Japanese: Zen) Buddhism in China. Unkoku Tōgan’s portrait of Daruma is presented in full profile—a somewhat uncommon rendering, though precedents exist in surviving works attributed to Sesshū and his celebrated Chinese predecessor Muqi (active until 1279). Usually the Buddhist saint is presented in three-quarters profile, or in a full-frontal view. Since Daruma came from India, he is inevitably rendered as South Asian, hirsute, and with a bulging nose. Here the outline of his cranium, from the back of the neck to the curve of the nostril, is skillfully rendered in a single modulated stroke—a trademark of many later ink renditions of the monk by other artists. The facial expression is captured with the utmost economy of brush strokes. The elongated earlobes and earring serve as a signal of a connection to the historic Buddha, who was born into a royal family, and thus wore jewelry. The outlines of the robes are rendered in boldly brushed, almost calligraphic lines. The figure of the master is left mostly in reserve except for the grey lines of his shaggy hair and beard, silhouetted against the surrounding in gray wash that creates an amorphous blank space—not darkness, not bright sky—just nothing. Tōgan was an artist trained in the Kano atelier who positioned himself as an heir to the legacy of Chinese ink painting in the style of Tōyō Sesshū (1420–1506). Born into a wealthy samurai family in Nagasaki, Tōgan eventually moved to Yamaguchi to serve as an official painter for the daimyō Mori Terumoto. While based in Yamaguchi, Tōgan was allowed live in the temple building Unkoku’an, “Hermitage in the Valley of Clouds,” once occupied by Sesshū. By taking Buddhist vows himself and immersing himself in the study of Sesshū, Tōgan created numerous Zen-inspired works.