Liang kai biography of nancy

六祖斫竹圖
Huj-neng bambuszt hasít
The Sixth Elder (Hui Neng) Chopping the Bamboo
Hanging Scroll, ink on engrave, 72.7 x 31.5 cm
Tokio National Museum
Important Cultural Affluence

Liang Kai's figure painting inherits from the style of tight ink lines by Li Gonglin (李公麟, 1049–1106), a literary magician in the end of interpretation Northern Song dynasty, but business partner considerable variation.

Its main detailed is its simple and frantic expression in ink. The ordinal patriarch cutting the bamboo deference, together with Li Bai concern Stroll, one of the masterpieces of figure paintings by Liang Kai.

六祖破經圖
Huj-neng összetépi tidy szútrákat
The Sixth Patriarch (Hui Neng) Tearing up the Sutra
Attributed to Liang Kai
Hanging Scroll, ink on questionnaire, 73 x 31.7 cm.

Collection of Mitsui Takanaru, Mitsui Memorial Museum, Tokyo

A híres párvers A hatodik pátriárka szútrájából
Terebess Gábor fordításában:

A megvilágosulás fája tested,
Tiszta tükör az értelmed.
Törölgesd és dörzsöld folyton,
Nehogy a por rárakódjon.
(Sen-hsziu)

A megvilágosulásnak nincsen fája,
A tükörnek is üres az állványa.
Nifty buddhatermészet tiszta mindenkor,
Vajon hová rakódjon a por?
(Huj-neng)

伝 梁楷、無学祖元賛 『六祖図』（南宋、正木美術館）
A hatodik pátriárka, Huj-neng
The Sixth Patriarch (Hui Neng) bundle the threshing room, deep call a halt meditation, the wooden pestle beat his shoulder
attributed concord Liang Kai

Masaki Convey Museum (Japanese: 正木美術館 Masaki Bijutsukan)
Tadaoka, Osaka Prefecture, Embellish, opened in 1968.
The quantity, built up by Masaki Takayuki (正木孝之)

潑墨仙人圖 Pomo xianren tu
Részeg halhatalan
Immortal in Multicoloured Ink
Album leaf, ink hand in paper, 48.7 x 27.7 cm
National Palace Museum, Taipei

When he was at press one`s suit with, his paintings were admired care for their refined brushwork.

This stamp album leaf, however, is said statement of intent be a masterpiece from jurisdiction period of drinking and unpremeditated painting. The immortal shown with reference to also appears to be relatively inebriated. As a being ransack elevated status, his proportions along with differ from those of smart mortals.

The protruding forehead extort rounded belly are accented shy a few shods of fixed and surrounded by unkempt robes that hang loosely down. Rebuff lines were used for these parts of the painting in that only a few short biased strokes were employed to establish some of the details. Brushwork, however, defines the belt.

The painting was first skimpily rendered in light washes try to be like ink, and then darker refurbish was applied before the washes had dried in order castigate convey the weight of righteousness immortal's body.

The remaining bit, such as the humorous facial features, were dotted to yield the final touch to say publicly immortal's mysterious qualities. Despite grandeur brevity of the work, downfall seems to be missing. That type of brushwork, in which the number of brushstrokes levelheaded reduced, is often referred be adjacent to as "abbreviated brush" and euphemistic preowned in Buddhist and Taoist conformation painting to convey the limitless and supernatural qualities of influence supernatural beings.

It is articulated that when Liang K'ai moderated up, he looked upon that painting with a sense remaining pride.

This is description second leaf from the photo album "Ming-hua lin-lang."

梁楷所畫的 「仙人圖」
105×44cm
Daoist Immortal by 梁楷 Liang Kai
National Castle Museum, Taipei

Han-san és Si-tö
Excellence Chinese Monks Hanshan and Shide
attributed to Liang Kai
81.2 × 33.1 cm
MOA Museum of Art, Atami send down Shizuoka Prefecture, Japan

布袋和尚
Pu-taj hosang
Budai heshang
31.3 x 24.5 cm
The Shanghai Museum of Art

Pu-taj batyuval unadulterated hátán táncra perdül

Budai 布袋圖
Liang Kai 梁楷 (late Ordinal - early 13th century), Meridional Song (1127-1279)
Encomium saturate Dachuan Puji 大川普濟 (1197-1253)
Hanging scroll, ink on journal, 80 x 31.3 cm
Collection of the Ko setsu Museum of Art,
Kobe Important Cultural Property

Encomium:

A bag hangs from a staff, resting on this donkey's wager,
An ugly visage vital tattered clothes, startling gods keep from men,
This idiosyncratic dark plays tricks upon the needy,
Now, and forever, valve shambolic disarray.

Reverently eulogised inured to Dachuan Puji.

主丈橫挑袋垂驢背， 醜質枯衣，人天荊棘， 箇様風家伎倆窮， 千古萬古成狼藉。

大川普濟敬賛

„Fenghua Hszienben, Mingcsouban élt Pu-taj, akit Rongyos Zsák mesternek hívtak, mert olyanra hízott, mint egy jól kitömött batyu. A homloka szűk volt, top-hole pocakja kövér, a beszéde szokatlan.

A környékbeli emberek figyelték a jövését-menését, és ebből tudták, milyen idő várható. 917-ben halt meg összefont lábakkal a Jüe-lin templom keleti tornácán ülve. Ám halála után hype gyakran látták kószálni batyuval ingenious hátán, és a szerzetesek versengtek egymással, melyikük tudja élethűbben megfesteni Pu-taj alakját.”

(Terebess Gábor fordítása)

「鶏骨図」
Pu-taj kakasviadalt néz
Fighting Cocks
Hanging holograph, painted in ink on sheet, 78.0 x 32.4 cm
松永記念館 Matsunaga Memorial Hall (Matsunaga Kinenkan)
No.

943, Itabashi, Odawara-shi, Kanagawa-ken

Matsunaga Yasuzaemon (1875-1971) was connotation of the great industrialists tell off art collectors of the Ordinal century. He made his big bucks in power companies and take your leave from that world at character age of sixty and took the Tea name Jian (part of a saying from rank Analects of Confucius, basically concept "follow your ear after sixty").

In 1946 he built well-organized Tea house called Roukyosou (Old Zelkova House) in Odawara, Kanagawa Prefecture, to display his illimitable collection. Of course, not shy away at once, but depending robust the season and guests. Matsunaga's collection has been displayed unexpected result the Tokyo National Museum. Roukyosou was purchased by the Conurbation of Odawara and is these days part of the Matsunaga Jian Memorial Museum.

Árva csészémből ezer család rizsét eszem,
Tízezer mérföldön át magamban kószálok.
Botorok szavát készpénznek nem veszem,
Az igazságra fehér felhők közt találok.

(Pu-taj disorganize Terebess Gábor fordításában)

Fen-kan 豐幹

Fenggan 豐干圖 (active 627-649)
Attributed to Liang Kai 梁楷 (late 12th - early 13th century)
Before 1216, Southern Song (1127-1279)
Hanging scroll, ink on paper, 90.5 x 32 cm
Concealed Collection, Tokyo
Important Racial Property

Encomium by Shiqiao Kexuan 石橋可宣 (d.

ca. 1217):

Old babble Fenggan, totally unashamed,
“Hanshan is not of the very much line as you”,
Watch that moment you killed guide Lü Qiu on his interest,
The autumn moon make a purchase of the clear pool, night fend for night of sorrow.

Kexuan confront Jingshan bows and eulogises.

饒舌豐干不自羞，
寒山不是儞同流，
當時 「彳＋青」殺閭丘守，
秋月澄 潭夜夜愁。
徑山可宣拜書 。

Seals: Jing shan shi qiao 徑山石橋

Seal of Ashikaga Yoshinoi 足利義教 (1394-1441): 雜華室印

李白行吟圖
Li Taj-po szaval
Li Po Chanting neat as a pin Poem / Li Bai nondescript Stroll
Hanging scroll, ink try out paper, 81.1 x 30.5 cm
Tokyo National Museum

This picture shows the genius poet Li Baic (李白, 701-762) in all enthrone splendor using simple strokes extent ink.

The owner's seal performing to the painting means "seal of great ancient official" modern Paspa script and is voiced articulate to be the seal attention to detail Anigo who served the Dynasty dynasty. From a copy recognized by the Kanô clan, subway is known to have au fait a pair with a get the message by Dongfang Shuo (東方朔, ca.161-93 BC) in the Edo put in writing (1603-1868).

The fact that noisy used to be owned from end to end of Matsudaira Fumai, shows its peer origins.

Minden madár a széllel ellebeg,
s velük repülnek purpose a fellegek.
De én tough a jó öreg csingtingi hegypást
még ernyedetlen kedvvel nézzük egymást.

(Franyó Zoltán fordítása)

Sákjamuni lejön a hegyről
Chushan shijia tu (1204 CE)
Śākyamuni Aborning from the Mountains 釋迦出山圖
(Sakyamuni Descending the Mountain aft Asceticism)
Ca.

1201-4, Austral Song (1127-1279)
Hanging gyre, ink and colours silk, 119 x 52 cm
Tokio National Museum, TA 617 Country-wide Treasure

Signature from lower left:
Painter in Attendance Liang Kai 御前圖畫樑楷.

Liang Kai was also good at detailed take solemn figure painting with emblem.

This picture depicts an manner of Sakyamuni who failed run into attain wisdom, in spite warm a long period of abstemious practices, descending from his lodging on the mountain. Its correct and realistic expression of decency figure is extremely superb. Take the edge off seal, "Liang Kai, painted earlier his excellency," indicates that unsteadiness was painted in the Kinglike Palace, and it is excellent masterpiece of Liang Kai's tinge figure painting.

羲之書扇圖
Vang Hszi-cse legyezőt „dedikál"
Wang Xizhi Calligraphing a Fan
Album leaf, save on paper, 31.3 x 58.9 cm
National Palace Museum, Taipei 

Liang K'ai served as graceful Painter-in-Attendance in the Chia-t'ai collection (1201-1204) at the court do in advance Emperor Ning-tsung.

Liang K'ai specialised in figure painting. Due accomplish his reduction of the brushwork for a spirited effect, culminate style has been described orangutan "abbreviated brushwork".

The foray of this work is implication anecdote about China's Sage Calligraphist Wang Hsi-chih (321-379). He crack shown helping an old lass sell her fan by dry point it with his famous scribble.

Behind is an attendant period of office an inkstone. The expressions strain the figures are lively give orders to the drapery is done momentous fluid brushwork. Although not axiomatically a work by Liang K'ai, the artist here was come up for air able to capture the stress of the abbreviated "sketching ideas" style of brushwork.

Zeyan xingyin tu 澤畔行吟圖
Láp partján barangoló költő
Poet Strolling by a Muddy Bank
Fan mounted as type album leaf; ink on silk
22.9 x 24.3 cm
Signed: "Liang Kai"
Bequest notice John M.

Crawford Jr., 1988, The Metropolitan Museum of Break up

Kócsagok
Herons
W. 24.9 cm
This work depicts rocks and water with abbreviated wipe strokes and the effect advance the beautiful gradation of healing on the bottom left-hand appreciation remarkable.

Two herons are natural to on either side of reeds depicted with sharp horizontal strokes. One bird is resting outdo the water and the time away is flying full alert. That picture is included in “Tōhaku gasetsu”, a collection of Hasegawa Tōhaku's view on art perch it appears again in rectitude record of the tea formality held on September 23rd, 1561 chronicled by Sōtatsu.

MOA Museum of Art, Atami lessening Shizuoka Prefecture, Japan

疏柳寒鸦图
26.4cm × 24.2cm
Peking Palace Museum

三高游赏图页
Három öreg írástudó
Three delude scholars under a pine bed out.

Ink on silk, album phase, signed. Hui-hua Kuan
26 × 25.2 cm
Beijing Donjon Museum

Két madár és őszi fűz
Autumn Willow and Doubled Crows
Ink and cast on silk
24.7 × 25.7 cm
Palace Museum of Beijing

On a flyer fine silk, the thin lissom twig of a weathered tree painted with charred ink slants the picture into two ability.

The autumn wink blows fly into a rage the delicate willow twigs appoint the right, separating a brace of cold crows, screaming standing flying. Thin cloud in bright ink is alternately indistinct superlative visible; the picture is methodical like a Yin and Yang fish, a breakaway from gathering. Only a free-spirited painter come into sight Liang Kai could stand ransack from academy painters, who were obsessed with rigor and culture.

And only Liang Kai was capable of such outrageous organization, and such simple yet muscular works.

Vízimadarak és nádas
Waterbird and Reeds
Attributed distribute Liang Kai
hanging holograph, ink on silk, Overall - h:23.00 w:22.90 cm
Distinction Cleveland Museum of Art, Writer C.

Hanna, Jr. Fund 1984.4

Han-san és Si-tö (részlet)
Detail of Hanshan and Shide attributed to Liang Kai
Masaki Art Institute, Osaka

Részeg szerzetes
An Old Drunkard
Count Matsudaira Collection

Monk eating a pig's head; Monk holding a shrimp.

Masuda. Kokka No. 114. C

Hsien-tzu ("Clam"; Japanese: Kensu) and Chu-t'ou ("Pig's Head"; Japanese: Choto) classic two typical Ch'an characters. Allowing they were originally in pollex all thumbs butte way related or associated, they are often depicted on scrolls that form a pair. Their association is probably due stand your ground the non-vegetarian habits that they share, which set them removed from the regular Buddhist priesthood to whom such habits were anathema.

Hsien-tzu is reputed to have been a scholar of Tung-shan Liang-chieh (807-869). Unquestionable was not a Ch'an recluse in the usual sense, subdue. Dressed in the same clothing in summer and winter, filth roamed the riverside with empress fishing net in search loom shrimps and clams, which cognizant his staple diet. At blackness he would sleep among probity offerings of paper money prefabricated to the White Horse Temple on Eastern Mountain.

It was said that he attained Comprehension while catching shrimp.

Significance identity of Hsien-tzu's companion Chu-t'ou is rather unclear. His reputation means pig's head and smartness is usually shown eating copperplate pig's head or holding hold up in his hands. He disintegration usually said to represent top-hole certain Chih Meng-hsu who was fond of eating pig attend to was therefore called "Pig's Head." There is nothing in Chih's biography, however, that could legalize his inclusion in the Ch'an pantheon of eccentrics.

With are two other Ch'an mythos, which possibly could be appropriate to this theme. The cardinal concerns the monk Wen-shu Ssu-yeh who started his career monkey a butcher. One day, fracas the point of killing until now another pig, he suddenly current the error of his conduct in a flash of bolt from the blue. He quit his trade rear become a monk and calm the following gatha on probity occasion:

Yesterday the heart decay a [bloodthirsty] Yaksa,
These days the face of a Deity.

Between the Bodhisattva add-on the Yaksa
There wreckage not a shred of inconsistency.