"id","title","medium","classification","dimension","object_name","continent","country","culture","dated","room","style","inscription","signed","markings","text","description","provenance","portfolio","creditline","accession_number","artist","role","nationality","life_date","image_copyright","department","rights_type","image","image_width","image_height","restricted","public_access","curator_approved","catalogue_raissonne","art_champions_text","see_also","searchTerm","searchScore","list:highlights-of-japanese-art-paintings-and-prints","list:aib-2021-selections","list:handbook","related:audio-stops","related:artstories","list:chinese-art-highlights","list:himalayan-south-southeast-asian-and-islamic-art","list:highlights-of-japanese-art-sculpture-and-decorative-art","list:aampi" "122385","Bodhidharma","Wood; gold leaf, lacquer, crystal (eyes)"," Sculpture","23 × 14 1/2 × 10 1/4 in. (58.42 × 36.83 × 26.04 cm)","Figure","Asia","Japan",,"14th century","Not on View","14th century","","","","Bodhidharma was the Indian monk credited with transmitting Zen Buddhism to China in the 400s or 500s. He is thus worshipped widely as the patriarch of Zen. Originally, this figure would have been shown wearing a bright red robe, while the exposed parts of his body were covered in gold leaf. If you look closely you can make out the various layers of hemp cloth, lacquer, pigments, and gold leaf that once totally covered the surface of the carved wooden core. Over years of exposure in its original temple setting, the outer layers of gold and pigments have degraded, exposing the lacquer and hemp cloth below.","seated figure with legs crossed, hands clasped on lap; shroud over head draping over shoulders; clothing drapes over front knees; remnants of gold pigment; inlaid eyes","","From ","Mary Griggs Burke Collection, Gift of the Mary and Jackson Burke Foundation","2015.79.268","Artist: Unknown Japanese","Artist",,,"","Asian Art","Public Domain","valid",3600,4860,0,"1",0,,,"[""""]","Bodhidharma",15.291323,,,,,,,,, "8573","Bodhidharma","Ink on paper"," Paintings; Calligraphy","18 x 14 in. (45.72 x 35.56 cm)","Hanging scroll","Asia","Japan",,"c. 1645","Not on View","17th century","","signed: Fûgai","Jar-seal: Fûgai","","","",,"Bequest of Richard P. Gale","74.1.5","Artist: Fūgai Ekun","Artist","Japanese","Japanese, 1568 - 1654","","Asian Art","Public Domain","valid",4709,6054,0,"1",0,,,"[""""]","Bodhidharma",15.176403,,,,,,,,, "31321","Bodhidharma","ink and colors on silk"," Paintings","H.45-7/16 x W.14-3/16 in. (image)","Hanging scroll","Asia","Japan",,"20th century","Not on View","20th century","","Unread signature ?花","Unread seal in red: ?花","","heavy-set, nearly bald standing man wearing a grey drapery covering his entire body except his head, chest and feet; large, wide nose, scowling mouth, earrings, dark beard and chest hair and hair on top of feet","","From ","Gift of Donald Waldoch","99.182.10","Artist: Unknown Japanese","Artist",,,"","Asian Art","Public Domain","valid",1930,6221,0,"1",0,,,"[""""]","Bodhidharma",15.1675,,,,,,,,, "60219","Bodhidharma","Hanging scroll; ink on paper"," Paintings; Calligraphy","12 3/16 × 19 15/16 in. (30.96 × 50.64 cm) (image) 46 3/8 × 20 13/16 in. (117.79 × 52.86 cm) (without roller)","Hanging scroll","Asia","Japan",,"17th-18th century","Not on View","17th-18th century","","","","","head and shoulders of bald man with heavy beard, large eyes and long eyebrows; text at left; 2 seals in LLC, 1 in URC","",,"Gift of the Friends of the Institute's Teahouse Fund","2001.267.1","Artist: Daishin Gitō","Artist","Japanese","Japanese, 1657 - 1730","","Asian Art","Public Domain","valid",6695,4142,0,"1",0,,,"[""""]","Bodhidharma",15.1675,,,,,,,,, "31136","Bodhidharma Crossing the Sea","Ink on silk"," Paintings","21 1/2 x 15 9/16 in. (54.61 x 39.53 cm) (image)","Hanging scroll","Asia","China",,"1368-1643","G103","14th-17th century","Label","","Untranslated paper label, on outside of scroll","Executed primarily in fine line ink technique (Bai Miao), a Buddhist luohan or arhat is shown riding his walking staff through turbulent waves. He holds a flaming pearl in his right hand and peers over his shoulder at a dragon emerging from a bank of dark, threatening clouds. The affiliation of luohans and dragons comes from early accounts of the miraculous powers of the great patriarchs or Chan Buddhism to control dragons. Dragons were believed to affect rain and thunder and those who could summon dragons could share their power to make rain. Buddhist monks and Daoist sages were both thought to have wonder-working control over the powers of the universe. The swirling waves, clouds, and contorted dragon represent the forces of nature over which an enlightened follower of the Buddhist law (dharma) could gain mastery.","Man wearing a garment with folds, standing on an elaborate staff on rolling waves; man looks up into sky over his proper left shoulder and holds a small flaming ball in his proper right hand; drag in dark clouds at upper right","",,"Gift of funds from Joan Wurtele","99.17.2","Artist: Unknown Chinese, 14th - 17th century","Artist",,,"","Asian Art","Public Domain","valid",4832,6792,0,"1",0,,,"[""""]","Bodhidharma",12.209861,,,,,,,,, "116535","Bodhidharma, one of a pair","Ink and color on silk"," Paintings","67 7/8 × 19 1/8 in. (172.4 × 48.58 cm) (without roller ends) 37 5/8 × 14 9/16 in. (95.57 × 36.99 cm) (image)","Hanging scroll","Asia","China",,"13th century","Not on View","13th century","","","","Sakyamuni and Bodhidharma are compelling examples of the Chinese figure-painting tradition as it evolved in the late Song dynasty in the hands of professional artists. They are attributed to Yan Hui, an artist widely admired during his lifetime for the breadth of his artistry, but especially for religious imagery. Both paintings also represent important iconographies within the Buddhist tradition, presently underrepresented in the museum’s collection. Yan Hui championed a style of figure painting that was visually bold as well as emotionally charged. In these two works he deftly conveys the personalities of the two sages: the gentle, introspective Sakyamuni, and the aggressive, outward character of Bodhidharma.","male figure in lower half of image area, wrapped in red cloak that covers his head; large eyes gazing off to PR side; a hoop earring in each ear; closely trimmed beard","","From ","The Friends of Bruce Dayton Art Acquisition Fund","2013.34.2.2","Artist: Attributed to Yan Hui","Artist","Chinese","Chinese","","Asian Art","Public Domain","valid",3910,9884,0,"1",0,,,"[""""]","Bodhidharma",7.971213,,,,,,,,, "117960","Bodhidharma, from a triptych of Bodhidharma and Landscapes of the Four Seaons","Ink, color, and gold on paper"," Paintings","42 1/2 × 14 11/16 in. (107.95 × 37.31 cm) (image) 76 7/8 × 19 7/8 in. (195.26 × 50.48 cm) (mount, without roller)","Hanging scroll","Asia","Japan",,"1620s","Not on View","17th century","","","LRC, top, gourd-shaped intaglio; LRC, center, square relief; LRC, bottom, large square relief; L roller cap, white round sticker: [SJ/70]; L roller cap, bright yellow sticker: [E8]","At the center of this triptych of hanging scrolls is a portrait of Bodhidharma, known as Daruma in Japan, the Indian patriarch of Zen Buddhism credited with transmitting Zen from India to China in ancient times. At right and left are images of China—dramatic mountainscapes with Buddhist temples and gnarled old pine trees perched on the peaks, along with motifs representing all four seasons. The bold contour lines, solid shape of the mountains, and shallow representation of space are characteristic of Unkoku Tōeki, whose style was informed by the paintings of the revered medieval painter Sesshū Tōyō (1420–1520).","somewhat forlorn looking figure holding tattered red robe together in front of body standing with feet slightly splayed apart; looking outward towards PL; large, gold hoop earring in PL ear; shaggy eyebrows and beard; large open eyes; shaggy hair around temples but bald head at top; very long toenails","","From ","Gift of the Clark Center for Japanese Art & Culture; formerly given to the Center by Carol Brooks","2013.29.793.2","Artist: Unkoku Tōeki","Artist","Japanese","Japanese, 1591 - 1644","","Asian Art","Public Domain","valid",2845,8355,0,"1",0,,,"[""""]","Bodhidharma",7.9233623,,,,,,,,, "130109","Half-length Portrait of Bodhidharma","Ink on paper"," Paintings; Calligraphy","44 11/16 × 21 15/16 in. (113.51 × 55.72 cm) (image) 75 × 27 5/8 in. (190.5 × 70.17 cm) (without roller)","Hanging scroll","Asia","Japan",,"mid 18th century","Not on View","18th century","inscription URQ: 見性成佛 {kenshō jōbutsu} (Examining oneself, one becomes a buddha)","","red ovular intaglio seal ULQ: 顧鑑咦 {Kokan’i}; red vessel-shaped relief seal URQ: 白隠 {Hakuin}; red square intaglio seal URQ: 慧鶴 {Ekaku}","Bodhidharma: Hakuin Ekaku (1685–1769), a Zen priest and prolific amateur painter, is credited with reviving the Rinzai sect of Japanese Zen Buddhism after a long period of decline. Hakuin focused on meditation and paradoxical anecdotes or dialogues called kōan, the contemplation of which may lead to spontaneous awakening. Hakuin’s bold, sometimes humorous, and altogether unprecedented paintings, were an important vehicle for his teachings, which spread far beyond the monasteries and captured the minds of laypeople. In this work, he painted an imagined portrait of Bodhidharma, the Indian monk credited with transmitting Zen from India to China 1,500 years ago. The patriarch holds his hands before him underneath his robe and casts his gaze up toward four Chinese characters, 見性成佛, which —“look inside to become a buddha.” The four characters are from a poem, attributed to Bodhidharma himself, that gets at the central teaching of Zen, that all individuals already possess a buddha-nature and that through focusing inward through meditation, one may realize this and gain enlightenment.","sparse head and upper body of a man with long bristly whiskers and eyebrows; bald head; protruding eyes; large nose; one arcing horizontal wrinkle on forehead; four text characters in top URQ and three red seals; mount three different multicolored fabrics","","From ","The Mary Griggs Burke Endowment Fund established by the Mary Livingston Griggs and Mary Griggs Burke Foundation","2018.66.1","Artist: Hakuin Ekaku","Artist","Japanese","Japanese, 1685 - 1769","","Asian Art","Public Domain","valid",4553,9223,0,"1",0,,,"[""""]","Bodhidharma",7.660226,true,,,,,,,, "117959","Landscape of Summer and Autumn, from a triptych of Bodhidharma and Landscapes of the Four Seaons","Ink, color, and gold on paper"," Paintings","42 7/8 × 14 11/16 in. (108.9 × 37.31 cm) (image) 76 15/16 × 19 7/8 in. (195.42 × 50.48 cm) (mount, without roller)","Hanging scroll","Asia","Japan",,"1620s","Not on View","17th century","Mark, Seals, and Stickers","","top R side, when rolled, black pen: [Right]; LRC, gourd-shaped intaglio stamp; LRC, large square relief stamp; tip of L roller cap, white round sticker: [SJ/70]; tip of L roller cap, bright yellow round sticker: [E8]","At the center of this triptych of hanging scrolls is a portrait of Bodhidharma, known as Daruma in Japan, the Indian patriarch of Zen Buddhism credited with transmitting Zen from India to China in ancient times. At right and left are images of China—dramatic mountainscapes with Buddhist temples and gnarled old pine trees perched on the peaks, along with motifs representing all four seasons. The bold contour lines, solid shape of the mountains, and shallow representation of space are characteristic of Unkoku Tōeki, whose style was informed by the paintings of the revered medieval painter Sesshū Tōyō (1420–1520).","seaside village at L, with white buildings, ships, and reeds at LL; sailboat with human figures at LLQ; low, rocky shore, buildings on stilts, and moored boats in middle ground at L; low mountains and a bay with boats in middle distance; at LR, an old lady in white ascends mountain trail at base; towering rock walls at either side of cliff, gnarled pine tree at L of cliff; small structure at center of mountain trail; second large cliff has temple complex at top; large, shadowy mountain continues upward at R","","From ","Gift of the Clark Center for Japanese Art & Culture; formerly given to the Center by Carol Brooks","2013.29.793.3","Artist: Unkoku Tōeki","Artist","Japanese","Japanese, 1591 - 1644","","Asian Art","Public Domain","valid",2881,8367,0,"1",0,,,"[""""]","Bodhidharma",4.7986784,,,,,,,,, "117961","Landscape of Winter and Spring, from a triptych of Bodhidharma and Landscapes of the Four Seaons","Ink, color, and gold on paper"," Paintings","42 7/16 × 14 3/4 in. (107.79 × 37.47 cm) (image) 77 × 19 15/16 in. (195.58 × 50.64 cm) (mount, without roller)","Hanging scroll","Asia","Japan",,"1620s","Not on View","17th century","","","L side of rolled scroll, black pen: [Left]; gourd shaped intaglio seal LLC; square relief LLC; white circular sticker tip of L roller cap: [SJ/70]; bright yellow circular sticker tip of L roller cap: [E8]","At the center of this triptych of hanging scrolls is a portrait of Bodhidharma, known as Daruma in Japan, the Indian patriarch of Zen Buddhism credited with transmitting Zen from India to China in ancient times. At right and left are images of China—dramatic mountainscapes with Buddhist temples and gnarled old pine trees perched on the peaks, along with motifs representing all four seasons. The bold contour lines, solid shape of the mountains, and shallow representation of space are characteristic of Unkoku Tōeki, whose style was informed by the paintings of the revered medieval painter Sesshū Tōyō (1420–1520).","mountain and water landscape with temple complexes; large cliffs and boulders rise out of water at LL; small, open structure with pointed thatched roof juts into water; room has tatami floor and is filled with pots; a small boat floats to the R of structure; gnarled, dense trees grow from rocks LLC; temple complex rises out of fog and treetops in middle ground; large, sweeping mountain with temple complex at top at UL; small moon rising center R","","From ","Gift of the Clark Center for Japanese Art & Culture; formerly given to the Center by Carol Brooks","2013.29.793.1","Artist: Unkoku Tōeki","Artist","Japanese","Japanese, 1591 - 1644","","Asian Art","Public Domain","valid",3211,9281,0,"1",0,,,"[""""]","Bodhidharma",4.7986784,,,,,,,,, "13446","Bodhidharma Crossing the Yangzi River on a Reed","Bronze and silver"," Sculpture","H.10-1/2 x W.6-3/16 x D.3-7/8 in.",,"Asia","China",,"c. 1600","G214","16th-17th century","Sticker","","dealer\'s sticker, on bottom","Shisou, or ""Old Man Rock,"" one of the most famous names in late Ming metalwork, is thought to be the art name of a monk who specialized in fine desk objects and Buddhist figural works. His sculpture is finely cast and worked in bronze with details chased and inlaid with silver wire. This work bears a silver-inlaid maker's mark on the back that reads: Shisou. Bodhidharma, or Damo, was an Indian Buddhist missionary who reached China in 526. He is considered the first of the Six Patriarchs of the Buddhist religion. His miraculous crossing of the Yangzi River on a reed, which is the theme depicted here, was a popular subject in Buddhist painting and sculpture.","male figure wearing flowing robe floating on waves, standing on a reed; bald man with beard, mustache and eyebrows inlaid with silver wire; hanging earrings; wire inlay at edges of robe","","From ","Gift of Ruth and Bruce Dayton","2000.36.12","Artist: Shisou","Artist","Chinese","Chinese, active 16th, early 17th century","","Asian Art","Public Domain","invalid","","",0,"1",0,,,"[""""]","Bodhidharma",3.6176364,,,,,,,,, "5788","Seated Avalokiteshvara Bodhisattva (Guanyin)","Wood, gesso, mineral pigments, and gold"," Sculpture","38 3/4 x 22 x 13 1/2 in. (98.43 x 55.88 x 34.29 cm) ((a) body) 8 x 30 1/4 x 13 in. (20.32 x 76.84 x 33.02 cm) ((b) legs) 25 x 17 x 12 3/4 in. (63.5 x 43.18 x 32.39 cm) ((c) arm) 22 1/2 x 19 1/2 x 7 7/8 in. (57.15 x 49.53 x 20 cm) ((d) arm) 14 x 14 x 14 1/2 in. (35.56 x 35.56 x 36.83 cm) ((e) PL hip) 8 3/4 x 7 1/2 x 5 in. (22.23 x 19.05 x 12.7 cm) ((f) ushnisha) 10 3/4 x 5 1/2 x 4 in. (27.31 x 13.97 x 10.16 cm) ((g) hand) 11 3/4 x 5 1/2 x 4 in. (29.85 x 13.97 x 10.16 cm) ((h) hand)","Sculpture","Asia","China",,"late 11th-early 12th century","G200","11th-12th century","","","","A bodhisattva is a Buddhist deity who has attained the highest level of enlightenment but delays entering paradise in order to aid other earthly beings. Because bodhisattvas remain on earth, their bodies are usually lavishly adorned, unlike buddhas, who have entered the perfected state of nirvana. Here seated in the lotus position, the bodhisattva Avalokiteshvara wears gold jewelry and luxurious silk robes that the artist embellished with delicate designs made of gold foil and gold paint. Originally, his already elaborate topknot would have been further decorated with a gilt-metal crown, although it is now missing. Avalokiteshvara is associated with mercy and compassion. His Chinese name, Guanyin, means “perceiver of sounds” and is an indication that this merciful being has the ability to recognize all the people’s cries of suffering. These associations help make this figure one of the most popular deities to Chinese Buddhists, who might worship a sculpture like this in the hope that Avalokiteshvara would recognize their suffering and help them on their path toward salvation.","seated Buddha; gilt and red and blue paint","",,"Gift of Ruth and Bruce Dayton","98.62a-h","Artist: Unknown","Artist",,,"","Asian Art","Public Domain","valid",7846,10561,0,"1",0,,,"[""""]","Bodhidharma",1.8954601,,true,true,"[{""title"":""The Bodhisattva Kuan-Yin"",""_id"":""5788"",""objectId"":""5788"",""link"":""http://audio-tours.s3.amazonaws.com/p211.mp3"",""number"":""211"",""type"":""audio""}]","[{""title"":""The Bodhisattva Guanyin"",""_id"":""5788"",""objectId"":""5788"",""description"":""
Gentle, calm, benign—he is a divinity of mercy and compassion, bodhisattava Avalokitesvara or Guanyin. He was carved for a temple during one of the most creative epochs of Chinese Buddhist sculpture, around 1100 to 1200, and expresses the new humanism of the day. Splendidly attired and seated in the cross-legged “lotus” position suggesting tranquility and balance of thought, he beams the bliss of near-enlightenment.
"",""link"":""http://artstories.artsmia.org/#/o/5788"",""type"":""artstory""}]",true,,, "131","Standing Bodhisattva","Black marble with traces of pigments and gilding"," Sculpture","76 in. (193.04 cm)","Sculpture","Asia","China",,"571","G200","6th century","","","","This standing figure is a bodhisattva, a being who has postponed its own passage to nirvana in order to guide others to salvation. Bodhisattvas are often depicted as paired attendants to a buddha. This sculpture, too, was probably once worshipped as part of a triad of sculptures, positioned to either the left or right of a central icon. This bodhisattva stands on a stone base (the square plinth, two lions, and the lower half of a lotus-shaped pedestal) that was created for a separate sculpture of the historical Buddha, Shakyamuni. Several lengthy inscriptions on the base explain that an original sculpture was created in 570, and then another was installed at the same temple in 581, both utilizing this base. In 574, an emperor of the Northern Zhou dynasty (557–81) prohibited Buddhism in China, and many idols were desecrated. This may be the reason the base has some apparently intentional damage (two of four lions have been removed) and is no longer with its original sculpture. At some later date, the base came to be used for the present bodhisattva. In the early 1900s, it became the first work of Asian art to enter Mia’s collection.","Standing Guanyin with lotus bud(?) in left hand, right hand missing, inscribed base which bears the date 571 A.D., translation of inscription filed with purchase blank, from Xi'an in Shaanxi province.","",,"The William Hood Dunwoody Fund","18.5","","Artist",,,"","Asian Art","Public Domain","valid",2032,3056,0,"1",0,,,"[""""]","Bodhidharma",1.8725547,,true,true,"[{""title"":""Avalokitesvara, Kuan Yin"",""_id"":""131"",""objectId"":""131"",""link"":""http://audio-tours.s3.amazonaws.com/p177.mp3"",""number"":""177"",""type"":""audio""}]",,true,,, "646","Standing bodhisattva, one of a pair","White marble"," Sculpture","27 in. (68.58 cm)","Sculpture","Asia","China",,"late 6th century","G200","6th century","","","","This pair of bodhisattvas flanking the larger standing Buddha in this triad came from a temple near the city of Dingzhou in northern China. While the bodhisattvas were not made to accompany this particular Buddha, which is carved from a different type of marble, the three sculptures are of the same age, are carved in a similar style unique to the Northern Qi dynasty, and would have originally formed the flanking bodhisattvas of a triad centered on the Buddha. We have displayed them together so you can see how a typical triad of icons might have appeared in a Chinese temple of this period.","Standing Bodhisattva of white marble, arms broken off below shoulder. The figure wears a narrow scarf, barely defined, and a skirt girdled at the waist, its upper edge finished with a curling line. Jewelled necklace and long chains. High headdress. Feet missing, head restored at throat where formerly broken off.","",,"Gift of Mr. and Mrs. Augustus L. Searle","42.4.1","","Artist",,,"","Asian Art","Public Domain","valid",4970,10098,0,"1",0,,,"[""""]","Bodhidharma",1.5020627,,,,"[{""title"":""Pair of Bodhisattvas"",""_id"":""646"",""objectId"":""646"",""link"":""http://audio-tours.s3.amazonaws.com/p169.mp3"",""number"":""169"",""type"":""audio""}]",,,,, "17617","Bodhisattva","Polychromed terracotta"," Sculpture",,"Bodhisattva","Asia","China",,"386-537","Not on View","4th-6th century","","","","","Figure, Bodhisattva with hands together, with stand.","","From ","Bequest of Alfred F. Pillsbury","50.46.456","","Artist",,,"","Asian Art","Public Domain","valid",1802,3000,0,"1",0,,,"[""""]","Bodhidharma",1.4209671,,,,,,,,, "126254","Head of a Bodhisattva","Sandstone, pigments"," Sculpture","16 1/4 × 9 7/16 × 11 5/8 in. (41.28 × 23.97 × 29.53 cm) (without attached base)","Sculpture","Asia","China",,"late 6th century","G200","6th century","on back of neck at bottom, in black: 12928 / XNOXP [?]","","","This sculpture was originally the head of a standing figure of a bodhisattva—a being who has postponed its own passage to nirvana in order to guide others to salvation. Carved fully in the round, with a serene expression and gracefully curved downcast eyes, it wears an elaborate crown that is secured by knotted ribbons that hang down behind its ears. These characteristic knots of scarves help date the sculpture to the Sui dynasty. The figure represents some important changes in Buddhist art in China. It exhibits a new fashion for elaboration and ornament that emerged at this time. It also demonstrates another trend of the period—the use of freestanding sculptures rather than high reliefs in cave-temples or on stelae.","head with elongated earlobes; downcast eyes; headdress with scrolls, tassels and floral forms, with pair of ornaments on either side with three red balls on blue drops; traces of blue pigment at hairline; traces of red pigment on lips; traces of olive-colored patina on skin of face; red, green and blue pigment on headdress; received attached to rectangular black base","","From ","The Putnam D. McMillan Fund and the Friends of Bruce Dayton Art Acquisition Fund","2017.5","","Artist",,,"","Asian Art","Public Domain","valid",6256,8330,0,"1",0,,,"[""""]","Bodhidharma",1.3821237,,true,,,,,,, "2333","Pair of bodhisattvas","Gilt bronze"," Sculpture","8 5/8 x 4 5/8 in. (21.84 x 11.75 cm)","Pair of bodhisattvas","Asia","China",,"1770","G214","18th century","Inscription","","At base of throne: \'Made reverently in the year of Kang-Yin (1770) of Ch\'ien Lung of the great Ching Dynasty.","Such popular Buddhist images as Avalokitesvara, the compassionate one, were occasionally produced in sets. Since the act of making or commissioning a religious work was considered pious in itself, those who could afford it often commissioned multiple images. Here the jeweled and crowned deity is represented as a perfectly poised yogi seated in the lotus posture on a dais, the hands placed together in the lap forming the dhyana mudra, the gesture of meditation. The figures are set off by aureoles adorned with a flame motif representing purity. The identical inscriptions written in Chinese characters across the bases read: ""Reverently made in the gengyin year of Qianlong (1770) during the great Qing Dynasty.""","one of pair of Bodhisattvas crowned, seated in Dhyana (meditation) mudra on thrones with flame halo; gilt bronze","",,"Gift of Louis W. Hill, Jr.","76.72.105.2","","Artist",,,"","Asian Art","Public Domain","valid",4665,5831,0,"1",0,,,"[""""]","Bodhidharma",1.3821237,,,,,,,,, "5808","The Bodhisattva Avalokitesvara","Gilt bronze"," Metalwork","10 1/8 x 6 1/2 x 6 3/8 in. (25.72 x 16.51 x 16.19 cm)",,"Asia","China",,"1403-1424","G214","15th century","Mark","","Yung-lo mark and period (1403-1424);\'Yung-lo\' mark at front of figure, top edge of lotus base","A bodhisattva is a deity who has attained the highest level of enlightenment but delays entering paradise to aid earthly beings. This sculpture depicts Avalokiteshvara, the bodhisattva of infinite compassion. His right hand is in the gift-giving gesture, or mudra, and the left is in the teaching mudra. Each hand holds a curving lotus stalk, whose blooms symbolize purity and frame the regally attired gilt deity. In the hair behind the crown, you can see a tiny Amitabha, the cosmic Buddha who created Avalokiteshvara to guide sentient beings on the path to enlightenment. The underside of this sculpture bears a six-character mark, dating it to the reign and workshop of the Chinese Ming dynasty Emperor Yongle (1403– 24). A devotee and patron of Tibetan Buddhism, Emperor Yongle sent gifts to Tibet to strengthen political and religious relationships with its leaders.","figure seated on lotus, proper right leg hanging off and supported by smaller lotus; lotus growing from both palms and flowering at shoulders; elaborate headdress and oversize earrings","",,"Gift of Ruth and Bruce Dayton","98.77.2","","Artist",,,"","Asian Art","Public Domain","valid",4397,6155,0,"1",0,,,"[""""]","Bodhidharma",1.3821237,,,,,,,true,, "6613","Bodhisattva Mañjuśrī","Ink and gold on paper"," Paintings","32 9/16 × 14 in. (82.71 × 35.56 cm) (image)","Hanging scroll","Asia","Japan",,"early 15th century","G221","15th century","","","center L edge red artist\'s seal: {Hasōai in}","Kitsusan Minchō was a monk-painter at the Tō fuku-ji Zen Buddhist temple in Kyoto. He rejected a promotion to stay a temple warden so he could continue painting. In this scroll, the bodhisattva Monju Bosatsu (in Sanskrit, Mañjuśrī Bodhisattva) proffers a book of scriptures, The Perfection of Wisdom Sutra (in Japanese, Hannya-kyo; Sanskrit, Prajñāpāramitā sūtra). As a bodhisattva, an enlightened being, Monju remained on earth to help others achieve enlightenment. The subtle addition of gold accents to Bosatsu’s crown and earrings would have glistened in the candlelight of a temple setting.","figure in 3/4 profile with crown, and hair tied up with many wisps coming loose, looking toward R; figure holds a book out in PR hand, close to chest; light halo around head","Nozaki Hirota; Inoue Kaoru",,"Mary Griggs Burke Collection, Gift of the Mary and Jackson Burke Foundation","2015.79.1","Artist: Kichizan Minchō","Artist","Japanese","Japanese, 1352 - 1431","","Asian Art","Public Domain","valid",4385,9530,0,"1",0,"Murase, Art through a Lifetime, no. 95",,"[""""]","Bodhidharma",1.3821237,true,true,true,,,,,, "5424","The Bodhisattva Guanyin","Gilt bronze"," Sculpture","6 1/2 x 2 1/2 x 1 1/4 in. (16.51 x 6.35 x 3.18 cm) (overall, including base)",,"Asia","China",,"7th-8th century","G214","7th-8th century","Sticker","","\'Lally & Co. New York X-423 I C,LLL\', bottom of base","A bodhisattva is a Buddhist deity who has attained the highest level of enlightenment but delays entering paradise in order to aid other earthly beings. This small, gold-covered bronze sculpture depicts the bodhisattva Guanyin, a beloved figure among many Chinese Buddhists known for his compassion toward the suffering. Here, Guanyin is presented in the lalitasana (“royal ease”) position, cast as an earthly prince to emphasize his ties to the human realm. The small bronze was likely part of an altar shrine where it was probably one of two bodhisattvas flanking a larger central image of the Buddha. A small, exquisitely cast gilt bronze altar would have been an important focal point of private devotion in this domestic setting.","PR arm raised, holding object; PR leg bent in front of figure, PL hand rests on PR knee; circle behind figure's head attached by a bronze pin; mounted on a black base; has its own box","",,"Gift of Ruth and Bruce Dayton","97.60","","Artist",,,"","Asian Art","Public Domain","valid",3895,5031,0,"1",0,,,"[""""]","Bodhidharma",1.3821237,,,,,,,,, "2332","Bodhisattva, one of a pair","Gilt bronze"," Sculpture","8 5/8 x 4 5/8 in. (21.84 x 11.75 cm)","Bodhisattva, one of a pair","Asia","China",,"1770","G214","18th century","Inscription","","At base of throne: \'Made reverently in the year of Kang-Yin of Ch\'ien Lung of the great Ching Dynasty\'.","Such popular Buddhist images as Avalokitesvara, the compassionate one, were occasionally produced in sets. Since the act of making or commissioning a religious work was considered pious in itself, those who could afford it often commissioned multiple images. Here the jeweled and crowned deity is represented as a perfectly poised yogi seated in the lotus posture on a dais, the hands placed together in the lap forming the dhyana mudra, the gesture of meditation. The figures are set off by aureoles adorned with a flame motif representing purity. The identical inscriptions written in Chinese characters across the bases read: ""Reverently made in the gengyin year of Qianlong (1770) during the great Qing Dynasty.""","one of pair of Bodhisattvas crowned, seated in Dhyana (meditation) mudra on thrones with flame halo; gilt bronze; Tibetan","",,"Gift of Louis W. Hill, Jr.","76.72.105.1","","Artist",,,"","Asian Art","Public Domain","valid",4665,5831,0,"1",0,,,"[""""]","Bodhidharma",1.3821237,,,,,,,,, "29581","Bodhisattva, one of a pair","Gilt bronze"," Sculpture","9 1/2 x 4 7/8 x 1 7/8in. (24.1 x 12.4 x 4.8cm)","Bodhisattva, one of a pair","Asia","China",,"18th century","G214","18th century","Sticker","","\'LALLY & CO/NEW YORK/X-923\', under base","Although mirror images of each other, these two statues likely do not represent the same bodhisattva; they are more probably the popular deities Maitraya and Avalokitesvara. Standing in graceful posture holding the stalk of a lotus flower, they likely formed part of a sculptural triad flanking a larger bronze image of the Buddha.","standing gilt bronze figure in contraposto position, proper left hand open at side, right hand held in front, hanging jewelry highlighted by inlaid stones","",,"Gift of Ruth and Bruce Dayton","97.156.3.1","","Artist",,,"","Asian Art","Public Domain","valid",5344,8393,0,"1",0,,,"[""""]","Bodhidharma",1.3821237,,,,,,,,, "29582","Bodhisattva, one of a pair","Gilt bronze"," Sculpture","9 1/2 x 4 3/4 x 2in. (24.1 x 12.1 x 5.1cm)","Bodhisattva, one of a pair","Asia","China",,"18th century","G214","18th century","Sticker","","\'LALLY & CO/NEW YORK/X-923\', under base","Although mirror images of each other, these two statues likely do not represent the same bodhisattva; they are more probably the popular deities Maitraya and Avalokitesvara. Standing in graceful posture holding the stalk of a lotus flower, they likely formed part of a sculptural triad flanking a larger bronze image of the Buddha.","standing gilt bronze figure in contraposto position, proper left hand in front of body with fingers together pointing upward, right hand down at side holding draped fabric","",,"Gift of Ruth and Bruce Dayton","97.156.3.2","","Artist",,,"","Asian Art","Public Domain","valid",5344,8393,0,"1",0,,,"[""""]","Bodhidharma",1.3821237,,,,,,,,, "28960","Standing Bodhisattva","Cast and gilt bronze"," Metalwork","7 1/4 x 2 3/4 x 3 5/8in. (18.4 x 7 x 9.2cm)","Standing Bodhisattva, one of a pair","Asia","China",,"c. 1600","G214","16th-17th century","","","","","bronze figure of bodhissatva on a modern Japanese base","",,"Gift of Leo A. and Doris Hodroff","95.98.21","","Artist",,,"","Asian Art","Public Domain","valid",3988,5584,0,"1",0,,,"[""""]","Bodhidharma",1.3821237,,,,,,,,, "28959","Standing Bodhisattva","Cast and gilt bronze"," Metalwork","7 1/2 x 2 3/4 x 3 5/8in. (19 x 7 x 9.2cm)","Standing Bodhisattva, one of a pair ","Asia","China",,"c. 1600","G214","16th-17th century","","","","","bronze figure of bodhissatva on a modern Japanese base","",,"Gift of Leo A. and Doris Hodroff","95.98.20","","Artist",,,"","Asian Art","Public Domain","valid",3781,5293,0,"1",0,,,"[""""]","Bodhidharma",1.3821237,,,,,,,,, "807","Avalokiteshvara Bodhisattva (Guanyin), from a set of Avalokiteshvara Bodhisattva and Flying Celestials","Colors on plaster"," Paintings","68 x 48 in. (172.72 x 121.92 cm)","Painting","Asia","China",,"c. 951-953","G200","10th century","","","","These paintings were once part of a much larger composition—now dispersed among several collections in the United States—that originally formed the wall of a temple in north-central China, possibly Cishengsi in far northern Henan province. All together the set depicts a trio of seated bodhisattvas. Each one is flanked by standing attendant bodhisattvas and surrounded by other attendants performing rituals. They are also accompanied by flying celestials (apsara) in a paradise-like setting based on Esoteric Buddhist teachings. The seated bodhisattva here, originally the leftmost of the three primary figures, is backed by a halo and wears elaborate robes and jewelry. In his large crown is a small depiction of a buddha, the superior being from which the bodhisattva emanated.","Jewelled headdress with pendants suspended from the beaks of decorative birds or from projecting scrolls. Right hand is on right knee, left hand is raised toward the chief diety. Sitting in a cross-legged position, the image of his Dhyani-Buddha in his headdress. Hip-length blouse, with wide round neck and rolled over collar, has a center vertical panel which is pulled into the neck when seated. Three-quarter length sleeves. The skirt is finely pleated and caught up slightly on either side of the leg.","",,"Gift of C.T. Loo, Inc.","50.41.1","","Artist",,,"","Asian Art","Public Domain","valid",2796,3872,0,"1",0,,,"[""""]","Bodhidharma",1.3299817,,true,true,"[{""title"":""Bodhisattva Kuan-Yin and Flying Apsaras"",""_id"":""807"",""objectId"":""807"",""link"":""http://audio-tours.s3.amazonaws.com/p170.mp3"",""number"":""170"",""type"":""audio""}]",,,,, "32122","Avalokiteshvara Bodhisattva in the Water-Moon Form (Shuiyue Guanyin)","Wood, gesso and pigments"," Sculpture","40 1/2 x 33 1/2 x 20in. (102.9 x 85.1 x 50.8cm)","Sculpture","Asia","China",,"12th century","G200","12th century","","","","Of the many manifestations of the bodhisattva Avalokiteshvara, perhaps none was more prevalent in East Asia than the uniquely Chinese form known as “Water-Moon Avalokiteshvara,” which later also spread to Korea and Japan. This form of the bodhisattva presides over his own paradise, Potolaka, which is described in scripture as a rugged seaside cave from which Avalokiteshvara could admire the reflection of the moon in the water. Appropriately, he appears meditative and relaxed and is seated informally in the “royal-ease” posture. Ornately dressed, with silk robes, fluttering sashes, jewelry, and an elaborate hairstyle, he also wears a headpiece that features an image of Amitābha, the buddha to whom Avalokiteshvara attends. Believers might look to a sculpture like this as a guide for their own journeys toward enlightenment.","Seated figure, resting PR elbow on raised PR knee, PL leg bent and on ground and PL arm behind, hand resting on ground; wearing bracelets, long necklaces and elaborate crown","",,"Gift of Ruth and Bruce Dayton","99.24.2","","Artist",,,"","Asian Art","Public Domain","valid",7777,8763,0,"1",0,,,"[""""]","Bodhidharma",1.1315708,,,,"[{""title"":""Seated Kuan-Yin"",""_id"":""32122"",""objectId"":""32122"",""link"":""http://audio-tours.s3.amazonaws.com/p353.mp3"",""number"":""353"",""type"":""audio""}]",,,,, "118463","Jizō, the Bodhisattva of the Earth Matrix","Wood with polychrome, gold leaf, and inlaid crystal"," Sculpture","16 1/2 × 6 5/8 × 5 7/8 in. (41.91 × 16.83 × 14.92 cm)","Figure","Asia","Japan",,"second half 13th century","G220","13th century","Inscription on underside of base: [Onmi fusoku no tokoro wo naoshita, Kaei 3 (1850)] trans.: (I have repaired the missing part(s) of the [Buddha\'s] honorable body (year 1850))","","","The Buddhist deity Jizō Bosatsu stands on a lotus platform and holds a wish-granting jewel and staff. The statue still has some of its original gold leaf decoration and multicolor paint, and features crystal insets in its eyes, a common feature of sculptures from this period. Jizō is often portrayed as a traveling monk who crosses through the worldly spheres from heaven to hell, helping those who call his name.","standing figure holding staff in PR hand and sphere in outstretched PL hand; standing on tiered carved base with lotus leaves around top; gold leaf on garment and base with some remaining areas of blue and green pigment on garment; figure removes from base with keys on bottom of feet; staff also removes","",,"The John R. Van Derlip Fund; purchase from the collection of Elizabeth and Willard Clark","2013.31.52a-c","Artist: Unknown Japanese","Artist",,,"","Asian Art","Public Domain","valid",566,1072,0,"1",0,,,"[""""]","Bodhidharma",1.1086653,,,,,,,,, "3524","Jizō, the Bodhisattva of the Earth Matrix","Wood with polychrome, lacquer, and gold; metal"," Sculpture","33 1/16 in. (84 cm)","Figure","Asia","Japan",,"early 13th century","Not on View","13th century","","","","Jizō is a bodhisattva, an enlightened being of infinite grace and compassion who postpones his own buddhahood in order to help living beings escape suffering. Since the 900s, he has been portrayed as a young traveling monk who carries a wish-granting jewel and pilgrim’s staff with metal rings that jingle to announce his arrival. He is popularly believed to assist those condemned to the torments of hell and the wayward souls of deceased children. This sculpture shows Jizō descending from the heavens, as suggested by the cloud bank that supports his lotus pedestal.","Gesso, color, kirikane on wood, metal","",,"Gift of funds from Anne de Uribe Echebarria in honor of her husband, Luis de Uribe Echebarria, Mary Livingston Griggs and Mary Burke Foundation, Mary Griggs Burke, The Putnam Dana McMillan and William Hood Dunwoody Funds","86.7a-c","Artist: Unknown Japanese","Artist",,,"","Asian Art","Public Domain","valid",3133,6698,0,"1",0,,,"[""""]","Bodhidharma",1.1086653,,true,true,"[{""title"":""Jizo, Japan, Kamakura Period"",""_id"":""3524"",""objectId"":""3524"",""link"":""http://audio-tours.s3.amazonaws.com/p251.mp3"",""number"":""251"",""type"":""audio""}]",,,,true, "11983","Standing bodhisattva, one of a pair","White marble"," Sculpture","27 in. (68.58 cm)","Sculpture","Asia","China",,"late 6th century","G200","6th century","","","","This pair of bodhisattvas flanking the larger standing Buddha in this triad came from a temple near the city of Dingzhou in northern China. While the bodhisattvas were not made to accompany this particular Buddha, which is carved from a different type of marble, the three sculptures are of the same age, are carved in a similar style unique to the Northern Qi dynasty, and would have originally formed the flanking bodhisattvas of a triad centered on the Buddha. We have displayed them together so you can see how a typical triad of icons might have appeared in a Chinese temple of this period.","Standing Bodhisattva of white marble, right arm broken off below shoulder, left above wrist. Figure wears narrow scarf tied in x-like form at waist, and skirt whose upper edge falls over in narrow peplum effect over girdle. Elaborate jewelled necklace and heavy chains hanging to knees. High headdress. Feet missing; head restored at throat where formerly broken.","",,"Gift of Mr. and Mrs. Augustus L. Searle","42.4.2","","Artist",,,"","Asian Art","Public Domain","valid",4163,10751,0,"1",0,,,"[""""]","Bodhidharma",1.1086653,,,,,,,,, "13718","Head of a bodhisattva, probably Avalokiteshvara (Guanyin)","Limestone"," Sculpture","30 3/8 x 16 1/2 x 19 3/4in. (77.2 x 41.9 x 50.2cm)","Sculpture","Asia","China",,"12th-13th century","G200","12th-13th century","","","","Sculpted during the Jin or Yuan dynasties, this fully modeled, dignified, and elaborately detailed head reflects the splendor of Buddhist sculpture of the preceding Song dynasty (960–1279). The highly detailed two-tier crown, decorated with dragons and phoenixes, mimics ornate gold crowns excavated from royal burial tombs in northern China. In the front of the crown is a roundel on a lotus base containing a Tibetan character meaning “buddha.” Its use here may be as a substitute for the miniature image of Amitābha, the buddha who usually appears in the headdress of the bodhisattva Avalokiteshvara.","plump face and wide nose; nearly closed eyes; wearing a large crown with dragon and foliage designs","",,"Gift of Ruth and Bruce Dayton","2000.86.1","","Artist",,,"","Asian Art","Public Domain","valid",3471,5594,0,"1",0,,,"[""""]","Bodhidharma",0.97193617,,,,,,,,, "117452","Bodhisattva Kannon","Ink on paper"," Paintings","31 1/8 × 10 5/8 in. (79.06 × 26.99 cm) (image) 62 1/8 × 15 3/4 in. (157.8 × 40.01 cm) (mount, without roller)","Hanging scroll","Asia","Japan",,"early 17th century","Not on View","17th century","","","square intaglio center R edge","","white robed figure sitting cross-legged at lower center of image; large, dark rock at bottom center; hanging foliage at upper center","","From ","Gift of the Clark Center for Japanese Art & Culture; formerly given to the Center by Dr and Mrs Sherman Lee","2013.29.378","Artist: Dōei","Artist",,,"","Asian Art","Public Domain","valid",351,1024,0,"1",0,,,"[""""]","Bodhidharma",0.8916927,,,,,,,,, "28958","Seated Bodhisattva","Glazed ceramic"," Ceramics","11 7/8 x 6 7/8 x 3 1/4in. (30.2 x 17.5 x 8.3cm)",,"Asia","China",,"c. 1600","Not on View","16th-17th century","","","","","aubergine, amber and green glazes","","From ","Gift of Leo A. and Doris Hodroff","95.98.2","","Artist",,,"","Asian Art","Public Domain","valid",3719,5542,0,"1",0,,,"[""""]","Bodhidharma",0.8916927,,,,,,,,, "102319","Standing bodhisattva","Marble"," Sculpture","32 x 12 1/2 x 11 1/2 in. (81.28 x 31.75 x 29.21 cm)","Sculpture","Asia","China",,"late 7th-early 8th century","Not on View","7th-8th century","","","","Although missing its head and arms, this work illustrates the graceful figural movement found in Tang dynasty sculpture as it had developed in the late 600s. It is a classic example of the type of realistic representation heavily influenced by the sculptural art of India during the Gupta period (320–647). The well-proportioned figure in languid pose is draped with light, nearly diaphanous multilayered robes, which extend from the left shoulder to the lotus pedestal. The statue is carved completely in the round and is adorned with a jeweled necklace and elaborate beads. The unprecedented interest in the human form seen here marks a departure from the rigid and symmetrical Buddhist sculpture of the preceding periods.","torso and legs of a figure--head, PL arm at bicep and PR arm at elbow lost; clinging drapery; beaded necklace and long beaded strands from PR shoulder, around knees and down center of back; lotus blossom base; cream-colored stone","",,"The Ruth Ann Dayton Chinese Room Endowment Fund","2007.18","","Artist",,,"","Asian Art","Public Domain","valid",4206,6851,0,"1",0,,,"[""""]","Bodhidharma",0.8916927,,,,,,,,, "140016","Buddhist votive stele with Buddha and two Bodhisattvas","Limestone, pigments"," Sculpture","22 × 6 1/4 × 17 3/4 in. (55.9 × 15.9 × 45.1 cm)","Votive stele","Asia","China",,"678","G200","7th century","An inscription incised along the edge of the niche reads: 儀鳳三年佛弟子維行義比丘居證徹為天皇天姤及師僧父母法界衆生見存眷屬合家一心供養佛時 “In the third year of Yifeng (678 – reign of Emperor Gaozong of the Tang), the devotees of the Buddha, Wei Xingyi and Ju Zhengche, invoke His blessings on the Emperor and Empress of Heaven, as well as on their masters and monks, father and mother, and all animated beings who follow their Dharma; (they pray) for the salvation of the dear members of their families who, with one heart, present this offering (i.e. this stele) to the Buddha.” ","","","This stone stele depicts the Buddha sitting on a lotus throne, flanked by a pair of bodhisattvas. His left hand is raised in abhaya mudra (gesture of dispelling fear), and the right is resting on his knee. The figures in this stele illustrate the vivid and naturalistic qualities that are characteristic of Buddhist icons of the Tang dynasty; artists of that period were skilled at imbuing deities with a sense of warmth and humanity. The inscription tells us that the stele was commissioned during the reign of Emperor Gaozong in 678, and remarkably lists both the Emperor and the Empress, Wu, as beneficiaries. It was highly unusual for an empress to be included in this way prior to this time, proving her rising power before ultimately becoming the most powerful woman in the Tang dynasty when she became the de facto ruler of China in 690.","relief sculpture; three figures inside a concave niche; central seated figure on lotus blossom on pedestal flanked by standing figures, incised Chinese characters around front edges; traces of pigment appearing brown--predominately grey","","From ","The Putnam Dana McMillan Fund","2021.34","","Artist",,,"","Asian Art","Public Domain","valid",7084,8855,0,"1",0,,,"[""""]","Bodhidharma",0.835207,,,,,,,,, "118458","Welcoming Descent of Jizō Bodhisattva","Ink, color, and gold leaf on silk"," Paintings","42 3/4 × 15 3/4 in. (108.59 × 40.01 cm) (image) 75 1/4 × 22 5/8 in. (191.14 × 57.47 cm) (mount)","Hanging scroll","Asia","Japan",,"first half 14th century","Not on View","14th century","","","","Jizō is a bodhisattva (bosatsu in Japanese), a divine being who postpones enlightenment in order to assist the living. Here he descends to the earth on a cloud to save a suffering believer. He carries a staff and a wish-granting jewel (hōju). His feet rest on lotus blossoms. Although his head is shaved and his robes are those of a monk, Jizō’s body is adorned with gold jewelry and his outer garments are lavishly decorated with gold, signaling his status as a bodhisattva. Images of the descent of Jizō, which developed in Japan in the 1200s, likely originated at the religious complex made up of the Buddhist temple Kōfukuji and the Shinto shrine Kasuga in the city of Nara, a center for the worship of Jizō.","standing Jizo in 3/4 view, holds transluscent ball in left hand, staff in right and each foot on lotus leave base which are on a cloud; rays emanate from head, first immediately around head encircled, then more extensions in back; Jizo is elaborately clad in garment decorated with kirikane in motifs of the various layers of clothing","","From ","The John R. Van Derlip Fund; purchase from the collection of Elizabeth and Willard Clark","2013.31.49","Artist: Unknown Japanese","Artist",,,"","Asian Art","Public Domain","valid",1818,4938,0,"1",0,,,"[""""]","Bodhidharma",0.71526796,,,,,,,,, "117295","Rakan with Bodhisattva","Ink, color, and gold leaf on silk"," Paintings","37 3/8 × 15 5/8 in. (94.93 × 39.69 cm) (image) 68 × 22 5/8 in. (172.72 × 57.47 cm) (mount)","Hanging scroll","Asia","Japan",,"13th - early 14th century","Not on View","13th-14th century","","","","This painting was part of a set of 16 rakan. The Clark collections held five, two are at the Metropolitan Museum of Art in New York, another two are at the Brooklyn Museum of Art, and one is at the Cleveland Museum of Art. The remaining six are lost.","seated figure holding small branch with opening leaves and four red berries; halo around head; standing figure in LL with hand over girl with head down over deskin foreground","","From ","Gift of the Clark Center for Japanese Art & Culture","2013.29.25","Artist: Unknown Japanese","Artist",,,"","Asian Art","Public Domain","valid",428,1024,0,"1",0,,,"[""""]","Bodhidharma",0.71526796,,,,,,,,, "118236","Miroku, the Bodhisattva of the Future","Wood with metal, cut gold leaf (kirikane), polychrome, and inlaid crystal eyes"," Sculpture","11 1/2 × 7 1/2 × 6 5/8 in. (29.21 × 19.05 × 16.83 cm)","Figure","Asia","Japan",,"second half 13th century","Not on View","13th century","","","","Miroku Bosatsu is seated on a lotus throne perched on a struggling demon, holding a pagoda in his upturned palms. The statue retains its original metal raiments, as well as the gold leaf decoration on the draped robes. The figure’s princely attire indicates that Miroku is being depicted in his incarnation as a bodhisattva, an enlightened being who delays nirvana in order to guide others to enlightenment, rather than his incarnation as the future Buddha.","figure seated cross legged with hands upturned in lap, folds of garment flowing over legs; elaborate metal necklace with many low hanging pendants; base is intricately carved with open lotus flower on top of demon creature","","From ","Gift of Elizabeth and Willard Clark","2013.30.28a,b","Artist: Unknown Japanese","Artist",,,"","Asian Art","Public Domain","valid",5637,6884,0,"1",0,,,"[""""]","Bodhidharma",0.71526796,,,,,,,,, "122059","Thirteen Buddhas and Bodhisattvas","Ink and color on paper"," Paintings","20 × 9 13/16 in. (50.8 × 24.92 cm) (sight) 27 × 16 1/2 × 3/4 in. (68.58 × 41.91 × 1.91 cm) (outer frame)","Framed painting","Asia","Japan",,"16th century","Not on View","16th century","","","","","framed: thirteen Bodhisattvas standing on lotus blossoms within a cloud; each is dressed differently, and is standing in a different pose, looking in a different direction; figure at top has a sword in PR hand; figure at LR is surrounded by flame, and holding a sword and a rope; black background; metallic halos","","From ","Mary Griggs Burke Collection, Gift of the Mary and Jackson Burke Foundation","2015.79.9","Artist: Unknown Japanese","Artist",,,"","Asian Art","Public Domain","valid",1085,2156,0,"1",0,"Murase, Art through a Lifetime, no. 6",,"[""""]","Bodhidharma",0.71526796,,,,,,,,, "122375","Jizō, the Bodhisattva of the Earth Matrix","Wood with polychrome"," Sculpture","14 3/16 × 11 13/16 × 7 1/2 in. (36.04 × 30 × 19.05 cm) (figure only) 1 7/8 × 13 9/16 × 8 7/16 in. (4.76 × 34.45 × 21.43 cm) (base)","Figure","Asia","Japan",,"Date Unknown","Not on View",,"","","","","figure seated with legs crossed and PR foot resting on PL knee; open, loose robe is cinched around stomach; arms are bent forward, resting slightly; hands are missing","","From ","Mary Griggs Burke Collection, Gift of the Mary and Jackson Burke Foundation","2015.79.258","Artist: Unknown Japanese","Artist",,,"","Asian Art","Public Domain","valid",5330,6586,0,"1",0,"Murase, Art through a Lifetime, no. 551",,"[""""]","Bodhidharma",0.71526796,,,,,,,,, "114247","Kannon, the Bodhisattva of Compassion","Japanese cypress wood with lacquer, gold, and inlaid glass"," Sculpture","30 11/16 x 10 5/8 x 10 5/8 in. (77.95 x 26.99 x 26.99 cm)","Figure","Asia","Japan",,"13th century","Not on View","13th century","","","","This handsome, youthful male figure represents Kannon, a compassionate Buddhist deity who has forgone his own enlightenment in order to guide earthly beings along the Buddha path. In Japanese Buddhist art, Kannon takes various forms. Here, leaning forward with upturned, open hands, he is an attendant to Amida, a buddha who descends from the heavens to greet the faithful at the moment of their death and deliver them to paradise. This sculpture would have stood on an altar to the right of a larger sculpture of Amida. Kannon originally held a lotus pedestal (now missing) on which the dead were placed for their journey to paradise.","standing male figure with tall hairstyle, with a gilt headband and ornament at top front of hair; elongated earlobes; glass eyes and ""third eye"" on forehead; figure wears long gilded skirts with a sash over his PL shoulder, across his body, with small pieces of fabric wrapped around his lower arms; arms down, with palms up in front of his waist; PR foot slightly in front of PL foot; lotus blossom stepped stand","",,"The Suzanne S. Roberts Fund for Asian Art","2012.30a,b","Artist: Unknown Japanese","Artist",,,"","Asian Art","Public Domain","valid",4722,6984,0,"1",0,,,"[""""]","Bodhidharma",0.71526796,,,,,,,,, "31224","Two versions of bodhisattva Guanyin","Ink and color on silk"," Paintings","60 1/2 x 31 15/16 in. (153.67 x 81.12 cm) (image)","Hanging scroll","Asia","China",,"c. 1750","Not on View","18th century","Inscription","","inscription, in black, and 2 seals in red at L edge near LL corner","The court painter Ding Guanpeng was prominent during the Qianlong reign (1736–95) as a painter of Buddhist and Daoist subject matter. In this exquisitely painted hanging scroll, subtle shades of blue and gold combine with fluid drawing and fine details to give the composition a courtly elegance. The scene depicts two versions of Guanyin, the bodhisattva of compassion, each sumptuously attired in silk and jewelry and holding sutras (Buddhist scriptures) while seated in the position of “royal ease” atop elaborate pedestals. In the foreground are an arhat (one who has attained enlightenment) carrying a walking staff, the child prodigy Sudhana seeking spiritual council, and a six-tusk white elephant, all paying homage to Buddhist thought.","large Buddha at center holding a rolled scroll in his PL hand and seated on a lotus blossom throne; attendant figure at L holds a box in his PL hand and is seated on a smaller throne; 2 other smaller figures at LL corner; white elephant at bottom center","",,"Gift of Joan Wurtele","99.171","Artist: Ding Guanpeng","Artist","Chinese","Chinese, active 1740-1768","","Asian Art","Public Domain","valid",2718,4076,0,"1",0,,,"[""""]","Bodhidharma",0.71526796,,true,true,,,,,, "118096","Daruma","Ink and color on paper"," Paintings","38 1/2 × 16 7/8 in. (97.79 × 42.86 cm) (image) 73 1/2 × 22 5/8 in. (186.69 × 57.47 cm) (mount, without roller)","Hanging scroll","Asia","Japan",,"19th century","Not on View","19th century","","","Sotheby\'s stickers on L and R roller ends: [2]","","bust of Bodhidharma in hooded white robe in lower half; two gold hoop earrings hanging from distended lobes just visible from under hood; characteristic big eyes, bushy eyebrows, and slightly disgruntled expression; hairy chest partially exposed","","From ","Gift of the Clark Center for Japanese Art & Culture","2013.29.90","Artist: Unknown Japanese","Artist",,,"","Asian Art","Public Domain","valid",453,1024,0,"1",0,,,"[""""]","Bodhidharma",0.71190804,,,,,,,,, "17458","Flying Celestial (Apsara), from a set of Avalokiteshvara Bodhisattva and Flying Celestials","Fresco"," Paintings","23 3/4 x 24 3/4 in. (60.3 x 62.9 cm)","Painting","Asia","China",,"c. 951-953","G200","10th century","","","","These paintings were once part of a much larger composition—now dispersed among several collections in the United States—that originally formed the wall of a temple in north-central China, possibly Cishengsi in far northern Henan province. All together the set depicts a trio of seated bodhisattvas. Each one is flanked by standing attendant bodhisattvas and surrounded by other attendants performing rituals. They are also accompanied by flying celestials (apsara) in a paradise-like setting based on Esoteric Buddhist teachings. The seated bodhisattva here, originally the leftmost of the three primary figures, is backed by a halo and wears elaborate robes and jewelry. In his large crown is a small depiction of a buddha, the superior being from which the bodhisattva emanated.","Flying Apsaras, right arm outstretched, left holds a plate of flowers, left leg pendant, right knee flexed.","","From ","Gift of C.T. Loo, Inc.","50.41.2","","Artist",,,"","Asian Art","Public Domain","valid",3120,2964,0,"1",0,,,"[""""]","Bodhidharma",0.69847775,,true,true,,,,,, "17462","Flying Celestial (Apsara), from a set of Avalokiteshvara Bodhisattva and Flying Celestials","Fresco"," Paintings","16 3/4 x 23 in. (42.5 x 58.4 cm)","Painting","Asia","China",,"c. 951-953","G200","10th century","","","","These paintings were once part of a much larger composition—now dispersed among several collections in the United States—that originally formed the wall of a temple in north-central China, possibly Cishengsi in far northern Henan province. All together the set depicts a trio of seated bodhisattvas. Each one is flanked by standing attendant bodhisattvas and surrounded by other attendants performing rituals. They are also accompanied by flying celestials (apsara) in a paradise-like setting based on Esoteric Buddhist teachings. The seated bodhisattva here, originally the leftmost of the three primary figures, is backed by a halo and wears elaborate robes and jewelry. In his large crown is a small depiction of a buddha, the superior being from which the bodhisattva emanated.","Flying Apsaras, left arm outstretched, the right holds a plate of flowers, both legs pendant.","",,"Gift of C.T. Loo, Inc.","50.41.3","","Artist",,,"","Asian Art","Public Domain","valid",3240,2680,0,"1",0,,,"[""""]","Bodhidharma",0.69847775,,true,true,,,,,, "116893","Daruma","Ink and color on paper"," Paintings","62 × 27 in. (157.48 × 68.58 cm) (image) 89 1/2 × 34 in. (227.33 × 86.36 cm) (mount)","Hanging scroll","Asia","Japan",,"1917","G239","Nihonga","","","","The 6th-century Indian monk Daruma, known in Sanskrit as Bodhidharma, is credited with founding the Zen school of belief in Buddhism. Kakō, who trained in Zen himself, stayed true to established iconography by representing him with large, round earrings and an exotic “hairy” appearance while adding a minimalist, meditative sensibility.","seated man wearing pale red garment with bushy beard and black loop earrings; seated on dark blue pillow with green flowers; matching smaller pillow in front with sandals on it","",,"Gift of the Clark Center for Japanese Art & Culture","2013.29.1134","Artist: Tsuji Kakō","Artist","Japanese","Japanese, 1870 - 1931","","Asian Art","No Copyright–United States","valid",1000,1500,0,"1",0,,,"[""""]","Bodhidharma",0.667084,,,,,,,,, "118429","Welcoming Descent of Jizō, Bodhisattva of the Earth Matrix","Ink, color, and gold on silk"," Paintings","32 7/8 × 12 3/8 in. (83.5 × 31.43 cm) (image) 60 1/2 × 17 3/4 in. (153.67 × 45.09 cm) (mount)","Hanging scroll","Asia","Japan",,"early 19th century","Not on View","19th century","","","LRC, in red: Uka","Japanese Buddhists worship Jizō as a compassionate deity with the ability to rescue suffering believers, especially those who have been reborn in hell. Here Jizō descends from the heavens on a cloud bank in the guise of a Buddhist monk, with a shaved head and wearing the multipaneled silk garments worn by ordained monks. He carries a wish-fulfilling jewel and a golden walking staff that jingles to announce his arrival. Although Sakai Hōitsu executed this painting primarily in ink and touches of gold, it is iconographically indistinguishable from painted and sculptural images of Jizō that emerged in the 1200s, when worship of this deity became widespread in Japan. Hōitsu is best known as a professional painter and reviver of the decorative, primarily nonreligious Rinpa style of painting that was popular a hundred years earlier, but he also spent the years 1797 to 1809 as a Buddhist monk, which may explain why he created a number of traditional Buddhist devotional paintings over the course of his career.","robed figure standing in center with large halo behind head, holding golden staff in PR hand and round black object in PL hand; figure stands on lotus riding on swirling clouds or waves","","From ","The John R. Van Derlip Fund; purchase from the collection of Elizabeth and Willard Clark","2013.31.32","Artist: Sakai Hōitsu","Artist","Japanese","Japanese, 1761 - 1828","","Asian Art","Public Domain","valid",1929,5118,0,"1",0,,,"[""""]","Bodhidharma",0.5388432,,,,,,,,, "118151","Life-Prolonging Jizō Bodhisattva (Enmei Jizō Bosatsu)","Ink, color, gold paint, and gold leaf on silk"," Paintings","41 × 18 3/8 in. (104.14 × 46.67 cm) (image) 72 7/8 × 25 3/4 in. (185.1 × 65.41 cm) (mount)","Hanging scroll",,,,"early 14th century","Not on View","14th century","","","","This painting portrays Life-prolonging Jizō, one of many forms of the bodhisattva Jizō to whom believers would pray for a long life. Shown lost in thought, seated in a relaxed pose upon a rock in the midst of a swirling sea, Jizō is attended by two young boys below—the red figure at left is Shōaku, the Administrator of Evil, and the white figure at right is Shōzen, the Administrator of Good. Life-prolonging Jizō can also manifest in a wrathful form as the Immovable Wisdom King. A painting of the Immovable Wisdom King made around the same time.","dark scene with seated figure in center with halo and holding staff; small red skinned figure in LLC and small white skinned figure in LRC","","From ","Gift of the Clark Center for Japanese Art & Culture","2013.29.95","Artist: Unknown Japanese","Artist",,,"","Asian Art","Public Domain","valid",4895,10717,0,"1",0,,,"[""""]","Bodhidharma",0.5388432,,,,,,,,, "122281","Welcoming Descent of Amida and Twenty Five Bodhisattvas","Woodblock print; ink on paper with hand-applied color and gold"," Prints","9 3/4 × 14 11/16 in. (24.77 × 37.31 cm) (sight) 16 5/8 × 21 1/2 × 3/4 in. (42.23 × 54.61 × 1.91 cm) (outer frame)","Print","Asia","Japan",,"16th century","Not on View","16th century","Inscription and Seal LRC, partially obscured by frame","","Seal LLC","","framed: Buddha seated cross-legged on lotus platform with PL hand open in lap and PR hand giving an O symbol; two halos and a beaded cloud above head; surrounded on two sides by figures playing instruments floating on clouds; two figures on either side, one praying, the other offering an object; dark background with small Bodhisattva figures","","From ","Mary Griggs Burke Collection, Gift of the Mary and Jackson Burke Foundation","2015.79.207","Artist: Unknown Japanese","Artist",,,"","Asian Art","Public Domain","valid",4248,2864,0,"1",0,"Murase, Art through a Lifetime, no. 471",,"[""""]","Bodhidharma",0.5388432,,,,,,,,, "114489","Eleven-headed Avalokiteshvara Bodhisattva (Jūichimen Kannon)","Cardboard, wood, plastic, pigments"," Sculpture; Collages / Assemblages","78 3/4 x 23 5/8 x 19 in. (200 x 60 x 48.26 cm) (approx.)","Sculptural assemblage","Asia","Japan",,"2012","Not on View","21st century","","","","Yūji Honbori, a trained sculptor, has always been interested in using discarded materials. In 2004 he began experimenting with cardboard boxes from his local grocery store and became fascinated with the delicate, see-through quality of cardboard as viewed through the corrugation. He realized that this could suggest Buddhist notions of impermanence and ephemerality. For the last few years, he has been producing life-size works in cardboard based on famous old sculptures found at Japanese Buddhist temples. This sculpture depicts Eleven-headed Avalokiteshvara, an important bodhisattva in the Esoteric schools of Buddhism, that has 11 heads atop its own—10 bodhisattvas and one buddha that represent the 10 stages of enlightenment preceding eventual buddhahood. It is based on a well-known sculpture made in the 700s, now owned by the temple Shōrinji.","slightly smaller than life-size sculpture of standing figure with elongated earlobes wearing a crown and garment with draping elements on sleeves and skirts, standing on a small rounded platform, holding a flower bouquet in PL hand; sculpture made up of small vertical pieces of corrugated cardboard with brightly-colored pigments on PL and PR faces; top of bouquet is removable; thin yellow ring at upper back of figure's interior","",,"The Joan and Gary Capen Endowment for Art Acquisition","2012.32a,b","Artist: Honbori Yūji","Artist","Japanese","Japanese, born 1958","%C2%A9 Yuji Honbori","Asian Art","In Copyright","valid",5710,9616,1,"1",0,,,"[""""]","Bodhidharma",0.5388432,,,,,,,,,true "42380","Children making a snow ball","Woodblock print (surimono); ink and color on paper"," Prints","15 x 19 1/4 in. (38.1 x 48.9 cm) (image, sheet)","Print (Shijō surimono)","Asia","Japan",,"1820s - 1850s","Not on View","19th century","54 haiku poems about winter","来章 {Raishō}","red artist\'s seal: 来章 {Raishō}","Children's delight in newly fallen snow is universal. Here three ambitious Japanese boys are creating a yukidaruma, ""snow Bodhidharma."" Bodhidharma was the Indian sage who traveled to China in the sixth century to spread his doctrine which stressed seated meditation as a means toward enlightenment. Since a large rounded snow mound resembles a seated monk with his robe covering his head and legs, such figures came to be called yukidaruma in Japan.","","",,"Gift of funds from Mr. and Mrs. Samuel H. Maslon","P.77.27.141","Artist: Nakajima Raishō","Artist","Japanese","Japanese, 1796 - 1871","","Asian Art","Public Domain","valid",4733,3718,0,"1",0,,,"[""""]","Bodhidharma",0.50013566,,,,,,,,, "117607","Nyoirin Kannon, the Bodhisattva of Compassion with the Wish-granting Jewel","Bronze"," Sculpture","9 1/4 × 6 × 4 1/2 in. (23.5 × 15.24 × 11.43 cm)","Figure","Asia","Japan",,"13th - early 14th century","Not on View","13th-14th century","","","","The distinctive seated pose identifies this figure as Nyoirin Kannon, a wish-fulfilling form of the deity Kannon. One right hand holds a wish-granting jewel near his chest, while another holds a string of prayer beads. Lost to time are a bronze lotus blossom that would have been held in the left hand near his chest and a wheel (symbolizing the Buddha’s teachings) on the tip of his upraised finger. A fifth hand rests on his cheek while the sixth is flat on the ground, bracing him against the earth. To accurately depict this complex deity, the sculptor would have referred to iconographic drawings like those displayed here.","figure seated with one knee up; six arms; of PL arms: one pointing up, one placed on ""floor"", one outstretched in mudra; of PR arms: one placed next to cheek, one down and holding bracelet, one outstretched holding sphere","","From ","Gift of the Clark Center for Japanese Art & Culture","2013.29.50","Artist: Unknown Japanese","Artist",,,"","Asian Art","Public Domain","valid",5542,6895,0,"1",0,,,"[""""]","Bodhidharma",0.4506308,,,,,,,,, "123992","Iconographic drawings of the forms of Kannon, the Bodhisattva of Compassion, 5th month of 1230","Ink and color on paper"," Paintings","9 7/8 × 459 7/16 in. (25.08 × 1166.97 cm) (image) 9 7/8 × 473 1/4 in. (25.08 × 1202.06 cm) (mount, without roller)","Handscroll","Asia","Japan",,"1230, 5th lunar month","Not on View","13th century","at end: [Completed checking against the Tsuchiin version, in the fifth month of 1230, at Jizoin of Saienji. However. . .]","at end: [Shinken] 醍醐寺地蔵院 and 深賢","","An array of Buddhist deities was introduced to Japan from China and Korea in the 700s. The complexity of their identities, attributes, and symbols required the compilation of drawings that systematically illustrated their appropriate postures, implements, and hand gestures. Painters, sculptors, and other artists used the drawings as guides when they created new icons. This handscroll, made by a Buddhist priest in the 1200s, shows many variations of the compassionate deity Kannon. The bronze statue of Kannon displayed here is identical to one of the sketches on the handscroll—evidence that the artist referred to a drawing similar to this one.","different images of Kannon, images of Buddha figures within large halos, with attendants, on lotus pedestals; text, some in Sanskrit","","From ","Mary Griggs Burke Collection, Gift of the Mary and Jackson Burke Foundation","2015.79.19.2","Artist: Jinken","Artist","Japanese","Japanese, act. 13th century","","Asian Art","Public Domain","valid",6945,2265,0,"1",0,"Murase, Art through a Lifetime, no. 21",,"[""""]","Bodhidharma",0.4506308,,,,,,,,, "6921","Iconographic drawings of the forms of Kannon, the Bodhisattva of Compassion, 5th month of 1230","Ink on paper"," Paintings","9 15/16 × 503 1/4 in. (25.24 × 1278.26 cm) (image) 9 15/16 × 517 in. (25.24 × 1313.18 cm) (mount, without roller)","Handscroll","Asia","Japan",,"1230, 5th lunar month","Not on View","13th century","at end: [Copying of the iconographic drawings completed on the twenty-second day of the fourth month. Shinken completed copying at Jizoin, Daigoji, on the twentieth day of the fourth month of 1230] 朱云小栗栖像也 in the middle of the image.","at end: [Shinken] 醍醐寺地蔵院書写す深賢 ","ULC, in pencil: [Kangi II = / 1230 AD]","","images of fierce deities with weapons, flaming halos, grotesque features; text, some in Sanskrit","",,"Mary Griggs Burke Collection, Gift of the Mary and Jackson Burke Foundation","2015.79.19.1","Artist: Jinken","Artist","Japanese","Japanese, act. 13th century","","Asian Art","Public Domain","valid",7174,3838,0,"1",0,"Murase, Art through a Lifetime, no. 21",,"[""""]","Bodhidharma",0.4506308,,,,,,,,, "6601","Kannon, the Bodhisattva of Compassion, from a group of 1000 (Kōfukuji sentaibutsu 興福寺千体仏)","Lacquered and gilded Japanese cypress"," Sculpture","18 1/2 × 6 × 6 in. (46.99 × 15.24 × 15.24 cm)","Figure","Asia","Japan",,"12th century","Not on View","12th century","","","","In Buddhism, bodhisattvas are highly accomplished practitioners who vowed to save all beings in the secular world before reaching full enlightenment themselves. Kannon, the bodhisattva of limitless compassion, has been one of the most widely worshipped deities in the Buddhist pantheon. This wooden figure, with its graceful proportions, simple, shallowly carved drapery folds, and serene facial expression reflects the aristocratic style developed during Japan's Heian period (794–1185). Its stylistic similarity to eighty other known images of Kannon suggests that it was once part of a single massive commission of one thousand statues housed in a worship hall at the Kōfukuji Temple in Nara. The body of the deity was once covered in a thin layer of gold and the robes brightly painted. It may have held a lotus, a Buddhist symbol of purity and rebirth, in its raised left hand.","figure standing on lotus leaf; PR arm is bent up at the elbow, with hand loosely fisted, possibly once holding an object; PL arm extended down with middle two fingers drawn in; eyes closed; pointed hat, sash over PL shoulder connecting to petal-like skirt","",,"Mary Griggs Burke Collection, Gift of the Mary and Jackson Burke Foundation","2015.79.257","Artist: Unknown Japanese","Artist",,,"","Asian Art","Public Domain","valid",4972,6901,0,"1",0,"Murase, Art through a Lifetime, no. 548",,"[""""]","Bodhidharma",0.4506308,,,,,,,,, "117166","Prostitute Plucking Daruma's Beard","Ink and color on paper"," Paintings","42 1/2 × 22 9/16 in. (107.95 × 57.31 cm) (image) 79 1/8 × 27 7/8 in. (200.98 × 70.8 cm) (without roller)","Hanging scroll","Asia","Japan",,"first half 19th century","Not on View","19th century","","R center: 浪花梅林斎雪山寫 {Naniwa Bairinsai Setsuzan Sha}","R center: 梅林斎 {Bairinsai}; 雪山 {Setsuzan}","The prostitute is plucking the beard of Bodhidharma, known in Japan as Daruma, the founder of Zen Buddhism. Reversing the sacred and the profane in a kind of parody was a favorite motif during the Edo period—in Edo slang, to “pull out one’s nose hair” implied a man enslaved by a woman. An especially popular theme was that of the Daruma and the prostitute, a play on the familiar subjects of Daruma’s nine years of meditation facing a stone wall, which caused the loss of his arms and legs, and the prostitute’s 10 years of trial-laden life at a brothel—the word “daruma” was slang for a prostitute.","smiling young courtesan daintily plucks at the hairs of Daruma's upper lip; courtesan wears brown and white plaid robe with detailed red and white undergarment; Daruma wears red robe with white around neck; bald head, exaggerated cheek bones; looks painfully up at courtesan","","From ","Gift of the Clark Center for Japanese Art & Culture","2013.29.149","Artist: Inoue Setsuzan","Artist","Japanese","Japanese, active early 19th century","","Asian Art","Public Domain","valid",2833,5345,0,"1",0,,,"[""""]","Bodhidharma",0.3423582,,,,,,,,, "116534","Sakyamuni, one of a pair","Ink and color on silk"," Paintings","68 × 21 1/8 in. (172.72 × 53.66 cm) (includes roller ends) 37 11/16 × 14 5/8 in. (95.73 × 37.15 cm) (sheet)","Hanging scroll","Asia","China",,"13th century","Not on View","13th century","","","","A professional painter, Yan Hui was especially known for his figure paintings of religious subjects. Here he depicted Sakyamuni (left), an Indian prince from the 400s BCE, whose teaching forms the underpinnings of Buddhism; and Bodhidharma (right), an Indian sage from the 500s CE, who advocated practicing meditation as a means of achieving spiritual enlightenment. Sakyamuni’s quiet, introspective character is suggested by his downcast eyes and gently inclined head, whereas Bodhidharma’s aggressive nature is conveyed by his direct gaze. Yan’s choice of red for the robes of both holy men provides a visual connection between the two paintings.","male figure at lower half of image with a halo, two bald spots, fluffy black hair, and a close-trimmed beard and moustache, wearing a black and red cloak","","From ","The Friends of Bruce Dayton Art Acquisition Fund","2013.34.2.1","Artist: Attributed to Yan Hui","Artist","Chinese","Chinese","","Asian Art","Public Domain","valid",3896,9923,0,"1",0,,,"[""""]","Bodhidharma",0.31021702,,,,,,,,, "122250","Daruma","Red ink on silk"," Paintings; Calligraphy","32 5/16 × 8 5/16 in. (82.07 × 21.11 cm) (image) 61 7/8 × 10 7/16 in. (157.16 × 26.51 cm) (mount, without roller)","Hanging scroll","Asia","Japan",,"c. 1818 - 1837","Not on View","18th century","(The fruit comes into being naturally; / one flower brings forth five leaves) ","BC, in red: {Murasak ino Mindō}; above figure: (Inscribed by Shōgetsuken at the foot of Ryūhōzan)","BC red artist\'s seal: {Mindō}; above figure: {Unshutsu Dōsanmei}, {Chūhō}, {Shōrō Sekkan}","Bodhidharma, known as “Daruma” in Japan, is one of the iconic figures associated with Zen Buddhism. Born in India, he is credited with transmitting Zen teaching to China sometime during the Former Song dynasty (420–479 CE), and is thus considered the patriarch of Chinese Zen (or Chan). Here, the painter, Mindō Sōsen—the 429th abbot of the influential Zen monastery Daitokuji—renders his portrait of the scruffy-faced patriarch in crimson ink. The inscription above, brushed by the retired Daitokuji abbot, Chūhō Sō'u, reads: “The fruit comes into being naturally. / One flower produces five leaves.” “Five leaves” is a reference to the five schools of Zen that developed in China after Bodhidharma’s time.","top 3/4 of a male figure wrapped completely in red robe, frowning mouth, eyes gazing slightly upward; three line inscription in black ink at top; one line red inscription bottom","","From ","Mary Griggs Burke Collection, Gift of the Mary and Jackson Burke Foundation","2015.79.179","Artist: Mindō Sōsen; Author: Inscribed by Chūhō Sō'u","Artist","Japanese","Japanese, 1768 - 1837","","Asian Art","Public Domain","valid",1619,6690,0,"1",0,"Murase, Art through a Lifetime, no. 426",,"[""""]","Bodhidharma",0.29834893,,,,,,,,, "31145","Eight Line Poem: ""The Bodhisattva Jizo's Seal and Staff Reveal Shining Words""","Ink on paper"," Calligraphy","10 1/4 x 29 3/4 in. (26.04 x 75.57 cm) (image)",,"Asia","Japan",,"18th century","Not on View","18th century","","","","Hyakusetsu was a Buddhist priest of the O_baku sect of Zen Buddhism in Japan. He became friends with the courtier Konoe Iehiro (1667-1736), a renowned calligrapher and tea master. Through Iehiro, Hyakusetsu was introduced to cultural circles in Kyoto. Eventually he became a well-known painter, calligrapher, tea-master, and poet in his own right. Here, Hyakusetsu used his buoyant semi-cursive script for a poem exalting the boundless compassion of the Buddhist deity, Jizo_.","13 rows of text with one character above 2 seals at left edge and one seal in upper right corner","","From ","Gift of funds from the Asian Art Council","99.117","Painter: Hyakusetsu Gen’yō","Artist","Japanese","Japanese, 1668 - 1749","","Asian Art","Public Domain","invalid","","",0,"1",0,,,"[""""]","Bodhidharma",0.2253154,,,,,,,,,