Ōbaku禅僧Jifei Ruyi（Sokuhi Nyoitsu）的肖像 - 美国大都会艺术博物馆展品查阅

品名（中）	Ōbaku禅僧Jifei Ruyi（Sokuhi Nyoitsu）的肖像
品名（英）	Portrait of the Ōbaku Zen Monk Jifei Ruyi (Sokuhi Nyoitsu)
入馆年号	1975年，1975.268.78
策展部门	亚洲艺术（Asian Art）
创作者	Kita Genki【1664 至 1698】【日本人】
创作年份	公元 1666
创作地区
分类	绘画（Paintings）
尺寸	图像: 43 1/8 × 17 5/16 英寸 (109.5 × 44 厘米) 整体 with mounting: 79 1/4 × 22 1/4 英寸 (201.3 × 56.5 厘米) 整体 with knobs: 79 1/4 × 24 3/8 英寸 (201.3 × 61.9 厘米)
介绍（中）	长崎艺术家根木为Ōbaku大师吉菲·如意（日语：Sokuhi Nyoitsu）画了这幅肖像，这幅肖像是主人公在福居寺居住时亲自用中文题写的，福居寺是一座由小仓（今北九州北九州）大名光顾的寺庙。长崎港是德川政府监管严格的少数几个可以公开讨论和研究当代中国文化和学习的地方之一。17世纪中期，中国僧侣通过长崎（包括吉非如意）旅行，并由韩国使节将儒家和禅宗的新思想带到了日本。这些僧侣形成了在日本被称为Ō八股派的学校，以日本对唐朝僧侣黄伯锡云（公元850年）的名字命名这幅画像有几个版本，每个版本都有不同的铭文。在禅宗中，释迦牟尼佛的教义是直接从老师传给学生的；在17世纪的实践中，与早期一样，佛陀的话语生活在接受教导中，而不是阅读文本中。一幅老师的画像，经过适当的题写，是一种受人尊敬的成就象征，也是对知识结构所围绕的特殊关系的有形提醒。自镰仓时期（1185–1333）以来，肖像画和铭文将宗教、自传和传记融合在一起，形成了权力巨大的图像，就像这幅上卷一样。
介绍（英）	Genki, a Nagasaki artist, painted this portrait of the Ōbaku master Jifei Ruyi (Japanese Sokuhi Nyoitsu), which was inscribed in Chinese by the subject himself while he was resident at Fukujuji, a temple patronized by the daimyo of Kokura (present-day Kita Kyushu Kitakyūshū). The port of Nagasaki was one of the few places under the tightly regulated Tokugawa government where contemporary Chinese culture and learning could be openly discussed and studied. In the mid-seventeenth century, new ideas on Confucianism and Zen (Chinese: Chan) Buddhism were brought to Japan by Chinese monks travelling through Nagasaki (including Jifei Ruyi) and by envoys from Korea. These monks formed what was known in Japan as the Ōbaku school, after the Japanese rendering of the name of the Tang dynasty monk Huangbo Xiyun (d. 850). There are several versions of this portrait, each with a different inscription. In Zen, the teachings of the Buddha Shakyamuni are transmitted directly from teacher to pupil; in seventeenth-century practice, as in earlier ages, the Buddha's word lived in receiving instruction rather than in reading texts. A portrait of one's teacher, suitably inscribed, was a venerated symbol of accomplishment and a tangible reminder of the special relationship around which knowledge was structured. Since the Kamakura period (1185–1333), portraiture and inscriptions have merged religion, autobiography, and biography in images of great power, as in this hanging scroll.