万玉堂 - 美国大都会艺术博物馆展品查阅

品名（中）	万玉堂
品名（英）	Plum Blossoms
入馆年号	2015年，2015.300.62
策展部门	亚洲艺术（Asian Art）
创作者	Motsurin Jōtō (Bokusai)【0 至 1492】【日本人】
创作年份	公元 1400 - 公元 1491
创作地区
分类	绘画（Paintings）
尺寸	图像: 10 3/4 × 16 3/4 英寸 (27.3 × 42.5 厘米) 整体 with mounting: 43 1/8 × 20 1/8 英寸 (109.5 × 51.1 厘米) 整体 with knobs: 宽 22 英寸 (55.9 厘米)
介绍（中）	梅花象征着春天的到来，是中国文人绅士画家喜欢的主题，但当中国的梅花水墨画到达日本时，它们的意象在禅宗圈子里变得广泛起来。这幅由一圈水墨画框成的多节梅花的构图，可能反映了禅宗绘画和书法中对圆圈的使用，将其作为《心经》文本中"形即空，空即形"的文字的视觉表现，并作为启蒙的象征 Motsurin，一位禅宗艺术家僧侣，可能也选择了梅花，因为它们受到了他的导师IkkýSōjun（1394–1481）的喜爱。IkkyåSßjun是京都大德寺的住持，以其诗歌、书法和公然的非正统行为而闻名。Motsurin的题词声称，即使是优雅的牡丹和甜美的茉莉花，也无法与春天的李子相媲美。
介绍（英）	Plum blossoms, symbolic of the arrival of spring, were a favored subject among scholar-gentleman painters in China, but when Chinese ink paintings of plums arrived in Japan their imagery became widespread within Zen circles. This composition of a gnarled plum tree framed by a circle of ink wash may reflect the use of the circle in Zen painting and calligraphy as a visual representation of words from the text of the Heart Sutra, “form is void and void is form,” and as a symbol of enlightenment. Motsurin, a Zen artist-monk, might also have chosen plum blossoms because they were beloved of his mentor Ikkyū Sōjun (1394–1481), an abbot of Daitokuji temple in Kyoto known for his poetry, calligraphy, and flagrantly unorthodox behavior. Motsurin’s inscribed text claims that even elegant peonies and sweet jasmine cannot match the plum as a representation of the spring season.