红衣达摩（Shue Daruma zō） - 美国大都会艺术博物馆展品查阅

品名（中）	红衣达摩（Shue Daruma zō）
品名（英）	Bodhidharma in Red Robes (Shue Daruma zō)
入馆年号	2022年，2022.47
策展部门	亚洲艺术（Asian Art）
创作者	Kano Masanobu 狩野正信【1434 至 1530】【日本人】
创作年份	公元 1463 - 公元 1499
创作地区
分类	绘画（Paintings）
尺寸	图像: 35 7/8 × 17 5/8 英寸 (91.2 × 44.8 厘米) 整体 with mounting: 74 7/8 × 23 13/16 英寸 (190.2 × 60.5 厘米) 整体 with knobs: 74 7/8 × 25 3/4 英寸 (190.2 × 65.4 厘米)
介绍（中）	《红袍菩提达摩》是菅野正信（Kano Masanobu，约1434年–约1530年）最近重新发现的作品，他是菅野派的创始人，从画家职业生涯后期到19世纪，菅野学派统治了日本绘画四个世纪。虽然如今他与中国风格的水墨山水画联系最为密切，但在他自己的时代，菅野正信以肖像画和佛教偶像而闻名。他可能是从一座禅寺收到了这幅菩提达摩（Bodhidharma）照片的委托，这是一位五世纪的印度僧人，被认为将禅宗教义传播到了中国。在中世纪的日本，菩提达摩的画像在各种宗教仪式中展示，有时还与其他祖师的图像结合在一起。这些图片的效果取决于对祖师凝视的有效描述，祖师向东亚传达了一个重要的禅意信息，即自我反省，追求觉醒，向内看，成为佛陀。正野布用一系列大胆的、分层的墨线，结合朱红色的水洗，渲染出达摩祖师特有的红色长袍，并将视线引向画面的中心，在那里，禅师以敏锐的目光与信徒相遇，让人想起他据说坐在冥想中的九年，凝视着洞穴的墙壁。Masanobu作为一名肖像画家的独特天赋也体现在他对达摩祖师的面部特征的一丝不苟的处理上，他只用三种颜料——墨水、朱红色和赭色——进行了细致的描绘。
介绍（英）	Bodhidharma in Red Robes is a recently rediscovered work by Kano Masanobu (ca. 1434–ca. 1530), founder of the Kano school, which dominated Japanese painting for four centuries, from the artist’s late career through the nineteenth century. Although today he is most closely associated with Chinese-style ink landscapes, Kano Masanobu in his own day was renowned as a painter of portraits and Buddhist icons. He probably received the commission for this picture of Bodhidharma, the fifth-century Indian monk credited with transmitting Zen Buddhist teachings to China, from a Zen temple, where in medieval Japan portraits of Bodhidharma were displayed during various religious services, sometimes in combination with images of other patriarchs. The efficacy of such pictures pivots on an effective description of the gaze of the patriarch, who conveyed to East Asia an essential Zen message of self-reflection in pursuit of awakening—Look inward to become a buddha. Masanobu used a series of bold, layered ink lines in combination with washes of vermilion to render Bodhidharma’s characteristically red robes and guide the eye to the center of the picture, where the Zen master meets the adherent with a penetrating gaze, calling to mind the nine years he is said to have sat in meditation, staring at the wall of a cave. Masanobu’s singular talent as a portraitist is also evident in his punctilious handling of Bodhidharma’s physiognomy, carefully detailed using a complex layering of only three pigments—ink, vermilion, and ochre.