慧能，禅宗六祖，与鹅和Myna - 美国大都会艺术博物馆展品查阅

品名（中）	慧能，禅宗六祖，与鹅和Myna
品名（英）	Huineng, the Sixth Patriarch of Zen, with Geese and Myna
入馆年号	2021年，2021.398.14a–c
策展部门	亚洲艺术（Asian Art）
创作者	Unkoku Tōeki 雲谷等益【1591 至 1644】【日本人】
创作年份	公元 1600 - 公元 1644
创作地区
分类	绘画（Paintings）
尺寸	图像 (each): 42 3/8 × 18 1/4 英寸 (107.6 × 46.4 厘米) 整体 with mounting (each): 76 1/4 × 21 英寸 (193.7 × 53.3 厘米)
介绍（中）	这幅作品将三个看似无关的主题结合在一个单一的多卷轴构图中，这种格式在早期禅宗虔诚绘画中很常见，并在 16 世纪被专业画家广泛采用。在这里，中心位置由禅宗第六位祖师惠能（638-713）占据，他的两侧是起源于中国的所谓花鸟主题——右边是两只鹅和秋天的芦苇的秋景，左边是一只孤独的八哥鸟栖息在老树桩上。东关是位于日本西部的云国画家画派的成员，在那里他们担任强大的毛利氏族领导人的画家。云国画家由他的父亲东干在 16 世纪末期创立，他们自称是伟大的中世纪禅宗水墨画家 Sesshū（1420-1506 年）遗产的继承人，后者晚年在该地区建立了一个工作室 Unkoku-an。东关在哥哥东奥早逝后继承了云国学派的控制权。东铁的后代在十九世纪后期领导着学校的主要分支。
介绍（英）	This work combines three seemingly unrelated subjects in a single, multi-scroll composition, a format commonly seen in early Zen devotional painting and adopted widely by professional painters in the sixteenth century. Here the central position is held by Huineng (638–713), the Sixth Patriach of Zen Buddhism, who is flanked by so-called bird-and-flower subjects originating in China—an autumnal scene of two geese and autumnal reeds at right, and a lone myna bird perched on an old tree stump at left. Tōeki was a member of the Unkoku school of painters, based in western Japan, where they served as painters-in-attendance to leaders of the powerful Mōri clan. Founded by his father, Tōgan, in the waning years of the sixteenth century, the Unkoku painters branded themselves as heirs to the legacy of the great medieval Zen ink painter, Sesshū (1420–1506), who had established a studio, the Unkoku-an, in that area late in life. Tōeki inherited control of the Unkoku school after the early death of his elder brother, Tō’oku. Tōeki’s descendants led the main branch of the school through the late nineteenth century.