Zhou Jichang 周季常 (active late 12th century) Search this
Medium:
Ink and color on silk
Dimensions:
H x W (image): 109.9 x 52.7 cm (43 1/4 x 20 3/4 in)
Type:
Painting
Origin:
China
Date:
1178
Period:
Southern Song dynasty
Label:
The Tiantai Mountains are located in Zhejiang Province a short distance from the coastal city of Ningbo. Renowned for their wild, dramatic beauty, the mountains were reputedly the abode of gods and immortals. The natural rock bridge spanning a waterfall is one Tiantai's most famous sights. According to legend, this arch is also a pathway to paradise where the five-hundred luohan, saintly guradians of the Buddhist faith, worship and dwell among magnificent celestial temples. Those who venture to tread this perilous trail, however, find that the bridge, which narrows to a width of several centimeters, is obstructed at its far end by an insumountable block of stone.
Luohan are portrayed in Chinese paintings as Buddhist monks, for whom they stood as holy exemplars. While not directly worshipped, luohan could be induced through rigorous proofs of devotion to assist a pious supplicant in overcoming obstacles to salvation. Such a scene is illustrated in this painting. Three luohan stand on a swath of clouds in the foreground, while two others walk in the clouds above, patrolling the gates of a stately temple. Both groups observe the devout monk Tanyou (fourth century), who attempts to gain access across the bridge. According to the story, Tanyou was initially thwarted by the large stone, but persisted in his endeavor, praying and fasting for several days. Because of his sincerity, the luohan opened a gateway in the stone, allowing Tanyou to enter their heavenly temple and briefly join in the monastic routine. Afforded this taste of paradise, he was sent back to the world to live out his natural years. The painting captures the moment just before the stone was opened.
To learn more about this and similar objects, visit http://www.asia.si.edu/SongYuan/default.asp Song and Yuan Dynasty Painting and Calligraphy.
Provenance:
The Daitoku-ji Temple, Kyoto [1]
From 1907 to 1919
Charles Lang Freer (1854-1919), purchased in Tokyo in 1907 [2]
From 1920
Freer Gallery of Art, gift of Charles Lang Freer in 1920 [3]
Notes:
[1] According to Curatorial Remark 8, citing Thomas Lawton, catalogue entry 19 of "Chinese Figure Painting," 1973: "At the end of the nineteenth century, the Daitokuji was in need of funds for repairs, and the paintings were used as a collateral for a loan. In 1894 Ernest Fenollosa arranged a special exhibition in which 44 of the paintings were shown at the Museum of Fine Arts, Boston. Ten of those paintings were purchased by the Museum of Fine Arts. As an expression of gratitude, the Japanese presented one of the 44 paintings to Fenollossa, who subsequently sold it to Charles L. Freer in 1902 (F02.224). In 1907 while in Tokyo, Mr. Freer acquired another of the paintings from the set (F07.139)."
This object exhibits seals, colophons, or inscriptions that could provide additional information regarding the object’s history; see Curatorial Remarks in the object record for further details.
[2] See Original Kakemono and Makimono List, L. 543, Freer Gallery of Art and Arthur M. Sackler Gallery Archives.
[3] The original deed of Charles Lang Freer's gift was signed in 1906. The collection was received in 1920 upon the completion of the Freer Gallery.
Collection:
Freer Gallery of Art Collection
Exhibition History:
Setting the Bar: Arts of the Song dynasty (October 14, 2017 - ongoing)
Masters of Mercy: Buddha's Amazing Disciples (March 10 to July 8, 2012)
Guardians of the Law: Chinese Luohan Painting (December 1, 2003 to May 23, 2004)
In the Mountains (January 31 to August 2, 1998)
Masterpieces of Chinese Painting (I) (August 3, 1984 to February 7, 1985)
Chinese Art (March 9, 1981 to March 12, 1982)
Chinese Figure Painting (September 17, 1973 to January 3, 1975)
Chinese Art (January 1, 1963 to March 6, 1981)
Chinese Paintings (June 5, 1957 to January 1, 1963)
