The Song Dynasty of China and the Muromachi Period of Japan - Term Paper Example

Here Teacher Here Here Here Here Between the Song Dynasty of China and the Muromachi period of Japan, Zen Buddhism was a common subject for artists. The painters in these ages often focused on traditional figures in the early mythos of the practice. Artists Sesshu and Dai Jin, Japanese and Chinese respectively, both painted scenes of the disciple Shen-kuang —later called Huike— presenting his severed arm to the patriarch of Zen Buddhism, Bodhidharma. Though both versions of Huike Presenting His Severed Arm to Bodhidharma examine the same concept and theme, Sesshus painting, which was inspired by Dai Jins, conveys the themes of enlightenment and selflessness in a much clearer manner. He captures the nature of the tale and exhibits it through the most minute details, ultimately improving Dai Jins presentation of the story. The legend of Shen-kuang and Bodhidharma tells the story of the traveler Bodhidharma, who resigned himself to meditating in a Shaolin Temple in the country of Wei for nine years. At some point, the disciple Shen-kuang came to seek out Bodhidharma. He stood in the snow, waiting, for hours without any acknowledgment. Just before dawn, Bodhidharma turned and informed Shen-kuang that frivolously searching the Buddhas teaching was pointless, as one sought such knowledge at the risk of their own life. Upon hearing this, Shen-kuang lopped off his arm with a sword. He offered it to Bodhidharma, who concluded that Shen-kuang should be his successor. In performing an act of sacrifice to prove his dedication of his own volition instead of at the instruction of Bodhidharma, Shen-kuang proved himself worthy of the teachings of the Buddha. Both Dai Jin and Sesshu are masters of visual language. Dai Jins work is recognizable as a continuation of southern Song Dynasty art, and he relies on intricate details and sharp contrast in tone and texture to create interest in the piece. The appearance of the subjects is almost realistic, and the large focus of the painting allows the viewer to analyze the surroundings and place the location of the painting. On the other hand, Sesshus artwork is more simplistic with many of his lines and overall shapes. He uses visual metaphors in order to further his theme, however, and this is ultimately what makes him a more successful storyteller. The composition of the two paintings differs greatly, with the greatest divergence being the scale of the works. While Dai Jins painting shows the two figures at a distance at a birds eye view, Sesshus layout is more intimate, concentrating on Shen-kuang and Bodhidharma. It lacks the background details found in Dai Jins artwork. As the legend focuses on the concept of rejecting personal attachment, and enlightenment depends largely on the departure from the material world in the favor of simplification, Sesshus uncluttered view is more in keeping with the message he is putting across. However, some elements of the artistic arrangement are similar. Both Dai Jin and Sesshu employ the cave as a framing device. Because Shen-kuangs status is that of a disciple and therefore he is below Bodhidharma, Bodhidharma is depicted facing away from him and towards the wall, which represents the meditative state and therefore enlightenment. For the same reason, Shen-kuang is placed below Bodhidharma in both works. This is made more obvious in Sesshus work, however, as his vertical orientation clearly presents the hierarchy within the cave. While Dai Jins painting shows the cave as being spacious, Sesshus depiction makes the cave far smaller. There is also no outside space in Sesshus painting, which heightens the connection between the disciple and the one who will eventually become his teacher. This is more effective in conveying the narrative than Dai Jins representation, as the closeness rendered in Sesshus interpretation immediately implies the success of Shen-kuangs sacrifice. It shows him offering something important to him in exchange for the knowledge of the Buddha and therefore securing himself a place as a disciple. An action such as this is highly personal, and depicting it in such focus is necessary to produce such an emotional impact. The artists interpret volume very differently. Dai Jin uses more details to show just how deep the cave is or how far away the two figures are from each other. He uses shadows extensively in order to show the depths of the space. On the other hand, Sesshus representation of volume presents the subject matter in an almost entirely two dimensional way, with only minimal shadows and slight differentiation between the inside and outside of the cave. This keeps the focus of Sesshus painting on the subject matter instead of on the actual artistic quality of the piece. Sesshu uses line to great advantage in his version of Huike Presenting His Severed Arm to Bodhidharma. His depiction of the cave, which is just a purely physical object and has nothing to do with enlightenment besides its purpose as a vehicle for the blankness of meditative zazen. There is cross-hatching and representation of shadows. The cave walls are the most complex things in the picture, featuring sharp lines as well as texture. By contrast, the depiction of Shen-kuang does not include very much shading. Shen-kuang, who is moving closer towards enlightenment as he severs his arm and presents it to Bodhidharma, is drawn in with simpler lines, though he retains complexity in the folds of his clothing and facial expression. Lastly, Sesshus Bodhidharma is drawn in with the simplest of strokes with the exception of the facial hair used to signify that he is Indian. Bodhidharmas clothing lacks all but the most basic representation of folds and form. This rejection of decoration and material aesthetics is in keeping with the legends message of focus and dedication on only the most important aspects, which in this case, is the representation of two men, a cave, and a severed hand. Dai Jins interpretation of the piece uses line in a more aesthetically pleasing manner. It varies greatly in thickness and density, moving from thick to thin and light to dark in relation to the actual, physical representation of the image, instead of to the theme the artist is attempting to convey. The lines are far more jagged than the lines in Sesshus piece, in a style that is typical of the dynasty in which it was painting. The intricate lines in the trees, for example, are very much influenced by Song Dynasty style. Dai Jin also uses tone to a more visually appealing fashion. He applies shadows liberally, depicting the texture of the rocks of the cave as well as the ground. Bodhidharma and Shen-kuang are both dressed in full robes, complete with shadows. Despite a somewhat inconsistent light source, the different values in the painting add a more interesting element. Though such a wide variety of visual information is definitely conducive to an overall attractive piece of artwork, it does not help convey the message of detachment from the physical world, which is ultimately what the legend of Shen-kuang and Bodhidharma is about. Dai Jin deviates from his Song Dynasty-oriented style in order to tint the piece bluish, which makes the painting seem artificial. Conversely, the more natural color and simple use of tone employed by Sesshu is far more authentic and natural. As it appears to be using detail as a metaphor for enlightenment, Bodhidharma lacks shading altogether and his is completely white except for the pale, tan lines used to represent minimal folds. The same is true for his disciple Shen-kuang, who is also mostly unshaded, though there is variation in the value of his clothing. Sesshus use of tone is a continuation of his metaphor, and vastly different from Dai Jins more realistic approach so common among his contemporaries. Despite their differences regarding tone, both Dai Jin and Sesshus paintings have an unusual shading technique with regards to the cave: the inside of the cave, which would normally be darker, is portrayed as lighter. In fact, the entire inside of the cave, which would normally be pitch black, as the story takes place at night, is visible to the viewer. This is most likely an important detail, as both artists included it. One might take it to mean that the path to enlightenment, represented by the wall upon which Bodhidharma meditated for nine years, is visible to those who are devoted and selfless in their pursuit of it. The caves in both paintings share textual interest. Dai Jins painting, even as complicated and decorated as it is, does not put many details into the depiction of the cave itself, with the exception of the few details necessary to keep it stylistically similar. In this image, the cave is not considered as worthy of artistic attention as the two subjects. On the other hand, Sesshus presentation of Huike Presenting His Severed Arm to Bodhidharma has the most complicated texture applied to the cave and the cave walls. This is to provide the necessary contrast between the shaded walls of the cave and the smooth image of Bodhidharma. The conversation between these two pieces allows for comparison not only between the two artists, but between two dramatically different cultures. Dai Jins art draws influence from his contemporaries, and he mirrors them in his presentation of this narrative. Meanwhile, Sesshu examined the style of his predecessors and was then able to adapt and improve upon it in order to more clearly convey his message. Though both pieces of artwork are capture the narrative and themes of the story, Sesshus painting, which more than likely evolved from Dai Jins painting, is superior because it manipulates visual language in a far more adept manner. Sesshu conveys the motifs of the legend —the necessity to sever pain and attachment, the devotion and selflessness of the true disciple, the required departure from the physical world in order to achieve enlightenment— in a much more focused way than does Dai Jin. He shows a considerable level of evolution in the presentation of theme and, to a lesser extent, narrative. The earlier work of Dai Jin which, though arguably more aesthetically pleasing, lacks dramatic focus, while the later artwork of Sesshu, which developed the groundwork laid down by Dai Jin into a stronger, more powerful depiction of legend. Read More