共相與殊相:東亞文化意象的轉接與異變
廖肇亨 (担当:共著範囲:雪舟入明再考:從應仁年間遺明使船到《破墨山水圖》(陳俐君譯))
中央研究院中國文哲研究所 2018年08月 (ISBN: 9789860566505) 698 305-384
Sesshuu Touyou(雪舟等楊), a renowned ink painter, is a prominent figure in traditional Japanese culture. He has been included in history textbooks for elementary school students by the Ministry of Education, Culture, Sports, Science and Technology (MEXT) . As to the question of "what made Sesshuu’s such a prominent figure," previous studies have mainly focused on his "entry into Ming China." This paper, revolving around this event, seeks to re-examine three questions: (1)
why did he travel to China?; (2) what did he draw at the Board of Rites (禮部) in Beijing?; and (3) what is the nature of his "Habokusansuizu(破墨山水圖)"that is currently preserved in the Tokyo National Museum? This paper first points out that Sesshuu travelled to the Oouchi house's (大內氏) territory in Suou (周防), because of his intention to enter Ming China. Prior to his eventual entry, he, under the rotection of the Ouchi house, had refined his painting skills in Yamaguchi (山口) of Suou. Hence, rather than having learnt the essential skills and key elements of painting in China, the significance of Sesshuu's entry lay in the sense of pride he obtained, unbeknown to others, by the time he returned to Japan. The origin of this sense of pride was either from his having been comparable to Li Zai(李在), a renowned figure at that time, or from his having studied under Josetsu (如拙) and Shuubun (周文). Then, what was painted by Sesshuu on the wall of the Board of Rites in Beijing was neither a painting of long (龍) nor landscape, as believed by the academia previously.
Instead, it was a painting of Zhongkui (鍾馗圖), one of the commonly-seen Chinese paintings around Lunar New Year. Lastly, the "Habokusansuizu" currently owned by Tokyo National Museum is in fact an inkajou (印可狀, the confirmation from a master of the dharma transmission to his student).
Sesshuu sent to his student Josui Soen (如水宗淵). In the painting, not only did Sesshuu encourage Souen to "practice after
awakening" and emphasize the "Josetsu-Shuubun-Sesshuu-Souen" lineage, he also claimed that Josetsu and Shuubun were as prominent as the Chinese painters in the foreword. In order to secure Souen's employment, Sesshuu even ingratiated himself with the monks of the Five Mountains (五山) in Kyoto, by inviting Keijo Shurin (景徐周麟), Ryoan Keigo (了庵桂悟), Gettto Shukyo (月翁周鏡), and other eminent monks of the Five Mountains to write endorsements on "Habokusansuizu." Thus, this inkajou-to-be became more valuable.
Unfortunately, despite Sesshuu's efforts, Soen was not able to land a position under the monasterial system of the Five Mountains. Instead, Soen became a tobanshu (東班衆) at a local monastery within the Daitokuji (大德寺) system.