This unusual enso based on the character for heart/mind was made by Daido Bunka in the first half of the eighteenth century.

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The Character for ”Heart/Mind” as an Ens?, 18th century, by Daido Bunka (Japan, 1680-1752). Hanging scroll, ink on paper, image 11 3/16 x 21 in. Los Angeles County Museum of Art, Gift of Edwin Janss, M.84.211.1.

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Indra, a major Hindu deity, also figures in the Thai Buddhist belief system, where he seen as powerful but limited and subservient to the Buddha (and sometimes as one of the four guardian kings of the cardinal directions). He is recognizable by his green skin.

The image shown is a detail from a large painting of the story of the life of the Buddha in the collection of the Asian Art Museum (Scenes from the life of the Buddha, 1800-1850. Thailand; paint and gold on cloth. Gift from the Doris Duke Charitable Foundation’s Southeast Asian Art Collection, 2006.27.122.15).  The painting will be displayed during the museum’s upcoming Emerald Cities: Arts of Siam and Burma exhibition

In an essay I wrote on the subject of translation, I talked about the “middle way” of the Chinese translator Xuanzang (who lived in the seventh century but may be most familiar from his role in the Ming dynasty “Monkey” stories). Xuanzang insisted that translation be both “truthful” and “intelligible to the populace.” In the essay I go on to discuss other advocates of the middle way, such as the Mexican poet Octavio Paz.

In this detail Indra makes a case for the middle way in a charming manner. The Buddha-to-be (shortly before his enlightenment) has been troubled about whether to give up the extreme austerities he has been practicing. Here Indra appears to him and plucks three strings of a lute-like instrument. One string is too slack, and it makes only a dull sound. One string is too tight, and it breaks when plucked. Only the properly tightened string makes a beautiful sound.

This image of patterns and reflections at Wat Rajabophit, Bangkok, Thailand, comes from Taiger808′s photostream. The temple was constructed in 1869 under the command of King Rama V.

I love this very blue blue meanie from The Dragon’s Gift: The Sacred Arts of Bhutan, a show that’s about to open at the Asian Art Museum in San Francisco.

Despite appearances, he’s not really a meanie. He’s a wrathful deity and — so long as you are on the side of the true dharma — he’s your friend. Wrathful deities protect against malevolent forces. As a result, few images of wrathful deities were allowed to be removed from Bhutan for the exhibition, for fear of leaving the country unprotected.

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A couple of people were asking for more images of Indonesian jester puppets. Here’s another one from the Asian Art Museum (where the puppets are difficult to photograph because they are displayed in very low light). His name is Togog.

Earlier I posted an image of the jester Semar. There is more information about Indonesian clown puppets at the Museum of Folly.

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The jester Togog, ca. 1800-1900. Ondonesia; Bandung, West Java. Wood cloth, and mixed media. Asian Art Museum; From the Mimi and John Herbert Collection, F2000.85.33.

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Many people are familiar with the shadow puppets that are a popular court art of central Java. Rod puppets (wayang golek) are a puppet form that is popular among nonartistocratic audience in western Java and the northern coast of central Java. The puppets perform tales from the Ramayana and Mahabharata, as well as other Hindu and Islamic texts.

This figure is Semar, a jester. Jesters are a popular element of rod puppet performances. This puppet is part of a large collection at the Asian Art Museum in San Francisco. The is more information about Indonesian rod pupet jesters at the Museum of Folly (and some more images).

The jester Semar, ca. 1800-1900. Ondonesia; Bandung, West Java. Wood cloth, and mixed media. Asian Art Museum; From the Mimi and John Herbert Collection, F2000.85.29.

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This image of the Taj Mahal, the mausoleum constructed by the Mughal Emperor Shah Jahan in the seventeenth century, is from Stuck in Customs‘s photostream.

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I showed yesterday the interior view of this mosque’s dome. So maybe it’s worth having a look from the outside. The outside, like the inside of the dome, is original, dating from 1602-1619 (the entrance tiles are a modern addition). Like yesterday’s photo, this one is from seier+seier+seier’ s photostream.

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This spectacular photo from seier+seier+seier’ s photostream shows the dome of the Lotfollah mosque in Isfahan. I have been working on a book on Persian ceramics lately; just today I was placing Isfahan on a map that will appear in the book. Isfahan, now in Iran (about 340 km south of Tehran), was a major city during the Safavid Seljuk period and for a time the capital of Safavid Seljuk Persia.

This will be a cool book — I’ll post some images from it soon — featuring tiles, vessels, bowls, and small statuary. But nothing in it is as grand as this majestic dome, which dates from the early seventeenth century.

Compare this dome’s burst of color and pattern with a sunflower image I posted recently on another of my blogs (buriedmirror.com, devoted to Mesoamerica).

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Recently I’ve been reading Perpetual Happiness by Shihi-Shan Henry Tsai, a biography of Zhu Di, who ruled the Ming dynasty as the Yongle emperor from 1403–1424 (more on this later). Formerly the Prince of Yan, the Yongle emperor usurped the throne from his nephew and moved the Ming capital from Nanjing to his personal power base at Beijing; in 1406 he began construction of what would become the Forbidden City.

This gold medallion, now in the Nanjing Municipal Museum, was buried in the tomb of Ma rui in 1627, during the reign of the Tianqi emperor (1621–1627).; it was discovered during a 1974 excavation near Nanjing. Mu Rui served as the Yongle emperor’s Vice Commissioner-in-Chief, but he was implicated in an attempted revolt. He died in prison in 1609. How did he obtain this plaque? In the forthcoming catalogue of the Asian Art Museum’s exhibition of Ming court arts, He Li offers an explanation:

A court record may provide a clue. In 1408, the Yongle emperor held a banquet to celebrate a successful battle against Annam, in which Mu Sheng was the chief commander (see cat. no. 103). The emperor is said to have awarded to the guest of honor, Mu Sheng, items including the emperor’s own handwritten poem, a jade belt, and a golden plaque (Mingshi, chap. 126, p. 7397); the latter was most likely the surviving medallion here. With the commands possibly engraved by Sheng, it must have been passed down as a family heirloom to later generations. Unfortunately, two hundred years later, its orders were sullied by Mu Rui. Eighteen years after his death, the family was able to conduct Mu Rui’s funeral. By burying the prestigious medallion with him, they announced the end of the legendary name of Mu, which had once been glorified for its support of the Ming court.

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My mind has been on China’s Ming dynasty (1368–1644) recently because of the show of Ming dynasty court art that is coming up this summer at the Asian Art Museum in San Francisco. So let’s look at a few examples from this long-lasting dynasty (the last to be ruled by native Chinese).

Shown here is an ornament of nephrite and gold depicting a lotus pond, from the Nanjing Municipal Museum. Egrets and aquatic plants appear beneath two large lotus leaves. According to He Li, there is some uncertainty whether such ornaments, used as hat knobs during the previous Mongol Yuan dynasty, were repurposed during the Ming as covers for vessels.

According to Terese Tse Bartholomew, the combination of lotus and egret is a rebus, or visual pun, signifying a wish for advancement in the governmental meritocracy. This is because “egret” is pronounced lu and “lotus” lian; together the two words suggest yilu lianke, or “May you pass your [civil service] exams all the way.”

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Cloisonné is a technique of decorative enameling. Sections of the object to be enameled are defined with wires and areas of color are laid down. The term comes from the French word cloisonner, to partition. Examples of Chinese cloisonné date as far back as the 1200s, I think; perhaps it originated in West Asia and spread along the Silk Road.

The development of cloisonné as a major art form in Japan is traditionally attributed to a daimyo artist named Kaji Tsunekichi of Nagoya in Owari Province (modern Aichi Prefecture), who deconstructed a Chinese example to analyze the technique. In part to satisfy Western demand after the opening of Japan, schools of cloisonné artists were producing large numbers of very fine examples by the end of the century. The period from 1880 to 1910 is sometimes called the golden age of Japanese cloisonné.

Shown is a lidded copper-body cloisonné enamel vase with a dragon motif from the collection of the V&A. Probably from Nagoya, it is dated to 1880-1890 (museum no. M.205-1917).

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Here’s another enso, or Zen circle, by Torei Enji (1721-1792). Compare this to the Torei enso posted 12 March. Here his brush is more unevenly inked, creating a range of grays, with the darkest areas either on the inside or outside of the line. As the brush approaches the top of the circle its pressure is lightened, then reapplied for the swooping downward motion. For this enso Torei adds a dot in the center.

The calligraphy is translated by Stephen Addis as “The images presents itself, nothing more.” This work, from the Gitter-Yelen Collection, appeared in an exhibition at the Asian Art Museum.

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Here’s a delightful enso by the Rinzai Zen master Hakuin Ekaku Zenji (1686-1769). Unassuming and unaffected yet not at all reticent, it displays an exceptionally even and steady hand, with only a hint of the beginning and end at bottom left.

As a bonus, here’s a Hakuin Daruma, which reveals some of the same qualities.

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This enso is by Torei Enji (1721-1792), who excelled at the Zen circle. Torei began this one by pressing his brush down hard at the lower left and swiftly continuing around the circle while lifting the brush.

The calligraphy says “In heaven and on the earth, I alone am worthy of honor,” lines attributed at birth to the historical Buddha.

Yoko Woodson, curator of Japanese art at the Asian Art Museum, thinks that the curious smudgy echo of the enso at the lower left represents a shell.

These leaves from Shitao’s album depict orchids, with an accompanying verse on the opposite page. Orchids are a popular subject for brush painting, in part thanks to their simple, rhythmic form. According to the Met’s entry on this object, “the calligraphy of the poem, in the manner of Zhong You, with its softly undulating strokes and gently rising and fading ink tones, simulates the swaying orchid leaves and blossoms.”

The best-known or at least longest-established orchid in China is the cymbidium (lanhua), which is noted more for its fragrance than its floral display. The opening lines of the verse, which quote the Classic of Songs, allude to this:

Words from a sympathetic heart
Are as fragrant as orchids

The orchid is regarded as a symbol of spring, and the verse goes on to develop this association.

Together with the plum, the chrysanthemum , and the bamboo, the orchid is known as one of the “four gentlemen of flowers.”

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This late eighteenth- or early nineteenth-century painting by an anonymous Chinese artist is in the collections of the V&A in London. According to the V&A entry,it was probably commissioned from a Chinese artist by a European botanist, and it does have something of the precise quality of a European botanical painting. At the same time, it does not quite have a European sense of perspective.

In the Chinese tradition the peanut plant is associated with longevity. Its name, changsheng guo, sounds like the words for “Live forever and never grow old” (changsheng bulao). Moreover, the plant’s extensive root system suggests an impulse to survival. Eating the peanut fruit was thought to improve longevity.

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This image of a narcissus is from an album of twelve paintings and twelve caligraphic verses by Shitao (Zhu Ruoji; 1642–1707), a member of the Ming dynasty royal family, who became a monk-painter following the Manchu conquest of China in 1644. The painting, from the P. Y. and Kinmay W. Tang Family Collection, Gift of Wen and Constance Fong, in honor of Mr. and Mrs. Douglas Dillon, 1976 (1976.280), is in the collection of the Metropolitan Museum, New York. The album alternates landscapes and flowers, with verses in a similar brush style on facing pages.

I’d like to spend a few posts discussing botanical motifs in Chinese art. An authority, and my guide, on this subject is Terese Tse Bartholomew, curator emeritus of the Asian Art Museum. According to Bartholomew, the narcissus, which was imported to southern China from Europe at least by the Tang dynasty (618-906), is known as the “immortal of water” (shuixianhua). The xian in its name is the character that means “immortal,” so a clump of narcissus may be used to signify a group of immortals. For example, since the word for bamboo is a punfor “congratualte,” a clump of narcissus together with bamboo may signify “immortals congratulate you” (on a birthday, perhaps).

In the accompanying verse the narcissus is here associated with plum blossoms. Plums are a symbol of longevity, and the two plants together may suggest “May the immortals honor you with longevity.” Following is a free translation of the verse; for another versions, see the Met’s website.

Narcissus and plum blossoms,
enjoyable together,
vie for glory in winter;
I sit by my bright window,
holding my brush in my hand,
while my thoughts wander freely
far beyond the boundless shores

The narcissus is also a symbol of purity, good fortune, and prosperity. Because it is such an auspicious symbol, it is encouraged to bloom around the new year, and is often featured in new year’s celebrations.

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