Portrait of Nantembo (1839-1925)
Maker
Deiryu Kutsu (Kanshu Sojun)
(Japanese, 1895 - 1954)
Date1917
MediumHanging scroll, brush and ink on paper
DimensionsPanel: 30 3/8 × 9 3/16 in. (77.2 × 23.3 cm)
Mounting: 58 × 13 7/16 in. (147.3 × 34.1 cm)
Mounting: 58 × 13 7/16 in. (147.3 × 34.1 cm)
Credit LineGift of Brooks McCormick Jr. in memory of Mr. Minoru Saito
Object number2010.107
Object TypePaintings
On View
Not on view
About the Artist
The son of a naval engineer, Deiryu Kutsu received the strict upbringing often associated with growing up in a military family, but when he was diagnosed with pulmonary tuberculosis in 1911, he became an acolyte at a Zen temple. Two years later he formally entered that Buddhist community to train as a monk and became a student of the elderly Zen master and reformer monk Nantembo Toju (1839–1925). In 1924, Deiryu continued his training at a different temple, but when Nantembo fell ill the next year, Deiryu returned to be with him until he died. In Zen Buddhism, the teacher-pupil relationship spurs the transmission of doctrine. Under Nantembo’s tutelage, the devout and talented Deiryu eventually became a respected teacher, being promoted to abbot at several temples and Zen master (teacher) at others.
Deiryu is arguably the most important Zen monk-painter and calligrapher of the Showa period (1926–1984, roughly the years between the two world wars). Although he was already a skilled calligrapher when in high school, Deiryu was strongly influenced by Nantembo, who is regarded by many as the best calligrapher of the preceding Taisho era (1912–1926). The strong spiritual bond that united the two Zen masters appears also in Deiryu’s well-known portrait paintings of his teacher.
The son of a naval engineer, Deiryu Kutsu received the strict upbringing often associated with growing up in a military family, but when he was diagnosed with pulmonary tuberculosis in 1911, he became an acolyte at a Zen temple. Two years later he formally entered that Buddhist community to train as a monk and became a student of the elderly Zen master and reformer monk Nantembo Toju (1839–1925). In 1924, Deiryu continued his training at a different temple, but when Nantembo fell ill the next year, Deiryu returned to be with him until he died. In Zen Buddhism, the teacher-pupil relationship spurs the transmission of doctrine. Under Nantembo’s tutelage, the devout and talented Deiryu eventually became a respected teacher, being promoted to abbot at several temples and Zen master (teacher) at others.
Deiryu is arguably the most important Zen monk-painter and calligrapher of the Showa period (1926–1984, roughly the years between the two world wars). Although he was already a skilled calligrapher when in high school, Deiryu was strongly influenced by Nantembo, who is regarded by many as the best calligrapher of the preceding Taisho era (1912–1926). The strong spiritual bond that united the two Zen masters appears also in Deiryu’s well-known portrait paintings of his teacher.
About the Artwork
The young Zen monk Deiryu Kutsu was only 22 years of age when he brushed this portrait of his teacher, making it perhaps the earliest extant portrait of Nantembo by Deiryu. Even at such a youthful age Deiryu was able to capture his 78-year-old master’s Zen spirit, through the inspired combination of expressive strokes of the brush and an austere, yet nuanced palette of saturated black to watery gray. This scroll is said to have been the one portrait of Nantembo that Deiryu kept as his personal possession, which makes it all the more an important modern Zen painting (in Japanese, Zenga).
The inscription by Deiryu above the portrait reads: Freely wielding his Nantembo To strike demons and chastise false Zen teachers, This ugly old bastard makes people hate him, Extinguishing the transmission like a blind donkey
Respectfully painted and inscribed by Kitan [probably one of Deiryu’s early monastic names]. This text refers to Nantembo’s habit of challenging the teachings of other Zen masters—the gruff Nantembo indeed aroused resentment in Zen circles, but he also generated much doctrinal reform.
The young Zen monk Deiryu Kutsu was only 22 years of age when he brushed this portrait of his teacher, making it perhaps the earliest extant portrait of Nantembo by Deiryu. Even at such a youthful age Deiryu was able to capture his 78-year-old master’s Zen spirit, through the inspired combination of expressive strokes of the brush and an austere, yet nuanced palette of saturated black to watery gray. This scroll is said to have been the one portrait of Nantembo that Deiryu kept as his personal possession, which makes it all the more an important modern Zen painting (in Japanese, Zenga).
The inscription by Deiryu above the portrait reads: Freely wielding his Nantembo To strike demons and chastise false Zen teachers, This ugly old bastard makes people hate him, Extinguishing the transmission like a blind donkey
Respectfully painted and inscribed by Kitan [probably one of Deiryu’s early monastic names]. This text refers to Nantembo’s habit of challenging the teachings of other Zen masters—the gruff Nantembo indeed aroused resentment in Zen circles, but he also generated much doctrinal reform.
Yi Mae Kye (Ri Baikei)
panel n.d., mount before mid- 1770s
