Luohan Laundering 羅漢洗濯圖
Item
Title
Luohan Laundering 羅漢洗濯圖
Description
(none)
Source
https://asia.si.edu/object/F1902.224
Creator
Lin Tinggui 林庭桂
annotates
Inscription: Yishao 義紹 (active late-12th century)3
Gold ink on silk; lower right. Invisible in normal light.4
3 columns, standard script.
豐樂鄉、故干里、古塘保將仕郎陳景英妻囗廿四娘，施財畫此，入惠安院常住供養，功德
[保]妻囗囗囗囗。戊戌淳熙五年，幹僧義紹題。林庭珪筆。
The wife of Court Gentleman for Ceremonial Service Chen Jingying of the Gutang Guard in
Gugan village, Fengle district, twenty-fourth female [in her generation] of the [ ] family
contributed the funds to paint this [picture] and presented it to the Hui’anyuan [Monastery of
Beneficent Peace] as a permanent offering, that this meritorious deed [may safeguard] the
wife’s….5
In wuxu, fifth year of the Chunxi reign period [1178], inscribed by the monk-incharge,
Yishao. Painted by Lin Tinggui.6
Signature: 義紹
Yishao
Date: 戊戌淳熙五年
In wuxu, fifth year in the Chunxi reign period [1178]
Seals: none
Gold ink on silk; lower right. Invisible in normal light.4
3 columns, standard script.
豐樂鄉、故干里、古塘保將仕郎陳景英妻囗廿四娘，施財畫此，入惠安院常住供養，功德
[保]妻囗囗囗囗。戊戌淳熙五年，幹僧義紹題。林庭珪筆。
The wife of Court Gentleman for Ceremonial Service Chen Jingying of the Gutang Guard in
Gugan village, Fengle district, twenty-fourth female [in her generation] of the [ ] family
contributed the funds to paint this [picture] and presented it to the Hui’anyuan [Monastery of
Beneficent Peace] as a permanent offering, that this meritorious deed [may safeguard] the
wife’s….5
In wuxu, fifth year of the Chunxi reign period [1178], inscribed by the monk-incharge,
Yishao. Painted by Lin Tinggui.6
Signature: 義紹
Yishao
Date: 戊戌淳熙五年
In wuxu, fifth year in the Chunxi reign period [1178]
Seals: none
Abstract
(none)
Rights Holder
National Museum of Asian Art (Freer Sackler)
Identifier
F1902.224
References
Fenollosa, Ernest F. A special exhibition of ancient Chinese Buddhist paintings, lent by the
temple Daitokuji, of Kioto, Japan. Boston Museum of Fine Arts, Department of Chinese and
Japanese Art. Boston: A. Mudge & Son, 1894. (does not include Freer painting)
Fong, Wen. Five Hundred Lohans at the Daitokuji. PhD. diss., Princeton University, 1956.
__________. The Lohans and a Bridge to Heaven. Freer Gallery of Art Occasional Papers. Vol.
3, no. 1. Washington, D.C.: Lord Baltimore Press, 1958.
__________. Beyond Representation: Chinese Painting and Calligraphy, 8th–14th century. New
York and New Haven: Metropolitan Museum of Art and Yale University Press, 1992. Pp. 343–
45.
Loehr, Max (1903–1988). “Chinese Paintings with Sung Dated Inscriptions.” In Ars Orientalis 4
(1961): 256.
Freer Gallery of Art. Freer Gallery of Art I, China. Tokyo: Kodansha, 1972. Plate 41 and p. 158.
__________. Masterpieces of Chinese and Japanese Art: Freer Gallery of Art Handbook.
Washington, DC: Freer Gallery of Art, Smithsonian Institution, 1976,. P. 49
Lawton, Thomas. Chinese Figure Painting. Washington DC: David R. Godine, in conjunction
with Freer Gallery of Art, Smithsonian Institution, 1973. Pp. 94–97.
__________. “China's Artistic Legacy.” In Apollo 258 (August 1983): 128.
Li Zongqin 李宗慬. “Du Jin Li Shan Fengxue shansong tu zhaji” 讀金李山《風雪杉松圖》扎
記. In Gugong jikan 故宮季刊 14.4 (Summer 1980): plate 14. English version: Lin, Angela Li.
“Notes on Wind and Snow in the Fir-Pines by Li Shan of the Chin Dynasty.” In National Palace
Museum Bulletin 15.2 (May-June 1980): 10 (plate 16).
Watson, William (1917–2007). Art of Dynastic China. New York: Abrams, 1981. Plate 473.
Suzuki Kei 鈴木敬 (1920–2007), ed. Chūgoku kaiga sōgō zuroku 中國繪畫總合圖錄
(Comprehensive Illustrated Catalogue of Chinese Paintings). 5 vols. Tokyo: University of Tokyo,
1982–83. Vol. 1, 250 (A21–210).
Guoli gugong bowuyuan 國立故宮博物院, eds. Haiwai yizhen: huihua 海外遺珍：繪畫
(Chinese Art in Overseas Collections: Paintings). Taibei: Gugong bowuyuan, 1985. P. 68.
Toda Teisuke 戶田禎佑, Ebine Toshirō 海老根聰郎, and Chino Kaori 干野香織, eds.,
Suibokuga to chūsei emaki: Nambokucho Muromachi no kaiga (1) 水墨画と中世绘卷 : 南北朝
、室町の繪画 (1). In Nihon bijutsu zenshū 日本美術全集. Tokyo: Kodansha, 1992. P. 122, no.
6.
Haiwai cang Zhongguo lidai minghua bianji weiyuanhui 海外藏中國歷代名畫編輯委員會, eds.
Haiwai cang Zhongguo lidai minghua 海外藏中國歷代名畫. 8 vols. Changsha: Hunan meishu
chubanshe, 1998. Vol. 3, 239 (no. 182).
Ide Seinosuke 井手誠之輔. “Nansō no dōshaku kaiga” 南宋の道釋繪畫. In Shimada Hidemasa
嶋田英誠 and Nakazawa Fujio 中澤富士雄, eds. Sekai bijutsu daizenshū, Tōyō hen, dai 6 kan:
Nansō, Kin 世界美術大全集 : 東洋遍第 6 卷，南宋、金. Tokyo: Shōgakukan, 2000. Pp. 68–
69 (fig. 68).
__________. Nihon no Sō Gen Butsuga 日本の宋元仏画. In Nihon no bijutsu 日本の美術 418
(March 2001): 60–70, esp. 66–70 and 67 (fig. 79).
__________. “Daitoku-ji denrai Gōhyaku Rakan zo shiron” 大徳寺伝来五百羅漢図試論. In
Nara Hakubutsukan, eds., Seichi Ninpō, 254–59 (see below).
Levine, Gregory P.A. Daitokuji: The Visual Cultures of a Zen Monastery. Seattle and London:
University of Washington Press, 2005. Pp. 287–313, esp. 189 (plate 130).
Nara Kokuritsu Hakubutsukan 奈良国立博物館, eds. Seichi Ninpō: Nihon Bukkyō 1300-nen no
genryū; subete wa koko kara yatte kita 聖地寧波：日本仏教 1300 年の源流 ～すべてはここ
からやって来た (Sacred Ningbo: Gateway to 1300 Years of Japanese Buddhism). Catalogue of
special exhibition: 18 July–30 August 2009. Nara: Nara National Museum, 2009. Pp. 113–54
(no. 104.1–82), paintings from Daitoku-ji; 155 (no. 105), two paintings from BMFA; 156 (no.
106), six replacement paintings; 308–09 (nos. 104–06), entries by Taniguchi Kosei 谷口耕生;
233–35, eight paintings from BMFA and two paintings from Freer; and 228–32, chart of 94
paintings arranged by general subject, with 47 transcribed inscriptions, including both Freer
works.
temple Daitokuji, of Kioto, Japan. Boston Museum of Fine Arts, Department of Chinese and
Japanese Art. Boston: A. Mudge & Son, 1894. (does not include Freer painting)
Fong, Wen. Five Hundred Lohans at the Daitokuji. PhD. diss., Princeton University, 1956.
__________. The Lohans and a Bridge to Heaven. Freer Gallery of Art Occasional Papers. Vol.
3, no. 1. Washington, D.C.: Lord Baltimore Press, 1958.
__________. Beyond Representation: Chinese Painting and Calligraphy, 8th–14th century. New
York and New Haven: Metropolitan Museum of Art and Yale University Press, 1992. Pp. 343–
45.
Loehr, Max (1903–1988). “Chinese Paintings with Sung Dated Inscriptions.” In Ars Orientalis 4
(1961): 256.
Freer Gallery of Art. Freer Gallery of Art I, China. Tokyo: Kodansha, 1972. Plate 41 and p. 158.
__________. Masterpieces of Chinese and Japanese Art: Freer Gallery of Art Handbook.
Washington, DC: Freer Gallery of Art, Smithsonian Institution, 1976,. P. 49
Lawton, Thomas. Chinese Figure Painting. Washington DC: David R. Godine, in conjunction
with Freer Gallery of Art, Smithsonian Institution, 1973. Pp. 94–97.
__________. “China's Artistic Legacy.” In Apollo 258 (August 1983): 128.
Li Zongqin 李宗慬. “Du Jin Li Shan Fengxue shansong tu zhaji” 讀金李山《風雪杉松圖》扎
記. In Gugong jikan 故宮季刊 14.4 (Summer 1980): plate 14. English version: Lin, Angela Li.
“Notes on Wind and Snow in the Fir-Pines by Li Shan of the Chin Dynasty.” In National Palace
Museum Bulletin 15.2 (May-June 1980): 10 (plate 16).
Watson, William (1917–2007). Art of Dynastic China. New York: Abrams, 1981. Plate 473.
Suzuki Kei 鈴木敬 (1920–2007), ed. Chūgoku kaiga sōgō zuroku 中國繪畫總合圖錄
(Comprehensive Illustrated Catalogue of Chinese Paintings). 5 vols. Tokyo: University of Tokyo,
1982–83. Vol. 1, 250 (A21–210).
Guoli gugong bowuyuan 國立故宮博物院, eds. Haiwai yizhen: huihua 海外遺珍：繪畫
(Chinese Art in Overseas Collections: Paintings). Taibei: Gugong bowuyuan, 1985. P. 68.
Toda Teisuke 戶田禎佑, Ebine Toshirō 海老根聰郎, and Chino Kaori 干野香織, eds.,
Suibokuga to chūsei emaki: Nambokucho Muromachi no kaiga (1) 水墨画と中世绘卷 : 南北朝
、室町の繪画 (1). In Nihon bijutsu zenshū 日本美術全集. Tokyo: Kodansha, 1992. P. 122, no.
6.
Haiwai cang Zhongguo lidai minghua bianji weiyuanhui 海外藏中國歷代名畫編輯委員會, eds.
Haiwai cang Zhongguo lidai minghua 海外藏中國歷代名畫. 8 vols. Changsha: Hunan meishu
chubanshe, 1998. Vol. 3, 239 (no. 182).
Ide Seinosuke 井手誠之輔. “Nansō no dōshaku kaiga” 南宋の道釋繪畫. In Shimada Hidemasa
嶋田英誠 and Nakazawa Fujio 中澤富士雄, eds. Sekai bijutsu daizenshū, Tōyō hen, dai 6 kan:
Nansō, Kin 世界美術大全集 : 東洋遍第 6 卷，南宋、金. Tokyo: Shōgakukan, 2000. Pp. 68–
69 (fig. 68).
__________. Nihon no Sō Gen Butsuga 日本の宋元仏画. In Nihon no bijutsu 日本の美術 418
(March 2001): 60–70, esp. 66–70 and 67 (fig. 79).
__________. “Daitoku-ji denrai Gōhyaku Rakan zo shiron” 大徳寺伝来五百羅漢図試論. In
Nara Hakubutsukan, eds., Seichi Ninpō, 254–59 (see below).
Levine, Gregory P.A. Daitokuji: The Visual Cultures of a Zen Monastery. Seattle and London:
University of Washington Press, 2005. Pp. 287–313, esp. 189 (plate 130).
Nara Kokuritsu Hakubutsukan 奈良国立博物館, eds. Seichi Ninpō: Nihon Bukkyō 1300-nen no
genryū; subete wa koko kara yatte kita 聖地寧波：日本仏教 1300 年の源流 ～すべてはここ
からやって来た (Sacred Ningbo: Gateway to 1300 Years of Japanese Buddhism). Catalogue of
special exhibition: 18 July–30 August 2009. Nara: Nara National Museum, 2009. Pp. 113–54
(no. 104.1–82), paintings from Daitoku-ji; 155 (no. 105), two paintings from BMFA; 156 (no.
106), six replacement paintings; 308–09 (nos. 104–06), entries by Taniguchi Kosei 谷口耕生;
233–35, eight paintings from BMFA and two paintings from Freer; and 228–32, chart of 94
paintings arranged by general subject, with 47 transcribed inscriptions, including both Freer
works.