1605 (ca.), Kano Naizen, Yushanzhu -- Metropolitan Museum of Art (New York)
From the museum label: These two legendary Chinese monks of the Chan (Zen) tradition were often paired in Japanese painting beginning in the early Muromachi period (1392-1573). Shown at right is Zheng Huangniu (Japanese: Seiögy), whose name means "Zheng of the Yellow Ox." He was known for riding such an animal, to which he would attach various objects, including jugs and books. As was common in seventeenth-century and later Japanese examples, here Zheng rides his ox backward. His counterpart is Yushanzhu (Japanese: Ikuzanshu), or "Master of Mount Yu." Yushanzhu is said to have gained enlightenment after falling from his donkey on a bridge. The poetic inscriptions, rendered in a crisp and brusquely brushed style, are by Takuan Soho, one of the most influential Zen monks of his day.
1605 (ca.), Kano Naizen, Yushanzhu -- Metropolitan Museum of Art (New York)
From the museum label: These two legendary Chinese monks of the Chan (Zen) tradition were often paired in Japanese painting beginning in the early Muromachi period (1392-1573). Shown at right is Zheng Huangniu (Japanese: Seiögy), whose name means "Zheng of the Yellow Ox." He was known for riding such an animal, to which he would attach various objects, including jugs and books. As was common in seventeenth-century and later Japanese examples, here Zheng rides his ox backward. His counterpart is Yushanzhu (Japanese: Ikuzanshu), or "Master of Mount Yu." Yushanzhu is said to have gained enlightenment after falling from his donkey on a bridge. The poetic inscriptions, rendered in a crisp and brusquely brushed style, are by Takuan Soho, one of the most influential Zen monks of his day.