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Daisen-in Temple 大仙院 was founded in 1513 as the retirement residence of Kogaku Sōkō 古岳宗亘（1465–1548）, the 76th abbot of Kyoto’s Daitoku-ji Temple 大徳寺. The wall paintings in its abbot’s quarters are a collaborative work by Sōami 相阿弥 （?–1525） and Kano Motonobu 狩野元信（1477–1559）. This paper examines Motonobu’s Patriarchs of Zen Buddhism （Tokyo National Museum）, wall paintings that originally decorated the quarters’ ehatsu-no-ma 衣鉢之間 Robe and Bowl Chamber, and in doing so both articulates how Kogaku conceptualized the space’s program and clarifies how Motonobu actualized that concept in his work. Though once wall paintings, the images of “Patriarchs of Zen Buddhism” have since been remounted as a set of six hanging scrolls. Each scroll depicts an anecdote involving Zen patriarchs from China’s Tang dynasty, forming a contiguous narrative cycle against a background of expansive landscapes of mountains and rivers. From right to left, as is indicated in accompanying figures one and two: 1 ） when Shigong Huizang 石鞏慧蔵 aimed his bow at Sanping Yizhong 三平義忠, Sanping opened his chest and asked whether the arrow was meant to kill or to save; 2 ） when Baizhang Huaihai 百丈慧海 tested his disciples Hualin Shanjiao 華林善覚 and Yingshan Lingyou 潙山霊祐 with a question about a ritual vessel, Yingshan kicked the vessel and walked away; 3 ） when Lingyun Zhiqin 霊雲志勤 attained enlightenment upon seeing peach blossoms; 4 ） when Xiangyan Zhixian 香厳智閑 attained enlightenment upon hearing the sound of stone striking bamboo; 5 ） when the Fifth Patriarch Hongren 弘忍designated the Sixth Patriarch Huineng 慧能 as his successor and, anticipating opposition from the other disciples, secretly placed the Sixth Patriarch on a boat, sending him away in the dead of night; and 6） when before the bell signaling the start of the meal, Xuefeng Yizun 雪峰義存 reproached his teacher, Deshan Yuanjian 徳山宣鑑, for taking his bowl and heading from the Dharma Hall to the dining hall. With the above stories in mind, the paper first explores the cycle’s conception and reception. The Robe and Bowl Chamber—referring to the robe and bowl inherited from the first Zen patriarch Bodhidharma—is where Kogaku practiced with his disciples, and the content of the room’s paintings would have been selected accordingly. In this vein, the paintings can be understood to have been arranged in correspondence to a Zen monk’s experience: the first and second depict training; the third and fourth, awakening; and the fifth, the Succession of the Dharma, being recognized as the successor by the master. Additionally, the patriarchs are depicted in the order of their spiritual lineage as descended from the Chinese master Mazu 馬祖：Shigong, Baizhang, Yishan, Lingyun, and Xiangyan, arranged discretely from right to left. As an extension of this progression, the sixth and final story depicts a story of enlightenment which Kogaku employed in his own teaching, bringing his own dharma lineage directly into the space. Moreover, texts from the period alongside other surviving artworks indicate that Kogaku’s followers, captivated by the painting, created imitations and requested that Kogaku himself inscribe them. These exchanges help further clarify the material of the cycle itself: based on these poems and writings, the waterfall depicted as part of the third story, though it does not appear in the original narrative, is included per its collocation with peach blossoms in the story of longmen 竜門, the Dragon Gate. The paper then moves to extrapolate Kogaku’s larger understanding of patriarchal depiction, positing his eagerness to concretize his connection to these ancestral masters through these images. To do so, it assesses Kogaku’s inscriptions on Motonobu’s Shaka, Daruma, and Rinzai（ Jukō-in Temple 聚光院） and Three Patriarchs（ current location unknown）, articulating how the paintings’ poetry, calligraphy, and brushwork, resonate together and confirm Kogaku’s trust in Motonobu’s painting skills to live up to his vision. The paper then identifies the characteristics of Motonobu’s compositions through comparison with works he likely consulted during the process, including Chinese paintings, models provided by Geiami 芸阿弥（1431–1485）, artworks by his father Masanobu 正信（c. 1434–c.1530）, and contemporaneous paintings of Zen patriarchs by artists of the Shōkei 祥啓school. Through these comparisons, the paper notes how the composition, scale, and arrangement of figures are legible as adjusted for a large-scale painting, as well as documents the care taken in facial expressions in coloration and how these features betray a different stylistic approach from Birds and Flowers in the Four Seasons in the nearby danna no ma 檀那之間 Patron’s Chamber. The considerations above come together to show that this depiction of ancient patriarchs engaging in dialogue, attaining enlightenment, and transmitting the Dharma does so with such realism that it feels as if it is happening right before the viewer’s eyes, and that such a masterpiece was possible only through the exact situations of this commission: the role of the Robe and Bowl Chamber within the Zen precinct, Kogaku’s vision as informed by his experiences as a Zen priest, and the ability of Motonobu to fully understand and realize Kogaku’s intent. The paper thus positions “Patriarchs of Zen Buddhism” as particularly significant within the history of Japanese Zen Buddhist art and within Motonobu’s own artistic career. （Translated by Trevor Menders）
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