None Whatsoever: Zen
Paintings
from theGitter-Yelen
Collection
Introduction
Among the most famous episodesof Zen lore is the exchange between
Bodhidharma (active 5th or 6th centuryCE), the Indian patriarch credited withspreading Zen Buddhism to China,
and China’s Emperor Wu of the Liang
Dynasty (502—557):
Emperor Wu: “I have built many
temples, copied innumerable sutras, andordained many monks
since becoming Emperor. Therefore, I ask
you, what is my merit?”
Bodhidharma: “Nonewhatsoever.”Emperor Wu: “Why no merit?”
Bodhidharma: “Doing things for merit
has an impure motive
and will only bear thepuny fruit of rebirth.”
Emperor Wu: “What then is the mostimportant principle of
Buddhism?”
Bodhidharma: “Vast emptiness. Nothingsacred.”Emperor Wu: “Who is this that stands
before me?”Bodhidharma: “I do not know.”
This exchange underscores qualities associated with Zen Buddhism:
the concept of emptiness, of finding
the Buddha Nature within oneself
as a means to enlightenment, andcontrarianism vis-à-vis mainstream

expectations of religious practice andpatronage. These themes also appear
in Zenga, paintings and calligraphies
made by Japanese Zen monk-painters,
beginning with Hakuin Ekaku (1685—1768), as an extension of their teachingactivity. Though sometimes simple andamateurish in visual form, they are direct
and profound in meaning, using allegory,
popular references, and quotidian concerns to convey their messages. They
also occasionally evoke unexpectedmoods of whimsy and humor. None
Whatsoever introduces Zenga throughselect works from the renowned collection of Kurt Gitter and Alice Yelen Gitter.
#NoneWhatsoever
Hakuin Ekaku and the Creation of Zen Painting
The single most important figure in
the emergence of Zenga as a tradition is Hakuin Ekaku (1686—1769).
In religious history, Hakuin is a towering figure; he helped to revive themoribund Rinzai school of Zen Buddhism, and his reform of Zen practices
such as the use of koan (Zen riddles oflanguage and logic) are still the basis of Zen practice today. In artistic
terms, Hakuin simplified the visuallanguage but greatly expanded thethematic repertoire of Zen paintings. In previous centuries, Zen
paintings were made primarily for
elite audiences. However, Hakuin
created works for all status groups;
he included cartoonish renderings of Zen patriarchs, such as
Bodhidharma, with simple messages inscribed above, and Zen
eccentrics, such as the portly priest
Hotei, in different poses or settings
to convey religious themes more
directly and compellingly.
One of Hakuin’s great legacies was
his proselytizing activity, which
resulted in an expansion of thesocial demography of Zen followers. Accordingly, Hakuin’s disciples
ranged from daimyo lords to otherZen priests, urban commoners, andrural farmers. Hakuin used paintings and calligraphies as a wayof reinforcing his teachings andmediating relations with followers.
For more sophisticated audiences,
he was fond of using parables,such as “Two Blind Men Crossinga Bridge,” in his lectures. For commoners, however, Hakuin sometimes
created calligraphic works that had
nothing outwardly to do with Zen
teachings; instead, they touched
upon themes important to the daily
lives of merchants and agrarians,
such as prosperity, long life, and filial
piety. Hakuin understood that sometimes the best way to achieve spiritualadvancement was to work throughquotidian concerns, rather thanshun them.

1
Hakuin Ekaku (1685—1768), Enlightenment Certificate — Dragon Staff, 1762
Hanging scroll; ink on paper
The Gitter-Yelen Collection: Kurt A. Gitter, M.D. and Alice Yelen Gitter“On Buddha’s Birthday [April 8] in Hōreki 12[1762], Nomura Magobei from a county in Suru
[Shizuoka] penetrated my two massive barriers
and heard the sound of one hand. I therefore
brush this as a certificate for this heroic person.”Hakuin painted certificates like this one for his
followers who reached enlightenment. The inscription references the Zen Buddhist koan
“What is the sound of one hand clapping?” At
center is a walking staff in the shape of a dragon
with a fly whisk (hossu) in its mouth. Suchwhisks were often carried by monks and passed
down from teacher to student over generations.
2
Hakuin Ekaku (1685—1768), The God of Medicine, 18th century
Hanging scroll; ink on paper
The Gitter-Yelen Collection: Kurt A. Gitter, M.D. and Alice Yelen Gitter“Understanding grasses to use as medicine; cutting
trees in order to plow; teaching how to cook using
fire; teaching the benefits of strange beasts — avirtuous man of great scholarship and healing.”
Here, Hakuin reached outside the traditional pantheon of Buddhism for a subject that would havebeen familiar and popular with laypeople: themedicine god Shinno, who originated in China but
was incorporated into the Japanese Shinto religion.
Shinno often appears in a robe of grasses withleopard-skin sleeves and carrying a staff; the smallhorns sprouting from his head indicate that he is achimera, part wise man, part goat or ox.
3
Hakuin Ekaku (1685—1768), Hotei Juggling , 18th century
Hanging scroll; ink on paper
The Gitter-Yelen Collection: Kurt A. Gitter, M.D. and Alice Yelen Gitter“Don’t let it drop — Nagamatsu! Nagamatsu!”
Hakuin made several versions of the monk Hotei
juggling, indicating how useful, effective, andindeed charming he must have found the image,which toys with both traditional depictions of
Hotei and the supernatural abilities of Buddhist
deities. One of Hakuin’s most effective strategies
for translating Buddhism’s esoteric and at times
frightening descriptions of deities and theirotherworldly powers was to depict figures fromthe pantheon of Buddhism performing skillful actsof entertainment, which were more commonplace and thus comprehensible to laypeople.
4
Hakuin Ekaku (1685—1768), Zazen Hotei , 18th century
Hanging scroll; ink on paper
The Gitter-Yelen Collection: Kurt A. Gitter, M.D. and Alice Yelen Gitter“Mr. Monk! How unusual! Today you are actually
doing zazen …
Yeah, so what?”
This inscription is characteristic of playful dialogues between a Zen master and a student.
Hakuin depicts the monk Hotei atop his iconic sackin zazen, or seated meditation. Yet the inscription
also implies that meditation alone will not bringabout enlightenment and that Hotei does not evenregularly engage in the practice. This painting ischaracteristic of Hakuin’s often irreverent approach
to Zen portraiture, imbuing sacred figures withplayful — and approachable — human qualities.

5
Hakuin Ekaku (1685—1768), Giant Daruma , 18th century
Hanging scroll; ink on paper
The Gitter-Yelen Collection: Kurt A. Gitter, M.D. and Alice Yelen Gitter“Direct pointing to the human heart, see your nature — andbecome Buddha!”
The scale and confident, sweeping brushstrokes of thisportrait of Daruma are evidence of Hakuin’s mastery of
ink painting and his familiarity with Daruma’s iconic features, including his large, open eyes, furrowed brow, andimmense forehead, which suggest a fearsome masterengaged in unbroken meditation. The inscription encapsulates Hakuin’s interpretation of Zen, urging students tolook within themselves for enlightenment, as we all contain the Buddha nature within our hearts. Hakuin’s Daruma
embodies this concept: the dark brushstrokes of his robe
form a stylized version of the character kokoro, or “heart.”
6
Hakuin Ekaku (1685—1768), Daruma with Shoe, 18th century
Hanging scroll; ink on paper
The Gitter-Yelen Collection: Kurt A. Gitter, M.D. and Alice Yelen Gitter“His shoes were split apart [indifferent locations],
the barefoot master.”This large and powerful image of Daruma illustrates
one of the most popular legends about the Chinese
Zen patriarch. According to legend, a Chinese court
official by the name of Song Yun, while travelingthrough the Pamir Mountains in Central Asia aroundthe year 520, encountered the already deceased
Daruma carrying one shoe. When he reported thisto the Emperor, the latter had Daruma’s grave
opened, revealing a missing body and only theother shoe. The legend underscores the supernatural powers that were associated with Daruma.
7
Hakuin Ekaku (1685—1768), Death Koan , 18th century
Hanging scroll; ink on paper
The Gitter-Yelen Collection: Kurt A. Gitter, M.D. and Alice Yelen Gitter“Death — the great activator of the patriarchs of old
and the basis of human life.”
This calligraphy is one of several by Hakuin to feature
insouciant inscriptions about death. As this inscription indicates, Hakuin did not regard death assomething to be feared. Instead, death offers theopportunity for transcendence, change, and renewal.
By referring to death as “the great activator of thepatriarchs of old,” Hakuin implies that his Zen forebears had a richer existence after their passing, as
the study of their words and teachings transformed
them from mere mortals into legends — somethingthat would eventually happen to Hakuin.
8
Hakuin Ekaku (1685—1768), Toku (Virtue), 18th century
Hanging scroll; ink on paper
The Gitter-Yelen Collection: Kurt A. Gitter, M.D. and Alice Yelen Gitter“If you pile up money for your descendants, they
will be sure to waste it; if you collect books for them,
they will probably not read a word. It is better to pile
up secret virtue — such a legacy will last a long,
longtime!”
Hakuin’s inscription quotes the 11th-century Chinese
sage Sima (1018—1086), who advocated for theprivate performance of virtuous deeds, rather thanconspicuous acts of Buddhist patronage. Hakuin
used a thicker ink for the character “virtue,” making
it darker and more saturated. To emphasize his message, Hakuin wrote certain phrases, such as “pileup money,” in oversize characters.

9
Hakuin Ekaku (1685—1768), One Hundred “Kotobuki”(Longevity), 1767
Hanging scroll; ink on paper
The Museum of Fine Arts, Houston, the Gitter-Yelen Collection, gift of Dr. Kurt Gitterand Alice Yelen Gitter, 2021.205“Venerate the 100-seal script characters for longevity, each
one is a lotus pedestal of the marvelous law, a source of
miraculous, unsurpassed magic and a picture of the golden
body of a Buddha. Those who bow, respect, and believe inthem will avoid thunder and fires, be safe from the sevendisasters, and bring forth sevenfold good fortune.”
Hakuin painted several versions of this composition,
which repeats the character for “longevity” in different
scripts. An inscription on this one reads: “The old monk
Hakuin under the trees of nirvana, 83 years old, burns
incense and prostrates nine times. 1767, seventh month,
an auspicious day.”10
Hakuin Ekaku (1685—1768), Kumagai Naozane — Priest on Horse, 18th century
Hanging scroll; ink on paper
The Gitter-Yelen Collection: Kurt A. Gitter, M.D. and Alice Yelen Gitter“Originally named Kumagai Jirō, after becoming amonk he called himself Renshōbo. Visiting Kamakura,
he rode backward on his horse, so he could always
face toward the West. At the time of becoming amonk, he composed a verse: I’ve decided uponfacing to the West and never looking back. Recently,
someone turned this around: Even devils would cryout and turn away if ever he turned around.”Kumagai Jirō (1141—1208) was a well-known warrior
for the Minamoto clan who later became a Pure
Land Buddhist priest. Hakuin expands the Zenpantheon by incorporating a popular historicalfigure from a different sect of Buddhism.
11
Hakuin Ekaku (1685—1768), Kannon Emerging from a Clamshell , 18th century
Hanging scroll; ink on paper
The Gitter-Yelen Collection: Kurt A. Gitter, M.D. and Alice Yelen Gitter“The one who can become enlightened in the body of aclam … suddenly emerges from the clam.”
Hakuin was fond of painting the Bodhisattva Kannon. Here,he whimsically renders Kannon emerging from a clamshell,
one of the thirty-three manifestations of Kannon as describedin the Lotus Sutra. The subject also evokes a famous anecdote
in which China’s Emperor Wenzong (808—840) attempted toeat a clam but the shell refused to open; upon lighting incense,
however, the shell popped open and gave rise to Kannon. This
work illustrates in a straightforward fashion the otherwise
complicated concept of the Buddha nature, which resides inall things over the course of several lifetimes, and that anyone
may ultimately achieve enlightenment.
12
Hakuin Ekaku (1685—1768), Seven Gods of Good Fortune, 18th century
Hanging scroll; ink and color on paper
The Gitter-Yelen Collection: Kurt A. Gitter, M.D. and Alice Yelen Gitter“If you are loyal to your lord and filial to your parents
You will receive my straw raincoat, straw hat, magic
mallet, and bag.”Here, Hakuin incorporates Japan’s Seven Lucky Gods
(shichifukujin), each identifiable through canonicalattributes: the god of prosperity, Daikoku, holds his
magic mallet at right; Hotei appears with his large sackat left. At lower left, the god of longevity, Fukurokuju,
distinguished by his oversized forehead, reads: “Shōkihides his sword under the eaves, and stealthily,stealthily guards the palace.” This text references
the figure at center, Shōki, the demon queller, who
has replaced the warrior god Bishamonten.

13
Hakuin Ekaku (1685—1768), Daitō Kokushi as a Begging Monk , 18th century
Hanging scroll; ink on paper
The Gitter-Yelen Collection: Kurt A. Gitter, M.D. and Alice Yelen Gitter“At the end, all those idlers who lazily fool around,spending their money vainly and not respecting
their parents will look like this: very hungry.”Daitō Kokushi (c. 1283—c. 1338) was the founding
abbot of Daitokuji, one of Japan’s most important
Rinzai Zen temples, in Kyoto. He was also a Zen
prodigy, achieving enlightenment after only 10 daysof koan study. Hakuin wrote numerous commentaries on Daitō’s texts. Despite this reverence, thispainting lightly satirizes Daitō, showing him begging
for food and alms, a common practice for Zen monks;
his inscription humorously feigns ignorance about
Daitō’s true identity and enlightenment.
14
Hakuin Ekaku (1685—1768), Two Blind Men Crossing a Log Bridge, 18th century
Hanging scroll; ink on paper
The Gitter-Yelen Collection: Kurt A. Gitter, M.D. and Alice Yelen Gitter“In both spiritual training and dealing with theworld, keep in mind the example of blind men
crossing a log bridge.”
With relatively little brushwork, Hakuin conjures avast emptiness that can only be traversed via a log.
Hakuin instructs that we should proceed slowly
and methodically across the “log bridge” of life,
implying that, without the enlightenment of the
Buddha, we are all effectively blind, riddled withuncertainty as we inch forward across it. Hakuin’s
metaphor also implies that enlightenment could
occur suddenly, at any moment, for the blind men
do not know when they will reach the otherside.
15
Hakuin Ekaku (1685—1768), Mount Fuji, Eggplants, and Hawk Feathers , 18th century
Hanging scroll; ink on paper
The Gitter-Yelen Collection: Kurt A. Gitter, M.D. and Alice Yelen Gitter“What is this?”
The scale of this large painting indicates that it
was likely made for a temple. Its subject matter istypically associated with the New Year, specificallythe hatsuyume or the “first dream” of the New Year.
To dream of Mount Fuji, eggplants, and hawks wasthought to be especially auspicious: Fuji represents
a sacred location; hawks were associated withthe pursuits of warlords; and eggplant (nasu) is a
homophone for the verb meaning “to become” or“to achieve.” As such, their combination in a New
Year’s dream was thought to indicate great
achievement or ascent in the year to come.
16
Hakuin Ekaku (1685—1768), Kannon with Color (Lotus Pond Kannon), 18th century
Hanging scroll; ink and color on paper
The Gitter-Yelen Collection: Kurt A. Gitter, M.D. and Alice Yelen Gitter“She looks upon all sentient beings with eyes of compassion, an unlimited ocean of good fortune andsuccor.”Though Hakuin is mostly associated with black-andwhite ink painting, he was also known to incorporate
colored pigments. Hakuin’s depiction of the genderless deity Kannon as a kindly female was meant toconvey the supernatural protective powers of Kannon
in a nonthreatening and peaceful manner. Hakuin
further deemphasized her supernatural attributes bytransforming her lotus throne into floating flowers andher gleaming halo into the circular illumination surrounding her head, which could be simply the moon.

17
Hakuin Ekaku (1685—1768), Fukurokuju , 18th century
Hanging scroll; ink on paper
The Gitter-Yelen Collection: Kurt A. Gitter, M.D. and Alice Yelen Gitter“Longevity, good fortune, and wealth — we want
to be long-lasting, but life itself will be longenough in the long run.”
Hakuin depicts the longevity god Fukurokuju ina pose and robes similar to his portraits of
Daruma. The brushstrokes of the robe form thecharacter kokoro, “heart,” alluding to the Zenmaster’s exhortations to look inside oneself forenlightenment. While overtly about a long life, theinscription also references the massive, phallic
head of Fukurokuju and could read: “If it stays
long and hard like this, that will be a real treasure,and you will have a pleasant and productive life.”
18
Hakuin Ekaku (1685—1768), Ant on a Stone Mill , 18th century
Hanging scroll; ink on paper
The Museum of Fine Arts, Houston, the Gitter-Yelen Collection, museum purchasefunded by the Brown Foundation Accessions Endowment Fund, 2021.208“An ant circling the hand mill — a hint for the world.”
Hakuin painted this subject, an illustration of akoan, several times, using the same inscription.
It illustrates the restricted worldview of the ant.
Though the insect walks endlessly around thestone mill, expending great effort, he does not
actually move forward; all his work is but an illusion, imperceptible to him but clearly visible tothe viewer. In addition, Hakuin’s use of a humble,
quotidian object, such as a mill to grind tea,makes his teaching even more comprehensible
to everyday people.
19
Hakuin Ekaku (1685—1768), Monkey, mid-18th century
Hanging scroll; ink on paper
The Museum of Fine Arts, Houston, the Gitter-Yelen Collection, museum purchasefunded by the Brown Foundation Accessions Endowment Fund, 2021.206“Yoshida is no better than a fly’s head!”This painting by Hakuin satirizes the Buddhist monk
Yoshida Kenkō (1283—1350), known for his popular writings. In East Asian painting, monkeys frequently hangfrom branches and grasp at the moon’s reflection in abody of water, mistaking reflection for reality. Here, Hakuin
extends a monkey’s arm to an impossible length to touch
the ground, in emulation of the Buddha’s “earth-touchinggesture” (bhumisparsha mudra), which signaled his enlightenment and his triumph over the demon Mara. Hakuin
implies, through image and inscription, that even thisplayful monkey is more enlightened than Kenkō.
20
Hakuin Ekaku (1685—1768), Running Hotei , 18th century
Hanging scroll; ink on paper
The Gitter-Yelen Collection: Kurt A. Gitter, M.D. and Alice Yelen Gitter“What a heavy mallet — It will be the death of me!”
Hakuin shows the venerated monk Hotei witha large mallet instead of his signature sack,running full tilt and almost exposing his hindquarters.The inscription, written in loopy cursive
script, contains a clever pun: “heavy mallet”(omoi kine), when read aloud, is a homophone
for “mallet of thought.” Given this, an alternate
reading of the inscription might be: “This mallet of thought — It will be the death of me!” This
wordplay suggests that even the monk Hotei
might fear the weighty revelations that comewith the achievement of Zen enlightenment.

Sengai Gibon
Along with Hakuin, Sengai Gibon (1750—1837)is among the most important Zenga artists ofthe Edo period (1615—
1868). Although active
three generations later,
Sengai similarly painted
Zen themes in ways thatwere direct, abbreviated, unassuming, andfocused on quotidian
themes. In contrast to
Hakuin, however, Sengai developed a light,
whimsical approach topainting that appears tohave much in common
with haiku poetry andits accompanying pictures (haiga). He spentmuch of his career inand around the cityof Fukuoka in Kyushu
Prefecture, where hedeveloped a strong local
following that continued
well into the modern era.
Sengai’s artistry is represented here by several
works from the Gitter-Yelen Collection, including
the artist’s only handscroll known to exist.
21
Sengai Gibon (1750—1837), Hotei Waking from a Nap, late 18th or early 19th century
Hanging scroll; ink on paper
The Gitter-Yelen Collection: Kurt A. Gitter, M.D. and Alice Yelen Gitter“What a pleasant nap! I dreamt I was the Duke of Zhou!”With its loose, almost cartoonish style, this portrait of Hotei
typifies Sengai Gibon’s Zen paintings. The inscription statesthat Hotei, Sengai’s favorite subject, has awakened from a
dream in which he was the 11th-century Chinese statesman
Zhougong, the Duke of Zhou. According to legend, Confucius
dreamt so often of the duke that he eventually believed hehad become him. This painting suggests the ability to transcend illusory dreams. Sengai’s treatment of Hotei may also
support this reading: Hotei’s large belly resembles an ensō,
implying his spiritual wholeness, while the brushstrokes
forming the hem of his robe resemble the character for
kokoro (heart), signifying the inner Buddha nature.
22
Sengai Gibon (1750—1837), Famous Moments in the Lives of Zen Monks
late 18th or early 19th century, Handscroll; ink on paper
The Gitter-Yelen Collection: Kurt A. Gitter, M.D. and Alice Yelen GitterThis handscroll, the only known example
by Sengai, features episodes in the lives ofhistoric Zen monks, immortalized in theartist’s playful style. In one vignette, Kanzan
and Jittoku read to each other as theirfriend Bukan approaches them atop histame tiger. Another shows the Tang Dynasty
sage Kensu (Xianzi, in Chinese), notorious
for eschewing vegetarianism and dining on
clams and prawns. Yet another depicts themonk Nansen (Nanchuan, in Chinese)
threatening to flay a cat if his disciples
could not properly speak about Zen.

23
Sengai Gibon (1750—1837), Kanzan and Jittoku , late 18th or early 19th century
Hanging scroll; ink on paper
The Gitter-Yelen Collection: Kurt A. Gitter, M.D. and Alice Yelen Gitter[Kanzan]: “A thousand grasses weep with dew,
the wind sings in the pines. Sengai”[Jittoku]: “Dew soaks a thousand grasses one
shade that reflects the autumn moon. Like asong, the sound of the wind in the pines. Sengai”
Kanzan and Jittoku (or Hanshan and Shide, in
Chinese) were beloved 7th-century Chinese
figures who embody the carefree nature of Zen.
Often shown playing or wandering aimlessly, here
they read and translate a poem for the benefit of
the viewer. Kanzan, at right, reads first in Chinese,
and Jittoku repeats it in Japanese. Sengai shows
his mastery by signing each inscription.
Zen Painting: Constructing a Lineage
Zenga can be understoodas originating with Hakuin.
During the modern era,
however, as Zenga gainedin popularity, scholars
attempted to explore theprehistory of Zenga andidentify precursors to
Hakuin’s artistry. The result
was the elaboration of an
unusual Zenga lineage extending back to the late 16th
century and consisting ofartists who, in many cases,
had no direct relationshipto or influence on Hakuin.
Instead, they are associated with Zenga becauseof their treatment of similar
themes or their abbreviated,straightforward approach
to painting and calligraphy.
This “invention” of Hakuin’s
artistic genealogy might belikened to Jorge Luis Borges’s famous comment about
Franz Kafka, in which he asserts that Kafka essentially“created” his precursors.
This section showcases precursors for Hakuin, including
the works of the mysterious
monk Fūgai Ekun and the tea
master Shōkadō Shōjō.
24
Ike no Taiga (1723—1776), Bamboo with a Stone, 18th century
Hanging scroll; ink on paper
The Museum of Fine Arts, Houston, the Gitter-Yelen Collection, museum purchasefunded by the Brown Foundation Accessions Endowment Fund, 2021.242

A literati painter, Ike no Taiga favored traditional subjects
and painted numerous compositions featuring bamboo,
possibly to satisfy customers in Kyoto. Bamboo sprouting from rocks and withstanding wind and rain is apotent metaphor in Zen and Japanese culture: despiteharsh weather, bamboo bends but does not break.
Though Taiga painted this traditional scene derived
from Chinese precedent, he cleverly truncates theleaves of the plant and renders the rock flat, as if
pressed against the surface of the painting. In so doing,
he implies, in a few confident brushstrokes, that a vastlandscape extends beyond the boundaries of this scroll.

25
Fūgai Ekun (1568—1654), Hotei Pointing at the Moon , late 16th or early 17th century
Hanging scroll; ink on paper
The Gitter-Yelen Collection: Kurt A. Gitter, M.D. and Alice Yelen Gitter“His life is not poor but neither is it rich. Pointing to the moon,gazing at the moon, this old fellow really enjoys himself.”
Fūgai Ekun’s charming painting of Hotei shows the popular
figure as happy and carefree, untethered from worldly concerns — so much so that he looks up and away from theearth, pointing at the moon, which the viewer cannot see.
In a way, Hotei’s gesture represents a playful foil to thefamous earth-touching gesture of the Buddha, which signaled his enlightenment. Instead, Fūgai’s painting suggests
a monk on pilgrimage who nonetheless stops on his journey
to enjoy the ephemeral pleasure of a moon viewing. The
dynamic, curling line of the string from Hotei’s sack, however, indicates that even this pause is only momentary.
26
Isshi Bunshu (1608—1646), Daruma from behind with Calligraphy, 17th century
Hanging scroll; ink on paper
The Museum of Fine Arts, Houston, the Gitter-Yelen Collection, museum purchasefunded by the Brown Foundation Accessions Endowment Fund, 2021.256

Isshi Bunshu painted
this subject several
times, often using soft,
gently curving lines todelineate Daruma’srobe. His portraits of
the Zen patriarch are
not as abbreviated or
abstracted as later
examples by otherpainters, with Daruma’s
profile slightly visible.
27
Shōkadō Shōjō (1584—1639), Portrait of Shunzei , late 16th or early 17th century
Hanging scroll; ink on paper
The Gitter-Yelen Collection: Kurt A. Gitter, M.D. and Alice Yelen Gitter

An abbot of the Shingon sect, Shōkadō Shōjō was
also one of the finest calligraphers of the early
Edo period. In Kyoto, he developed a refined andelegant, if at times eccentric, personal style ofcalligraphy. The subject of this portrait is similarly
refined: Fujiwara no Toshinari (1114—1204) was
commissioned by the Emperor in 1183 to compile
a volume of the most important Japanese poetryof the last thousand years (Senzai Wakashū).
Though a successful poet, he later became interested in Buddhism, assuming the name Shunzei.
By painting him as a monk, Shōkadō elevates thepoet to the pantheon of Buddhist holy men.
28
Daishin Gitō (1656—1730), Daruma on a Reed , late 17th or early 18th century
Hanging scroll; ink on paper
The Gitter-Yelen Collection: Kurt A. Gitter, M.D. and Alice Yelen Gitter“Using heaven as a hat and a reed as a boat, hefloated across 10,000 leagues of waves; when
he went back to the west he left a single sandal;
he roared like a tiger in 3,000 worlds … He wears
a thick straw hat; know the principle behind themeaning of the first patriarch’s coming from theWest in India to here in the East. — First Patriarch
Engaku Daishi, brushed and inscribed by his 47th
descendant with deep gratitude and respect”
This large-scale Daruma is unique in Daishin
Gitō’s oeuvre. The overall size, detailed painting,and formal inscription likely indicate that thiswork was commissioned by a Zen temple.

29
Itō Jakuchū (1716—1800), Kanzan and Jittoku , 18th century
Ink on paper
The Gitter-Yelen Collection: Kurt A. Gitter, M.D. and Alice Yelen Gitter

Itō Jakuchū’s playful and charming painting
shows the legendary 7th-century Chinese figures
Kanzan and Jittoku (or Hanshan and Shide, in Chinese) at rest, something strongly associated withthe pair, who lived in the wilderness and did notwork. The painter emphasizes their idle naturesby including the disused broom, whose bristles are rendered as a single dark brushstroke.
Jakuchū uses this same technique for their hair,suggesting the unkempt pates of the two figures,
beloved in the Zen pantheon, who lived together
peacefully as itinerant hermits, unconcerned withmaterial gain or conspicuous religious virtue.
30
Itō Jakuchū (1716—1800), painter, Tangai (Musen Jōzen) (1693—1764), calligrapher

Giant Daruma , late 18th century, Hanging scroll; ink on paper
The Museum of Fine Arts, Houston, the Gitter-Yelen Collection, gift of Dr. Kurt Gitterand Alice Yelen Gitter, 2021.204“A mind like a thick wall. Eyes as bright as the sun and moon.
Vast emptiness, nothing holy! Behold a dragon manifest
right here! Respectfully inscribed by Tangai”
Tangai’s inscription vividly describes Daruma’s imposing
and impenetrable appearance but, like Ito- Jakuchū’s
charming portrait of the Zen master, also gently satirizes
the monk by invoking one of his most famous quotations
from his dialogue with Emperor Wu Liang (464—594 AD).
When asked about the first principle of Zen, Daruma replied,“Vast emptiness, nothing holy!” In this image, however, thisquotation also references the “vast emptiness” of Daruma’s
forehead, behind which lies great wisdom.
31Ōbaku Sokuhi (1616—1671), Dragon and Tiger, 17th century
Pair of hanging scrolls; ink on paper
The Gitter-Yelen Collection: Kurt A. Gitter, M.D. and Alice Yelen Gitter

The pairing of a tiger amid bamboo and a
dragon emerging from clouds is a classic andubiquitous one in East Asian art, as the twocreatures represent opposites: one an earthbound predator, and the other an auspicious
heavenly beast. In the context of Zen, thispairing is thought to represent a harmonious
balance between the spiritual (embodied by
the dragon) and the physical (symbolized by
the tiger). Above each animal, Ōbaku Sokuhi
has written the characters for tiger and dragon,
respectively, using bold, gestural strokes that
add to the action and movement of each panel.
Following the Master
Many of Hakuin’s religious disciples continued his practice ofusing paintings to emphasize
Zen teachings and engage withfollowers. Although most lacked
his breadth of subject matter, especially with regard to allegoricalpainting, they nevertheless developed their own approach andhave their own distinctive appeal.
This section highlights several ofthe most notable monk-paintersin the Hakuin School, beginningwith his two most prominent successors, Tōrei Enji (1721—1792)
and Suiō Genro (1717—1789).

Tōrei’s output is the more artistically dynamic, and his ensō (Zencircles) are particularly distinctive. Suiō’s paintings are marked
by subtle idiosyncrasies andhumble humor. In recent years,
Chingyū Zuikō has attracted attention for his singularly eccentric
approach to Zen figure painting.
Although Hakuin’s artistic disciples are usually understood tobe fellow Zen monks, it is now
recognized that he exerted aconsiderable influence upon
professionally trained paintersworking in 18th-century Kyoto
as well. The most famous among
them is Ike no Taiga (1723—1776),
who is known to have met Hakuin
and co-authored works with theZen master. However, Hakuin’s
approach to painting may also
have had a significant influenceon other artists working in Kyoto
and who painted Zen themes,such as Soga Shōhaku (1730—
1781), Itō Jakuchū (1716—1800),
and Maruyama Ōkyo (1733—
1795). Although fully trained inpolychrome painting and virtuosic ink painting, these paintersoccasionally adopted the powerfully simple, gestural approachof Hakuin to generate works ofsimilar appeal.
32
Reigen Etō (1721—1785), Mount Fuji , 18th century
Hanging scroll; ink on paper
The Museum of Fine Arts, Houston, the Gitter-Yelen Collection, museum purchasefunded by the Brown Foundation Accessions Endowment Fund, 2021.214“Number one, Fuji; number two, a hawk; number three,eggplants.”
Reigen Etō was one of Hakuin’s most important disciples,
eventually becoming the head abbot of Tenryu-ji, a Rinzai
Zen temple in Kyoto, where he spread his master’s teachings within the formal Zen Buddhist establishment.
Hakuin’s influence can clearly be seen in this spare yet
striking work, which depicts the three components of an
auspicious hatsuyume, the first dream of the New Year.
The playful inscription reproduces the recitation taught
to children to memorize the auspicious elements in thecorrect order to foretell a prosperous year.
33
Jiun Onkō (1718—1804), Daruma from Behind , 18th century
Hanging scroll; ink on paper
The Gitter-Yelen Collection: Kurt A. Gitter, M.D. and Alice Yelen Gitter“I don’t know.”
This painting illustrates how the Zen
patriarch’s iconic form and utterance
can be made manifest in only a few
confident brushstrokes. There is perhaps a hint of irony in Jiun’s invocationof Daruma’s words about accruing
merit and good karma through acts ofdevotion, considering this painting isin some ways just such an act, making
this painting the embodiment of Zen’s
philosophy of nonduality, both virtuous and pointless at the same time.

34
Yamaoka Tesshū (1836—1888), Talismanic Dragon , 19th century
Hanging scroll; ink on paper
The Gitter-Yelen Collection: Kurt A. Gitter, M.D. and Alice Yelen Gitter“The dragon feasts on the sun and the waterof the four seas! — Brushed by Tesshū Kōhō”
An accomplished swordsman and prolificcalligrapher, Yamaoka Tesshū was also anadviser to the Meiji Emperor. This work,
signed with one of his stylized art names, ischaracteristic of his dynamic and energetic
calligraphies, which number more than amillion identified paintings. The description of the dragon’s power is reinforced by
the movements of Tesshū’s brush, which
swirl and twist like the tail of the auspicious
flying beast.
35
Shunsō Joshu (1750—1839), Daitō Kokushi , late 18th or early 19th century
Hanging scroll; ink on paper
The Gitter-Yelen Collection: Kurt A. Gitter, M.D. and Alice Yelen Gitter“Feasting on air and lodging on water, no one has recorded
the twenty years he lived under the Fifth Avenue Bridge.”
A pupil of Reigen and Suiō, Shunsō Joshu is of Hakuin’s
direct lineage. The master’s influence can be seen in thisportrait of the monk Daitō (Shūhō Myōchō [1283—1337]),
particularly in the monk’s wry expression. Daitō, founderof the temple Daito-kuji, lived beneath a bridge in Kyoto
for two decades before an aide to the Emperor lured him
out by offering him a melon, which the monk holds in thisportrait. The phrase “no one has recorded” is a reference to a famous poem by the monk Ikkyū (1394—1481)
that states that if “no one has recorded” then “everyone
has forgotten.”
36
Tōrei Enji (1721—1792), Ensō, 18th century
Hanging scroll; ink on paper
The Gitter-Yelen Collection: Kurt A. Gitter, M.D. and Alice Yelen Gitter“In heaven and earth, I alone am the Honored One. — Tōrei”
Tōrei Enji was one of Hakuin’s most important disciples,and, as Hakuin’s successor, he systematized many of his
master’s reforms to the Rinzai sect of Zen. He was also
a prolific painter and calligrapher and made numerous
versions of the ensō, a circular form typically made witha single brushstroke. Simultaneously full and empty, it is
an important Zen symbol of nonduality and wholeness.
Tōrei’s inscription quotes the Buddha, who is supposed
to have made the declaration immediately following hisbirth. By invoking this phrase, Tōrei suggests that we allcontain the Buddha nature and, like the ensō, are wholewithin ourselves.
37
Chingyū Zuikō (1743—1822), Fuke, 1818
Hanging scroll; ink on paper
The Gitter-Yelen Collection: Kurt A. Gitter, M.D. and Alice Yelen Gitter“Come in brightness, and I will smash that brightness! Comein darkness, and I will smash that darkness! — Brushed by the
76-year-old fellow, Lazy Ox.”
Fuke (Puhua in Chinese) is a legendary figure who lived in
9th-century China. According to legend, the itinerant man
wandered through villages, ringing his bell and screaming thequotation that Chingyū cites in this inscription. The phrase, which
is often found on paintings of Zen staffs, famously concludes
with: “Come with nothing, and I will smash that too!” In this painting, Chingyū places Fuke atop clouds, signifying his ascent into
heaven, a reference to another episode from the end of Fuke’s
life, in which he had himself nailed inside a coffin to be buried,but his body miraculously vanished before he could be interred.

38
Reigen Etō (1721—1785), artist, Eryu Ishin (1720—1759), calligrapher

Daruma on a Reed , 18th century, Hanging scroll; ink on paper
The Gitter-Yelen Collection: Kurt A. Gitter, M.D. and Alice Yelen Gitter“Fate brought Daruma across the river. Where is he?
Among the thorns. — Respectfully inscribed by Old Cloud.”
Both Reigen and Ishin were students of Hakuin. Though
Ishin made few paintings, Reigen made many works thatreflect his master’s style, as seen here in Daruma’s expressive face and the dramatic brushstrokes of his robe.
Daruma was said to have crossed the Yangtze River on asingle reed, and Ishin’s inscription compares Daruma’s
river crossing to the master’s act of introducing Zen to
the world by declaring that he is now “among the thorns,”
a poetic metaphor for the corruption and material concerns of the world, which, like thorns, can ensnare theundisciplined mind.
39
Suiō Genro (1716—1789), artist, Gessen Zenne (1701—1781), calligrapher

The Zen Monk Bukan , 18th century, Hanging scroll; ink on paper
The Gitter-Yelen Collection: Kurt A. Gitter, M.D. and Alice Yelen Gitter“All the virtue is not in the future. The old mirror and the stable
platform are shattered. ‘Whenever! Whenever!’ He makes Amida
Buddha blossom all at once in this world. — Respectfully inscribed by Zenne. Painted by the old monk Futo.”
The Chinese monk Bukan (Fenggan in Chinese) is typically shownwith his pet tiger, here suggested by the paw prints at lower
left. Bukan is the embodiment of an eccentric Zen monk whose
wisdom is often expressed in strange or confounding acts. Suiō
treats the monk as a humble figure with a massive robe and walking
stick. Gessen’s inscription suggests that one need not wait for
the afterlife to see the virtues and beauty of the Pure Land, whichis inhabited by Amida Buddha. Instead, Gessen quotes Bukan,
who shouts that it can be experienced “Whenever! Whenever!”40
Suiō Genro (1716—1789), The Staff of the 6th Patriarch , 18th century
Hanging scroll; ink on paper
The Gitter-Yelen Collection: Kurt A. Gitter, M.D. and Alice Yelen Gitter“When you come to the Naraya in Otsu, you also learn
to pound a mortar.”
The “staff” in this painting is actually a karausu, a mortar used to pound rice. In Zen painting, it represents
the Sixth Patriarch of Zen, the Chinese monk Eno (inChinese, Huineng [638—713]), who pounded rice for amonastery. Otsu, near Kyoto, was a pilgrimage site formonks, and the Naraya was one of the city’s renowned
brothels, adding a titillating, suggestive meaning to thephrase “pound a mortar.” Nevertheless, the meaning of
this work is profound in the context of Zen, for enlightenment can be achieved suddenly and surprisingly, asa result of ordinary acts like rice pounding or even sex.
41
Chingyū Zuikō (1743—1822), Gōchō Kankai (1749—1835), Kanzan and Jittoku , 1818
Hanging scroll; ink on paper
The Gitter-Yelen Collection: Kurt A. Gitter, M.D. and Alice Yelen Gitter“One character that cannot be seen even with two eyes and one roar that is
not yet a hundred claps of thunder. Inscribed in the 10,000 Pine Zen Cavein Ōshū by the 70-year-old Gōchō. Spring 1818, painted upon request by
the 76-year-old Lazy Ox.”
Chingyū Zuikō painted this work as a commission during a visit from Gōchō,who added his own calligraphy to the painting. Chingyū painted numerous
versions of Kanzan and Jittoku, though this example is distinct, showing the
beloved pair reading from an apparently blank scroll. As Gōchō’s inscription
suggests, Kanzan and Jittoku have a deep understanding of Zen that transcends the written word; it also points out that, in Zen, a thunderous flashof enlightenment can occur at any moment, building from a single roar to adeafening sound. The notion of sudden enlightenment is a hallmark of Zen
teaching, which eschews the rigid programs of other forms of Buddhism.

42
Suiō Genro (1716—1789), Kanzan and Jittoku , 18th century
Pair of hanging scrolls; ink on paper
The Gitter-Yelen Collection: Kurt A. Gitter, M.D. and Alice Yelen Gitter

Kanzan and Jittoku were popular subjects in Japan since atleast the 14th century. Their identities are usually discernible through their accoutrements: Kanzan, an eccentric Zenpoet, is typically shown reading from a handscroll, while
Jittoku is most often depicted holding a broom, a reference
to his role as a kitchen cleaner at the Zen temple. In thisversion, however, Suiō Genro shows Jittoku standing withhis hands behind his back, removing any semblance of
Jittoku’s work and obligations, as if to further emphasize theeccentric nature of the pair who lived fully apart from society. Indeed, Kanzan is shown reciting verses from a blankscroll, indicating the power of Zen thought and the monk’s
voice to transcend the written word and physical page.
43
Yamaoka Tesshū (1836—1888), Iroha , 19th century
Pair of six-panel folding screens; ink on paper with silver leaf
The Gitter-Yelen Collection: Kurt A. Gitter, M.D. and Alice Yelen Gitter“Although its scent still lingers on the form of a flower has scatteredaway. For whom will the glory of this world remain unchanged?
Arriving today at the yonder side of the deep mountains of evanescent existence We shall never allow ourselves to drift away
intoxicated, in the world of shallow dreams.”
The Iroha is a pangrammatic poem, using every syllable of theJapanese alphabet exactly once. In existence since the Heianperiod (794—1185), the poem is thought to be an adaptation ofa Buddhist sutra, though it is now commonly used in Japan forsequential ordering, akin to alphabetical order in English. This
imposing pair of screens allowed Tesshū to show his dynamism
and calligraphic mastery while also engaging in a long-standing
Buddhist tradition.
Zen Painting in the 20th Century
The beginning of Japan’s modern era
is often traced back to the Meiji Restoration (1868), when the feudal regimeof the Tokugawa shogunate was overthrown and a group of oligarchs led
the nation’s rapid industrialization.
The Zen establishment was greatly
affected by these changes, and reformfrom within was led by monks suchas Nakahara Nantenbō (1839—1925).
Nantenbō was a fiery figure who usedpainting and calligraphy to convey
teachings in the tradition of Hakuin andearlier Zenga masters. However, hisworks were often larger and even moregestural than those of his predecessors, possibly reflecting the changing
circumstances and audiences for religious proselytization and art making
in modern Japan.
One of the most interesting and influential monk-painters represented in
the Gitter-Yelen Collection is Shaku
Sōen (1860—1919), a key figure in the
spread of Zen teachings internationallyduring the modern era. Among otherthings, Sōen is known for delivering
the first lecture on Zen in English, at
Chicago’s World Parliament of Religions in Chicago in 1893. The author
Paul Carus, upon hearing Sōen lecture,solicited the master’s help in translating key texts of Zen Buddhism into
English for the first time. In Japan, Sōen

became the abbot of the venerable
Zen monastery Engakuji in Kamakura and developed a large followingof elites. His student Daisetz Teitaro(D. T.) Suzuki would become a famous
popularizer of Zen in English, and his
lectures at Columbia University in the
1950s influenced a generation of artists and thinkers. His popular classes
attracted students such as John Cage,
Philip Guston, Ad Reinhardt, Betty
Parsons, and others. Suzuki’s liberalinterpretation of Zen was foundational for many of the aesthetic andphilosophical concerns of 20th- and21st-century art, especially Abstract
Expressionism and Conceptual art.
44
Nakahara Nantenbō (1839—1925), Staff, late 19th or early 20th century
Hanging scroll; ink on paper
The Gitter-Yelen Collection: Kurt A. Gitter, M.D. and Alice Yelen Gitter

Though there is great variation in the lively inscriptions on Nantenbō’s numerous staff paintings, nearly
all of them show an identical staff, which faithfully
replicates the master’s actual staff. Carved from thewood of the nandina shrub (nanten), these staffs
were literally the monk’s namesake. In addition, as
can be seen here, two votive plaques, inscribed by the
prolific 19th century calligrapher Yamaoka Tesshū,dangle from the staff. Like Hakuin, who championed
this genre of Zen painting, Nantenbō often madethese works to commemorate the achievement of a
student, to honor an individual, or even by request, as
the inscription on the painting’s right margin implies.
45
Nakahara Nantenbō (1839—1925), Daruma , late 19th or early 20th century
Hanging scroll; ink on paper
The Gitter-Yelen Collection: Kurt A. Gitter, M.D. and Alice Yelen Gitter

Nantenbō was renowned for his performances of paintings
and the seemingly careless speed with which he painted,
especially his calligraphies. In fact, the master once boasted
he could paint as many as sixty in a single day, owing to his
creatively connected script and economic brushwork, whichfills this work. Further evidence of his dynamic painting
style can be found in the daring splashed line that makes up
Daruma’s robe; cleverly, this splattered ink forms the shapeof a Buddhist ritual fly whisk, famously associated with
the Zen monk Ikkyū, while the Indian patriarch’s canonicalearring has been shaped into an ensō, typically associatedwith Hakuin. As such, Nantenbō has inscribed, quite literally,
Daruma’s legacy onto the beloved monk himself.
46
Nakahara Nantenbō (1839—1925), Half-Body Daruma , 1917
Hanging scroll; ink on paper
The Gitter-Yelen Collection: Kurt A. Gitter, M.D. and Alice Yelen Gitter“I don’t know!”
With this creative composition, Nantenbō introduces several elements that elevate the painting
beyond a standard portrait of Daruma. The dynamic brushstroke that makes up the patriarch’s
shrugging shoulder is connected with sweeping,gestural forms that suggest Daruma is holding a
Zen staff, not unlike Nantenbō’s famous accessory;
however, the staff is also a calligraphic inscription,
which gently parodies the wise Daruma. As an additional flourish, Nantenbō has rendered Daruma’s
earring in a single, dark, circular stroke, which also
evokes the iconic Zen circle, the ensō.

47
Nakahara Nantenbō (1839—1925), Monk Procession , 1924
Pair of hanging scrolls; ink on paper
The Gitter-Yelen Collection: Kurt A. Gitter, M.D. and Alice Yelen Gitter“In the autumn, in their round hats, they return from the villages
with the alms-baskets. All the wandering monks throughout theworld — their begging bowls resound like thunder.”Nantenbō painted several versions of this subject, a line of monks
heading out to cadge for alms or beg for food. This procession
is representative of the monks’ collective ability to transformtheir village and even the entire world through their acts of devotion and the spread of the dharma. Nantenbō’s treatment of themonks, individually indistinguishable and merging into a singularline of round hats and dark robes, conveys the concept of Zen lineage and the transmission of teachings between generations ofteachers and students — something important to Nantenbō, whoshared Hakuin’s lineage and his passion for reforming Rinzai Zen.
48
Nakahara Nantenbō (1839—1925), Snow Daruma , 1921
Hanging scroll; ink on paper
The Gitter-Yelen Collection: Kurt A. Gitter, M.D. and Alice Yelen Gitter“A Daruma is made of piled-up snow — as the days pass,
he disappears, but where did he go?”This charming and playful Daruma is actually an image ofsubtle profundity, incorporating a vernacular image into
the Zen pantheon: the snowman, which in Japanese isliterally called a yuki-daruma or “snow Daruma.” By painting a snowman instead of the traditional portrait of theZen patriarch, Nantenbō expounds upon the concepts oftransience and death using a familiar form. The inscription
on this work quotes the Zen calligrapher Yamaoka Tesshū
and encourages us to accept the rhythms of life, for, likesnow melting in the warm sun, they are both completely
natural and entirely outside our control.
49
Deiryū Kutsu (1895—1954), Portrait of Nantenbō, 20th century
Hanging scroll; ink on paper
The Gitter-Yelen Collection: Kurt A. Gitter, M.D. and Alice Yelen Gitter“Nantenbō has used up heaven and earth! Respectfully brushed by the Monk Deiryū.”
Deiryū was Nantenbō’s principal disciple, and his
respect for his teacher is made clear by the numerous
portraits he painted of Nantenbō, which, like thisexample, emulate images of Daruma in their composition. The variation between the abbreviated gestural
strokes composing his body and the softer, moredetailed ink washes used in his face is also characteristic of Hakuin’s paintings of the patriarch. Deiryū’s
inscription is both a comical lament and a declarationof reverence, expressing the challenge and honor of
inheriting the mantle of his renowned master.
50
Shaku Sōen (1859—1919), Daruma , early 20th century
Hanging scroll; ink on paper
The Gitter-Yelen Collection: Kurt A. Gitter, M.D. and Alice Yelen Gitter“The gods have no way to offer flowers; the demons have noway to peek inside. — The old auspicious philosopher Reigaku”
The abbot Shaku Sōen first introduced Zen Buddhism to theWest in 1893. Here, the bulging eye of his fearsome Daruma
resembles an ensō. The inscription describes a Zen patriarch
who has transcended the duality of good and evil, so muchso that neither powerful gods nor evil demons can affecthim. The word for “philosopher,” koji, typically refers to a lay
practitioner of Buddhism, hinting that perhaps Sōen longed
for a simpler life, one without his responsibilities as the abbot
of an important temple. The word choice may also suggestthat wisdom can be achieved irrespective of formal status
and hierarchy.

None Whatsoever: Zen
Paintings from the GitterYelen Collection, March
8—June 16, 2024 was organized by the Museumof Fine Arts, Houston andcurated by Bradley M.
Bailey, The Ting Tsungand Wei Fong Chao Curator of Asian Art, Museumof Fine Arts, Houston, andYukio Lippit, The Jeffrey
T. Chambers and Andrea
Okamura Professor of History of Art and Architecture
at Harvard University. The
presentation at Japan
Society is organized by
Tiffany Lambert, Curator,
Japan Society.
Exhibitions Manager:
Daqian Cao
Curatorial Assistant:Stefani Oh
Exhibition design
and fabrication:
Ransmeier, Inc.
Graphic Design:
Ransmeier Inc. withDavid Walsh and Data-Orbit
Installation:
WittsART, DaSign Guy
Special Thanks to Adèle Cooper,
Mathias Wagner andDavid Walsh

None Whatsoever: Zen Paintingsfrom the Gitter-Yelen Collection is
supported, in part, by the E. Rhodes
and Leona B. Carpenter Foundation.
Japan Society programs are madepossible by leadership support from
Booth Ferris Foundation and the
New York State Council on the Arts
with the support of the Office of theGovernor and the New York State
Legislature. Exhibitions and Arts &Culture Lecture Programs are madepossible, in part, by Sompo Holdings, Inc.; the Lila Wallace-Reader’sDigest Endowment Fund; the Mary
Griggs Burke Endowment Fundestablished by the Mary Livingston
Griggs and Mary Griggs Burke
Foundation; The Masako Mera andKoichi Mera, PhD Fund for Education and the Arts; Peggy and Dick
Danziger; Thierry Porté and Yasko
Tashiro; and Friends of the Gallery.
Support for Arts & Culture Lecture
Programs is provided, in part, by the
Sandy Heck Lecture Fund. Transportation assistance is provided by
Japan Airlines, the official Japanese
airline sponsor for Japan Society
gallery exhibitions.