The inscription at the top of this painting was brushed by Ōbaku school monk Nanyuan Xingpai (Japanese: Nangen Shōha), a Chinese Buddhist monk who emigrated to Japan in 1654, while the painting was done in ink by Yamaguchi Sekkei, a Japanese painter active in Kyoto who was known for his Buddhist subjects, many of which remain in temples today. The figure here reads a text while riding backward upon a water buffalo. Sekkei's painting depicts the Chinese monk Weizheng (986–1049), also known as "Zheng of the Yellow Ox" after his favored mount. Nanyuan's inscription is a poem about the monk.
View the original at Cleveland Museum of Art →A craft cannot call itself traditional by taste or reputation. Article 2 sets five conditions, all of which must hold: it is used mainly in daily life, the main part of its making is by hand, it is made by traditional techniques, it is made chiefly from materials traditionally used, and a not-small number of people in a defined area still make it. The designation names the techniques, the materials and the region.
The cool part. Two conditions do quiet work. The first is daily use, so a technique kept alive only for display does not qualify. The fifth is the number of makers: the law will not protect a single surviving genius, because one person is a biography and not an industry. And because the region is written into the designation, the craft is legally attached to a place and cannot move.
Verify at e-Gov 法令検索 →Use it The border is the idea. Use it as an edge treatment and leave the centre empty.
Description source: museum curator text — not generated