Title: Mó Bē Bōrě Bōluómì Duō Xīnjīng (The Heart Sutra of the Great Perfection of Wisdom) and Arhats, 1695. An Extraordinarily Rare Illuminated Manuscript of the Heart Sutra on Silk, with a Magnificently, Heavily Detailed Painting of Hundreds of Arhats Gathered. Produced by an Imperial Prince, and with a Lacquerware Box
Author: Cloistered Prince Gyojo
Condition: Very Good
An extraordinarily rare, Early Edo, late 17th century manuscript edition of the Prajñāpāramitāhṛdaya, also known as the Heart Sutra of the Great Perfection of Wisdom, or the Mó Bē Bōrě Bōluómì Duō Xīnjīng, translated into Chinese. This example is signed and attributed to Cloistered Prince Gyojo (1640-1695), of the Imperial Household.
A popular sutra in Mahāyāna Buddhism, the Heart Sutra is universally regarded in East Asian Buddhism as the single most recited, copied, and studied scripture, being recited by adherents of Mahayana schools of Buddhism regardless of sect beliefs, apart from Shin Buddhists and Nichiren Buddhists. In the sutra, Avalokiteśvara addresses his disciple Śariputra, explaining the fundamental emptiness of all phenomena, known through and as the five aggregates of human existence. He then explains fundamental Buddhist teachings, such as the Four Noble Truths, and how the perfection of wisdom achieves nirvana.
The sutra has been beautifully written on indigo dyed silk with golden ink, the letters and script still shining brightly. However, this sutra is complimented with something truly wonderful, being a massive and illuminated painting, depicting hundreds of arhats gathering. All of it has been done in gold, with numerous arhats in various attire, with different tools and appearances, and there is even a small scene to the right of the painting, of several arhats gathered around a figure under a tree, the figure most likely to be Shakyamuni giving a lecture. Such an astoundingly beautiful work on indigo dyed silk is highly reminiscent of Qing Dynasty compositions by various monks and members of the Imperial Court, and to see a Japanese example of such is extremely rare.
Of Cloistered Prince Gyojo, he was born the tenth son of Emperor Go-Mizunoo, his mother being Shinkogimon'in Sono Kuniko, daughter of Sono Motone. In 1647, he entered he entered Myoho-in Temple as a member under the cloistered Imperial Prince Gyonen, and in 1650, he was proclaimed an imperial prince, and shortly after became ordained and inherited the position of Myoho-in Monzeki. Over the years he obtained additional titles and positions, becoming an Isshin Ajari, guardian monk, and appointed head priest of Tendai, all in 1663. He retired and returned to this position several times, before finally building a retirement home in 1691, passing over his position to his nephew, finally passing away in 1695 at the age of 56.
He devoted himself to the study of Tendai doctrine and the study of sutras, and compiled many works, including "Sōden Paiyun" and "Gobu Mahāyāna Jingshōroku." He also had a deep knowledge of poetry, linked verse, calligraphy, painting, and flower arranging, and is known for his collection of Chinese poetry, " Ittōshū. " He was even mentored by Kano Tan'yū in painting and is known for having created many portraits of the emperor.
The box has been signed and dated Genroku 8, or 1695. Whether this is the date the painting was produced, or that it was acquired very shortly after the prince’s death, is difficult to ascertain.
The painting and calligraphy have been laid down and bound in handscroll format for preservation, with a dazzling, orange brocade decorated cover, and there are jikusaki (knobs) made of lacquered wood. The handscroll has been stored in an opulent lacquerware box with a partially cracked lid edge, bearing the emblem (mon) of the Kuroda Clan. I’m not entirely certain why a painting by the prince would bear this emblem, but it could indicate that perhaps it was meant as a gift for a clan member, or a later member of the Kuroda came to own it themselves. That box has been further wrapped in purple fabric and placed in a wooden box for additional storage and preservation.
One brocade bound silk painting and calligraphy in scroll format, 30.2 x 107 cm. The knobs are not included as part of the measurement. Gold ink on indigo dyed silk
This handscroll is in very good shape, with minor rubbing and wear to the brocade. There are three repairs to the rear, with one large split to the front having been repaired. There are a few creases, and a bit of fraying at the end of the scroll. The golden ink still shines as if it were fresh.