[Homage to Amida Buddha]
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Narrado por Jorge Obregón
Narrado por Jorge Obregón
Nakahara Nantenbō was a monk of the Rinzai 臨済 school of Zen Buddhism who played an active role in the changes experienced by the Buddhist world toward the end of the 19th century.
Typical of many of his calligraphies, Nantenbō begins the phrase with very thick, heavily inked strokes. The cursive flowing style allows the viewer to follow the brush’s movement, giving the characters a three-dimensional quality marked by the calligraphic gesture.
The text inscribed in this work is not a typical Zen Buddhist phrase but one from the Pure Land Buddhism school (Jōdoshū 浄土宗). In a way, it contrasts with the spirit of Zen, as it attributes awakening to faith rather than individual practice. However, it shows Nantenbō’s tolerance toward other forms of Buddhism. This piece was likely commissioned by a devoted follower of Buddha Amida.
Nakahara Nantenbō was a monk of the Rinzai 臨済 school of Zen Buddhism who played an active role in the changes experienced by the Buddhist world toward the end of the 19th century.
Typical of many of his calligraphies, Nantenbō begins the phrase with very thick, heavily inked strokes. The cursive flowing style allows the viewer to follow the brush’s movement, giving the characters a three-dimensional quality marked by the calligraphic gesture.
The text inscribed in this work is not a typical Zen Buddhist phrase but one from the Pure Land Buddhism school (Jōdoshū 浄土宗). In a way, it contrasts with the spirit of Zen, as it attributes awakening to faith rather than individual practice. However, it shows Nantenbō’s tolerance toward other forms of Buddhism. This piece was likely commissioned by a devoted follower of Buddha Amida.
Nakahara Nantenbō was a monk of the Rinzai 臨済 school of Zen Buddhism who played an active role in the changes experienced by the Buddhist world toward the end of the 19th century.
Typical of many of his calligraphies, Nantenbō begins the phrase with very thick, heavily inked strokes. The cursive flowing style allows the viewer to follow the brush’s movement, giving the characters a three-dimensional quality marked by the calligraphic gesture.
The text inscribed in this work is not a typical Zen Buddhist phrase but one from the Pure Land Buddhism school (Jōdoshū 浄土宗). In a way, it contrasts with the spirit of Zen, as it attributes awakening to faith rather than individual practice. However, it shows Nantenbō’s tolerance toward other forms of Buddhism. This piece was likely commissioned by a devoted follower of Buddha Amida.