Ōbaku no Sanpitsu (黄檗三筆) is a name given to a group of three famous Chinese calligraphers who lived in Japan:
They are all connected with the Ōbaku school of Zen Buddhism. Analogous groups of famous calligraphers include the Sanseki and Sanpitsu.
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The Ōbaku-shū (黄檗宗) is one of several schools of Zen in Japanese Buddhism, in addition to Sōtō and Rinzai.
Ingen Ryūki was a Chinese poet, calligrapher, and monk of Linji Chan Buddhism from China. He is most known for founding the Ōbaku school of Zen in Japan.
Wanfu Temple is a Buddhist temple on Mount Huangbo in Fuqing, Fujian, China. It is famous as the original temple of Yinyuan Longqi, the temple's 33rd abbot and a Chan master. He later travelled to Japan with his disciple Muyan to found the Japanese Ōbaku school of Zen.
Sokuhi Nyoitsu was a Buddhist monk of the Ōbaku Zen sect, and was also an accomplished poet and calligrapher. His teacher Ingen Ryūki, Mokuan Shōtō and Sokuhi were together known as the "Three Brushes of Ōbaku" or Ōbaku no Sanpitsu.
Japanese calligraphy also called shūji (習字) is a form of calligraphy, or artistic writing, of the Japanese language. For a long time, the most esteemed calligrapher in Japan had been Wang Xizhi, a Chinese calligrapher from the 4th century, but after the invention of Hiragana and Katakana, the Japanese unique syllabaries, the distinctive Japanese writing system developed and calligraphers produced styles intrinsic to Japan. The term shodō is of Chinese origin as it is widely used to describe the art of Chinese calligraphy during the medieval Tang dynasty.
The Rinzai school is one of three sects of Zen in Japanese Buddhism.
Hon'ami Kōetsu was a Japanese craftsman, potter, lacquerer, and calligrapher, whose work is generally considered to have inspired the founding of the Rinpa school of painting.
The term Sanpitsu (三筆) or "three brushes" is used in Japanese to refer to a group of three famous Heian period calligraphers:
Tachibana no Hayanari was a Heian period Japanese government official, calligrapher, and member of the Tachibana family. He travelled to China in 804, returning in 806. He died while traveling to exile in Izu Province for supposed participation in an imperial succession controversy. His most famous remaining calligraphic work is the Ito Naishin'no Ganmon (伊都内親王願文), now in the Imperial Household collection. He is honored as one of the group of three outstanding calligraphers called Sanpitsu.
Konoe Nobutada was a Momoyama period Japanese courtier known as a poet, calligrapher, painter and diarist. Having no legitimate son, he adopted his nephew Nobuhiro as his heir. Other names he is known by are Nobumoto (信基) and Nobusuke (信輔) in his early life, and Sanmyakuin (三藐院), his title in his late period.
Events from the year 1672 in art.
Events from the year 1596 in art.
Events from the year 1671 in art.
Events from the year 1616 in art.
Ōbaku Station is a train station located in Uji, Kyoto Prefecture, Japan, operated by West Japan Railway Company and Keihan Electric Railway. It has the Keihan station number "KH75", and the JR West station number "JR-D08".
Shōkadō Shōjō was an Edo period Buddhist monk, painter, calligrapher and master of the tea ceremony. He is one of the "Three brushes of the Kan'ei period".
Obaku Dokuryu (1596–1672) was a Japanese calligrapher, scholar, monk and artist.
The Ōbaku school of Zen arrived in Japan in the middle of the seventeenth century, several centuries after the other Zen schools, and as a consequence its temples typically have a different architecture, based on Chinese Ming and Qing architectures.
Nukina Kaioku was a Japanese painter and calligrapher. He had many pseudonyms, but Kaioku (海屋) and Sūō (菘翁) are well-known. He was called the top of calligraphy during the early-modern times. He was good at painting in the Nanga style, the Southern school of Chinese painting.
Ono Otsū, also known as Ono no Ozū, was a Japanese noblewoman, calligrapher, poet, painter and musician. She was a student of the arts in Kyoto, studying painting, calligraphy, music, chanting, and waka poetry. Her work was noticed by members of the Tokugawa shogunate, including Tokugawa Ieyasu and Tokugawa Hidetada, and she was often hired by them to teach members of their court. Because she was the author of works that impacted Japanese art during the Azuchi-Momoyama and Edo period, and served several prominent figures, Otsū was proclaimed one of the leading female calligraphers of premodern Japan.
