“What is the sound of one hand clapping?” This is one of the puzzling questions Zen Buddhist masters would have asked their pupils to help them achieve enlightenment (satori 悟). These “koan” (公案), paradoxical and spiritual tests that elude any solutions by logical thinking, were often the anecdotal dialogues of great monks and were an important aspect of Zen training. Another common exercise used to achieve this enlightenment was artistic practice. Traditional symbolism, or the simple representation of nature, could not achieve this. On the contrary, Zen painting (zenga 禅画) seeks to represent the instant spirit of an action through suggestive abbreviations, unconventional allegories and calligraphy. Brushstrokes can affect the spiritual capture of satori at the exact moment of its action. In other words, the ink brush itself expresses the concept of the mind. The “Zen Stick” painting, by Jiun Onkō,1 represents a unique vertical linear stroke running down the middle of the scroll, a reflection on the concept of persistence. The symbol exemplifies a “keisaku” (警策), a flat wooden stick used by the master to “awaken” disciples during meditation sessions. The calligraphic result is extraordinary in its simplicity, and it is still possible to perceive the persistent duality of human experience. The vibrant lines on the right create a contrast with the dense, compact effect of the ink on the left. In the middle of the scroll, at the left side of the staff, an inscription serves as a reminder of the perpetual presence of Buddhist law. It is pointless to describe the experience of Zen as expressed in art. According to Zen perception, art stands by itself, without any meaning. Even though there is a complex background of symbols and allegories, a convincing interpretation is not always possible. Understanding Zen works hence means immersing oneself in the painting, and reaching enlightenment through an unconscious emptying of oneself.
Jiun Onkō (1718–1804) is a figure of particular interest in the development of “zenga”. His background did not follow the path typical of Buddhist monks. Originally, he was a Samurai and received a Confucian education. In later years, he converted to Buddhism and embraced Zen philosophy. Like most Zen painters, he carried out his main works during the latter years of his life, when he had fully mastered the Buddhist teachings. His art is characterised by bold and powerful brushstrokes accompanied by monumental calligraphic characters realised in splashes of thick ink.