The attached discussion is from Kaikodo Journal, XV “Realms of Faith,” Spring 2000, no. 3, where we originally published this unusual painting. Since that time it was also published by the Rubin Museum of Art in their catalogue of a stunning exhibition of primarily Tibetan arhat painting where it was noted in reference to this work: “With overgrown eyebrows, dark beards, long earlobes, and eccentrically shaped heads, these Arhats often look rather scruffy, as if their bodies have paid the price for their intense efforts to become enlightened.”
The outer box of the painting’s double black-lacquer box is inset with an old metal lock, the key now long gone. However, an inscribed paper label next to it survives and identifies the artist as Chanyue. Chanyue is an alternate name for the illustrious Guanxiu (832-912) whose paintings might not survive but the style does in stone engravings and are distinguished for their special character: eccentric, foreign, exaggerated, unkempt, as is the arhat here. It is not unusual in Chinese practice to attribute an otherwise anonymous painting to some outstanding master of the subject. Since Guanxiu’s time, various sets of the lohan or arhats were created and the close association between a set by Cai Shan and the present accounts for this attribution.
Further to note is a letter that accompanies the painting, sent to a Mr. Hayakawa Senkichiro (1863-1922), a politician, businessman and high-ranking official, by Takahashi Soan (1861-1937), an affluent businessman and tea master: “Dear (Hayakawa): As I send the “Lohan by Chanyue,” please receive it. Because its style is not similar to Chanyue’s, and it is hard to determine who (the painter) is, it would be reasonable to leave it only as ‘Ancient Chinese’ without ascribing it to Chanyue. The quality, however is very high so I’d like you to treasure it. I wrote this, hoping you would agree. Sincerely, Soan. 23rd Nov.
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