This talk will consider Ikkyû's portraits -- including a variety of self-portrait -- as Zen portraits with a difference. Portraits of Ikkyû Sôjun abound, all belonging to a well-defined genre of Zen Abbots' Portraiture (J. chinsô or Mandarin dingxiang.) Such portraits belong to a tradition of representation as full of formal conventions as of paradox, both of which Ikkyû (and/or his portraitists) used to full advantage.
Tom Hare is William Sauter LaPorte '28 Professor in Regional Studies, Professor of Comparative Literature. He came to Princeton in 2001, having been an undergraduate there in the 1970s. He did graduate work at the University of Michigan (PhD, Far Eastern Languages and Literature, 1981) before moving to Stanford University where he worked in the Department of Asian Languages and, eventually, the Department of Comparative Literature. His research focuses on Japanese drama and literature through the eighteenth century, Buddhism in Japanese cultural history, the music of Noh drama and ancient Egyptian literature and arts. His most recent book, Zeami, Performance Notes won the Kanze Hisao Memorial Prize in Noh Drama, awarded by Hosei University, in 2008.
Sponsored by the UW Japan Studies Program and made possible by the Seattle Art Museum Gardner Center for Asian Art and Ideas.
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