The Meaning of the Patriarch’s Coming from the West: A Study of Triptych of Three Zen Masters: Linji, Bodhidharma, and Deshan

In the mid-seventeenth century, Chinese Chan master Yinyuan Longqi 隱元隆琦 (Jp. Ingen Ryūki, 1592–1673), accompanied by several disciples, traveled to Japan and established Ōbaku Zen, a new sect of Zen Buddhism in Tokugawa Japan. Ōbaku art, particularly portrait paintings of Ōbaku abbots and their spiritual predecessors, became critical representations of the sect and greatly influenced later Japanese Buddhist art. While much of the existing scholarship focuses on the artistic and stylistic aspects of Ōbaku portraiture, this paper emphasizes its religious context and doctrinal dimensions. Building on Elizabeth Horton Sharf’s inquiry into the “meaning and function” of Ōbaku portrait painting, the paper investigates how Ōbaku doctrine is expressed through these images. Using the <i>Triptych of Three Zen Masters: Linji, Bodhidharma, and Deshan</i> as a case study, this paper explores the role of portraiture in visually conveying Ōbaku teachings and the religious aspirations of those Chinese immigrant monks. By examining the integration of image, inscription, and seal as a unified “pictorial trinity”, the paper argues that Ōbaku portraiture embodies the sect’s distinct doctrine, rooted in Ming-era Chan practices such as beating, shouting, and strict dharma transmission. Moreover, the prominence of Bodhidharma in Ōbaku portraits, as illustrated in the triptych, reflects these Chinese immigrant monks’ desire to emulate Bodhidharma in spreading the dharma and expanding their sect’s influence in a new land.