Overlooked in art historical scholarship and excluded from the canon of Japanese Zen Buddhist portraiture (chinso), the seventeenth-century statue venerated as the monk Shokei Jofu (d. 1536) at Korin'in contains an interior inscription that reveals that the portrait has undergone both relocation and reidentification during its history. At stake here, and explored in this essay, are not merely the portrait’s trajectory of relocation and the circumstances of its shift of identity but also the judgments of art historians and Buddhologists regarding portraiture in the Zen tradition.
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