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The [[Obaku|Ôbaku]] sect of Zen was introduced to Japan in the 17th century, as [[Chinese in Nagasaki]] helped to bring a group of monks from China to help establish the first Japanese Ôbaku temple, the [[Manpuku-ji]] in [[Uji]].<ref>[[Marius Jansen]], ''China in the Tokugawa World'', Harvard University Press (1992), 10.</ref> Its presence in Japan was first established by Yǐnyuán Lóngqí, known as [[Ingen]] in Japanese, head of the temple of Wanfu-si (J: Manpuku-ji) on Mt. Huangbo (J: Ôbaku) in [[Fujian province]] at that time; invited by Japanese Rinzai monks to come to Japan to help revive Rinzai, which had fallen into decline, Ingen initially refused, but was later invited to come to Japan by members of the Nanjing temple in Nagasaki, at which time he came, arriving in Japan in [[1654]]. He and his disciples introduced a new revised ordination ceremony, and taught a more literal interpretation of Buddhist scriptures. After being granted audiences with [[Emperor Go-Mizunoo]] and Shogun [[Tokugawa Ietsuna]], Ingen was granted permission to establish a Manpuku-ji temple in Japan, which he did, employing mostly Chinese workers and completing the project in [[1669]]. The temple remains today likely the finest surviving example of Ming Dynasty architecture in Japan today.<ref>Jansen, 55-56.</ref>

The [[Obaku|Ôbaku]] sect of Zen was introduced to Japan in the 17th century, as [[Chinese in Nagasaki]] helped to bring a group of monks from China to help establish the first Japanese Ôbaku temple, the [[Manpuku-ji]] in [[Uji]].<ref>[[Marius Jansen]], ''China in the Tokugawa World'', Harvard University Press (1992), 10.</ref> Its presence in Japan was first established by Yǐnyuán Lóngqí, known as [[Ingen]] in Japanese, head of the temple of Wanfu-si (J: Manpuku-ji) on Mt. Huangbo (J: Ôbaku) in [[Fujian province]] at that time; invited by Japanese Rinzai monks to come to Japan to help revive Rinzai, which had fallen into decline, Ingen initially refused, but was later invited to come to Japan by members of the Nanjing temple in Nagasaki, at which time he came, arriving in Japan in [[1654]]. He and his disciples introduced a new revised ordination ceremony, and taught a more literal interpretation of Buddhist scriptures. After being granted audiences with [[Emperor Go-Mizunoo]] and Shogun [[Tokugawa Ietsuna]], Ingen was granted permission to establish a Manpuku-ji temple in Japan, which he did, employing mostly Chinese workers and completing the project in [[1669]]. The temple remains today likely the finest surviving example of Ming Dynasty architecture in Japan today.<ref>Jansen, 55-56.</ref>

The sect was strongly supported by Shogun [[Tokugawa Tsunayoshi]], and ''daimyô'' [[Yanagisawa Yoshiyasu]], and quickly became closely associated with and involved in the ''[[kangaku]]'' (Chinese Studies) movement in Japan. Tsunayoshi and Yoshiyasu frequently invited Ôbaku monks and Japanese ''kangaku'' scholars such as [[Ogyu Sorai|Ogyû Sorai]] to discuss the Chinese classics, practice Chinese language, and so forth.<ref>Jansen, 56-57.</ref>

The sect was strongly supported by Shogun [[Tokugawa Tsunayoshi]], and ''daimyô'' [[Yanagisawa Yoshiyasu]], and quickly became closely associated with and involved in the ''[[kangaku]]'' (Chinese Studies) movement in Japan. Tsunayoshi and Yoshiyasu frequently invited Ôbaku monks and Japanese ''kangaku'' scholars such as [[Ogyu Sorai|Ogyû Sorai]] to discuss the Chinese classics, practice Chinese language, and so forth.<ref>Jansen, 56-57.</ref> Though long considered a branch or offshoot of Rinzai, Ôbaku was recognized by Japanese religious authorities as its own independent sect in [[1876]].<ref>Rebeckah Clements, "Speaking in Tongues? Daimyo, Zen Monks, and Spoken Chinese in Japan, 1661–1711," ''The Journal of Asian Studies'' Vol. 76, No. 3 (August) 2017: 609.</ref>

The first Sôtô Zen temple in [[Japanese Buddhism in Hawaii|Hawaii]] was established in [[1903]].<ref>Franklin Odo and Kazuko Sinoto, ''A Pictorial History of the Japanese in Hawaii 1885-1924'', Bishop Museum (1985), 77-78.</ref> Beginning in the 1920s or '30s, but particularly in the 1950s, Zen was first introduced in a prominent way to Americans, through a series of lectures delivered by [[D.T. Suzuki]]. The conception of Zen, and of Japanese culture, introduced by Suzuki continues to have a profound impact upon conventional wisdom and stereotypical popular understandings among Americans about Japan today.

The first Sôtô Zen temple in [[Japanese Buddhism in Hawaii|Hawaii]] was established in [[1903]].<ref>Franklin Odo and Kazuko Sinoto, ''A Pictorial History of the Japanese in Hawaii 1885-1924'', Bishop Museum (1985), 77-78.</ref> Beginning in the 1920s or '30s, but particularly in the 1950s, Zen was first introduced in a prominent way to Americans, through a series of lectures delivered by [[D.T. Suzuki]]. The conception of Zen, and of Japanese culture, introduced by Suzuki continues to have a profound impact upon conventional wisdom and stereotypical popular understandings among Americans about Japan today.

==Cultural and Intellectual Impact==

==Cultural and Intellectual Impact==

Powdered tea was first introduced to Japan by Eisai, in 1191, along with the introduction of Rinzai Zen.<ref name=schiro81/> Song Dynasty Neo-Confucianism was first introduced to Japan by a Zen monk, [[Enni]], who brought books on the subject back to Japan from China in [[1241]].<ref>Albert M. Craig, ''The Heritage of Japanese Civilization'', Second Edition, Prentice Hall (2011), 85-86.</ref> During the Muromachi period, before [[Printing and Publishing|popular publishing]] took off in the [[Edo period]], it was Zen temples which were the chief patrons of the printing of copies of the [[Confucian classics]] and other non-Buddhist works.<ref>Eiko Ikegami, ''Bonds of Civility'', Cambridge University Press (2005), 291-292.</ref>

Powdered tea was first introduced to Japan by Eisai, in 1191, along with the introduction of Rinzai Zen.<ref name=schiro81/> Song Dynasty Neo-Confucianism may have been introduced to Japan as early as the late 12th century as well, even before the death of [[Zhu Xi]], its main proponent. The [[Ritsu sect]] Buddhist monk [[Shunjo|Shunjô]] ([[1166]]-[[1227]]) may have been the first to introduce Zhu Xi's teachings into Japan, when he returned from China in [[1211]];<ref>Robert Morrell, "Zeami's Kasuga Ryûjin (Dragon God of Kasuga), or Myôe Shônin," ''Early Kamakura Buddhism: A Minority Report'', Asian Humanities Press (1987), 103.</ref> however, scholars such as Takatsu Takashi have pointed out the existence of copies of Zhu Xi's teachings, signed by Japanese scholars in [[1200]], and extant today in [[Kamakura]] archives.<ref>Takatsu Takashi, “Ming Jianyang Prints and the Spread of the Teachings of Zhu Xi to Japan and the Ryukyu Kingdom in the Seventeenth Century,” in Angela Schottenhammer (ed.), ''The East Asian Mediterranean: Maritime Crossroads of Culture'', Harrassowitz Verlag, 2008. 254.</ref>

 

During the Muromachi period, before [[Printing and Publishing|popular publishing]] took off in the [[Edo period]], it was Zen temples which were the chief patrons of the printing of copies of the [[Confucian classics]] and other non-Buddhist works.<ref>Eiko Ikegami, ''Bonds of Civility'', Cambridge University Press (2005), 291-292.</ref>

Song dynasty Chán painters such as [[Muqi]] and [[Liang Kai]], and perhaps Zen painting as a style overall, gained a greater following in Japan than in China, and today those two artists are more well-known from works held at [[Daitoku-ji]] in Kyoto, and at the [[Tokyo National Museum]], than from works remaining in China. Along with paintings by the [[Yuan Dynasty]] Indian monk [[Yintuoluo]] and others, these works inspired the flourishing of Zen painting in Japan, beginning with Muromachi era painters such as [[Sesshu|Sesshû]], [[Shubun|Shûbun]], and [[Josetsu|Jôsetsu]], all of whom were associated with the Kyoto temple of [[Shokoku-ji|Shôkoku-ji]]; Edo period artists such as [[Ito Jakuchu|Itô Jakuchû]] also drew inspiration from the works of Mu Qi held at Daitoku-ji.<ref>Conrad Schirokauer, et al, ''A Brief History of Chinese and Japanese Civilizations'', Fourth Edition, Cengage Learning (2012), 202-203.</ref>

Song dynasty Chán painters such as [[Muqi]] and [[Liang Kai]], and perhaps Zen painting as a style overall, gained a greater following in Japan than in China, and today those two artists are more well-known from works held at [[Daitoku-ji]] in Kyoto, and at the [[Tokyo National Museum]], than from works remaining in China. Along with paintings by the [[Yuan Dynasty]] Indian monk [[Yintuoluo]] and others, these works inspired the flourishing of Zen painting in Japan, beginning with Muromachi era painters such as [[Sesshu|Sesshû]], [[Shubun|Shûbun]], and [[Josetsu|Jôsetsu]], all of whom were associated with the Kyoto temple of [[Shokoku-ji|Shôkoku-ji]]; Edo period artists such as [[Ito Jakuchu|Itô Jakuchû]] also drew inspiration from the works of Mu Qi held at Daitoku-ji.<ref>Conrad Schirokauer, et al, ''A Brief History of Chinese and Japanese Civilizations'', Fourth Edition, Cengage Learning (2012), 202-203.</ref>