Changes

==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>