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Inheriting and Exploring Song Muqi S Paintings in the Southern Song Dynasty by Xia Jing Shan White-Robed Guan

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Inheriting and Exploring Song Muqi S Paintings in the Southern Song Dynasty by Xia Jing Shan White-Robed Guan ν҄΀ç──ĀΔŅ˨πϓґĹ¢ĢʻϾˠ F˩ƶ͚΄ѧƿ ÆΧÄ Dząğǯ̗̀Ư£û˗z8ϲŝ ǘώ ĀΔŅŀûǵ 1950 ťӒDŽ¢+ɳŝʫŝӒˬKEѦӒ˧ҡĶɕТƊČ˂ǵEѯӒ ʙƊǵEɳӒűνΘΨуϓ˸Āŀû˩ˠFӒEe͙ˠ¤ƀą˩ɠљӒƧ΄Āŀûç 1988 ťӒҴȗEeƆďõӒ˧ҡҬ˗¸ˠɛ˩Eeˠșƀą˩ѭͬçĀŀû ˻ă˩EeˠӒϓґEˠȖăӒũфă7Ӓọ̋ɨ÷˨ǐˠɳzșӒϓґ˩ йeÈˋϮăɈЃӒșӓ ΝɨȘ̳̟΢΋˨π̎ĥ̜ĚDŽϓґ̤w ҠÂʫ˨πϓґӒƫ4˨πϓґ΄À̋äȷ˩̾¿șҍŠă7ӒĀŀû˨πϓ ґ΄¢ĢʻϾ˨πϓґ˩йeҚșˡȐÁőď ˨πϓґç̎Ĥ͙ˠӒȁ Ţљώ˩ˠeӒŠ4ɨ÷ƷɳρˋӒəH͙˨π ϓґEeƯçășӒ΁¢ĢʻϾĒșѧӒÆą̺ϟɕˠӓƟƎ̨ˢӒЉĐ͊ ΎϩʻϾ˨πϓґłˋ˩ȁ ̔˄˹̨нЂǥ΀ʭʆҌӒǠ͵Ż>ȥ͔˩͡ơӒ яӂĀŀûɰ˘ΞʻϾ˨πϓґ˩йŻӒȒłˋϓґ˩ƢƚȉƤӒ4°̮͒ĭ˩ ͡ơ ȠǯǟƄȃǚijҲɳ˘̣ÍåijƟǴҎӒǍϘĀŀû˨πϓґĹʻ Ͼ˨πϓґйe˩ƶ͚΄ѧƿӒΩ˚˨πϓґ˩ˠFӒҴİĀŀûĎCłˋEɳç ѩӒ҂ѩϒ ˩ΘΨу ѭѢěӓĀΔŅ˨πϓґʻϾ̎Ĥ 85 The Unstrained - Inheriting and Exploring Song aesthetic that is refined and concentrated. Based on the three aspects of tracing and imitating, skeletal patterning using brush, and Muqi’s Paintings in the Southern Song Dynasty by Xia realistic and freehand brushwork, this essay explores how Xia’s White-robed Guan Yin Jing Shan’s ‘White-robed Guan Yin’ inherited and expanded from Muqi’s rendition, further examining how through his painting of the Avalokiteśvara in the white robe Xia demonstrates the Bodhisattva way of life: “Buddha Dharma exists for the world, apart from this world, there is no enlightenment.” Wu Hui-Chun Ph.D. Candidate and Adjunct Instructor, Department of Chinese Literature, Shih Hsin University Keywords: Xia Jing Shan, white-robed Guan Yin (Avalokiteśvara), Muqi, Zen Buddhism Abstract Xia Jing Shan became a Buddhist lay disciple under Dharma Master Nanting in 1950 and vowed to dedicate his body and mind to Buddhism by devoting to Buddhist teachings and following the Bodhisattva way of life. Buddhist portraits take up a big part of Xia Jing Shan’s painting oeuvre. He came to the realization in 1988 of the subtleties and the refinements in Buddhist portraits, and resolved to dedicate the remainder of his life to painting Buddhist portraits. Portraits of Guan Yin (Avalokiteśvara) take up the largest portion of Xia’s oeuvre of Buddhist portraits, consisting of over 30 pieces spanning across different genres including gongbi (a realist fine-brush technique in Chinese painting), ink wash painting, and line drawing. Guan Yin is also depicted in many different ways in Xia’s paintings, including Guan Yin on one leaf, water-moon Guan Yin, red bamboo Guan Yin, white-robed Guan Yin, meditating Guan Yin, and boy worshipping Guan Yin, etc. He created several paintings based on the theme White-robed Guan Yin or the white-robed Guan Yin combined with other auspicious images. Moreover, Xia’s White-robed Guan Yin shares many similarities with Muqi’s White-Robed Guan Yin painted in the Southern Song dynasty. The white-robed Guan Yin is an important portrait in Zen Buddhist paintings, and is often created using Chinese ink painting techniques. There have been many white-robed Guan Yin portraits painted throughout history, and Muqi of Southern Song dynasty’s rendition marked the beginning of innovative, unique approach to the subject matter. “It is simple in meaning and without superfluous embellishment,” commented Yuan dynasty artist Wu Dasu on the painting. If the aesthetic expressed in Muqi’s White-robed Guan Yin is one that is earnest, simple yet bold, natural, tranquil, and unbounded, Xia’s portrayal, although follows the style of Muqi’s rendition, shows more of Guan Yin’s compassionate and wise qualities, with an 86 The Unstrained - Inheriting and Exploring Song aesthetic that is refined and concentrated. Based on the three aspects of tracing and imitating, skeletal patterning using brush, and Muqi’s Paintings in the Southern Song Dynasty by Xia realistic and freehand brushwork, this essay explores how Xia’s White-robed Guan Yin Jing Shan’s ‘White-robed Guan Yin’ inherited and expanded from Muqi’s rendition, further examining how through his painting of the Avalokiteśvara in the white robe Xia demonstrates the Bodhisattva way of life: “Buddha Dharma exists for the world, apart from this world, there is no enlightenment.” Wu Hui-Chun Ph.D. Candidate and Adjunct Instructor, Department of Chinese Literature, Shih Hsin University Keywords: Xia Jing Shan, white-robed Guan Yin (Avalokiteśvara), Muqi, Zen Buddhism Abstract Xia Jing Shan became a Buddhist lay disciple under Dharma Master Nanting in 1950 and vowed to dedicate his body and mind to Buddhism by devoting to Buddhist teachings and following the Bodhisattva way of life. Buddhist portraits take up a big part of Xia Jing Shan’s painting oeuvre. He came to the realization in 1988 of the subtleties and the refinements in Buddhist portraits, and resolved to dedicate the remainder of his life to painting Buddhist portraits. Portraits of Guan Yin (Avalokiteśvara) take up the largest portion of Xia’s oeuvre of Buddhist portraits, consisting of over 30 pieces spanning across different genres including gongbi (a realist fine-brush technique in Chinese painting), ink wash painting, and line drawing. Guan Yin is also depicted in many different ways in Xia’s paintings, including Guan Yin on one leaf, water-moon Guan Yin, red bamboo Guan Yin, white-robed Guan Yin, meditating Guan Yin, and boy worshipping Guan Yin, etc. He created several paintings based on the theme White-robed Guan Yin or the white-robed Guan Yin combined with other auspicious images. Moreover, Xia’s White-robed Guan Yin shares many similarities with Muqi’s White-Robed Guan Yin painted in the Southern Song dynasty. The white-robed Guan Yin is an important portrait in Zen Buddhist paintings, and is often created using Chinese ink painting techniques. There have been many white-robed Guan Yin portraits painted throughout history, and Muqi of Southern Song dynasty’s rendition marked the beginning of innovative, unique approach to the subject matter. “It is simple in meaning and without superfluous embellishment,” commented Yuan dynasty artist Wu Dasu on the painting. If the aesthetic expressed in Muqi’s White-robed Guan Yin is one that is earnest, simple yet bold, natural, tranquil, and unbounded, Xia’s portrayal, although follows the style of Muqi’s rendition, shows more of Guan Yin’s compassionate and wise qualities, with an 87 Ƿ˩Ň˾̊ҌƎӒϓґʐʚϤÍ˩ɈЃрϓΛʼ Ҵ˩ÍϭơӒƩʫƁϜăɨ ýϗ ÷ˠĪ̞˵Ϳǚ˩ĹЁӒɕŢŔFˋΫǵǺȠ*єąƈĵӒʻϾ˩ϓґˠĹǺȠ-ș ΆИШљ˩žғ6 ĀΔŅŀûěmɋӒ®Âȿ̠Ӓ1927 ť1˗ǵŅȧ˶͉éřuɘӒŝƄˢ2ˠ Āŀû˨πϓґ˩ˠF΄ʻϾϓґˠ˵ɠӒșƶ͚(șѧεЪğ ĪѓÊΦl˗ğҋӒ͙ˠƷɳǺЗ̮ʍӒʫϻ͙ˠʹșȒą˩ƩĽӒĀŀû҂ѧѓ ͦǍϘĀŀûϓґEˠ ˩̗̀ƯçășӒ7̣͂ͦϜăÔ˧Ӓʭ˨πϓґ˩ ÊΦl˗ӒрϚqáÂŝΏ˘Ӓ͙ˠƷάǺ΃ęʲӒĽçɕȂӒĀŀûșɌȗǎ³ ҠȢ>эșYƃǍϘεÞɕӒ̣ͦǟ4ɕʫҠӓ ǍϘµ̫͇y˨πϓґ EǩӒʂ³Çŵ1949 ťӒĀŀûѺђѷHºӒlƁ̿϶¢+ɳŝ¢ƨˑr@E ˩«ĒŻeʫCӒ¢ĢʻϾϓґä˘̣ϛΊĎCƩʫƁˠ˨πϓґ ˩y̥ӕ ǩąŝ1954 ťDŽ¢+ɳŝʫŝӒˬKEѦӒɕƁ˧ҡӓĶɕТƊČ˂ǵEѯӒʙƊ · ǴҎӒƄaɇ̑ij Ҳɳ˘̣ ÍåijƟ ǴҎӒϓ˸Āŀûá ǵEɳӒűνΘΨу1971 ťӒĀŀû̑ŀŐӒ/ķƊ΂ǵEe͙ˠӒȜѩȒŠ EeˠѾ˩˨πϓґ șCƶ͚ѧƿεӕ ΁¾ą£ʼҭ̀͢Ϳǚϓ˸Āŀû˩ˠFӒEe͙ˠ¤ƀą˩ɠљӒɕƧ΄ŀûç 1988 ťӒҴȗEeƆďõӒ˧ҡҬ˗¸ˠɛ˩EeˠӒșƀą˩ѭNçĀŀ û˻ă˩EeˠӒϓґEˠȖăӒọ̋ɨ÷˨ǐˠɳzșӒϓґ˩йeÈˋϮ ЇǻȜ͇yĹ˨πϓґ äe˩Ϭг ăɈЃӒwҠÂʫ˨πϓґ Ӓƫ4˨πϓґ΄ŅɨŇ˾˩̾¿ӒçĀŀû áEeˠѾ2ăфuŢӒ¹˽˨πϓґ ȁљώ¹̗̀˩ҠȢ Eǩ΀ύʖȟťaoáӒ΁Һȃ¢țą˯ӒѸÑȂȜɣѩČEȒȅрӒȂ ϓґΘΨ ӐȻϧ AvalokiteśvaraӑӒϸƩmґ ϓґ ϓ΀ ΁.ǺEǩȒȁəςӒEǩάξΥʫąϓӔѺΞEǩ˩΅˯Ӓ͙EeϺƩљą ç Ӓ̨̕ϓґ ϓґș̔йe3Ӓͧ˨πϓґȁw ̔ÑȟȂӒŗș ˩!ƛµ-ĎC͙Eӕǝȡ˃Eˠ ǯЧӓˠEώρˋE˩ȉƤ΄ʹEe ˨πϓґeˋӒ?͇yĹ˨πϓґ˩йí˖ĻϙЧӒƫ4ʫ˨πϓґȁƄɨȘϓґϺ ȁ e ӒˠeĂʹƍ˟ E ˩љώƐEe˩̔ң͖ăӒŻƣ¾ˡӒǥ͟Cε ͧHӒ4сˋ.ğͦąă4ʫɕ΄Įǩ˩˯ν΄çáɼașѭ˨πϓґТΞ˨ Ȓ˰˵ÁąƼϩHKǝEǩ˩ǩˌHġǥӒ¹ѡ͟ӒƯ4ĹE͇pīƋҗжƉ 8 πҶ~ƺ˨Ŝ Т̺ѽӒșǵ Έϓґ˓ˉʔТ˩йeӒʫɨ÷ˠĪƯÖƠ ϕӒș̰̈́˩ɚ̵Ȫϕϩ ̨ͧϗӒ͙E΄͙-ÁӒ-ș˹ı˩ŻҴʫ ¢ĢʻϾ5ʿϓґҾӒ˘̨͑ʀѽ˩̣÷͙˨πϓґ̿ЛЙǵŅø KǝӒE¨ɬșӒ?ʹƦ̘͙Ӓ͙EͦƋҗKǝEy4°΀ТĹ£ą̮ʂ˩Eˌș ãμиж˩ҴƘӒƱʹ͙ƃEeQϢϩĪĪźѯEӒƮƮϓґ 9ӒϓґΘ 1 ĀΔŅŀû˩˗ťș"ϩӓ ʫ 1924 ťӒ ʫ 1927 ťӒϩɳ ӒȠǯȌŵ΀Ѕåɳ-ĀΔŅǯ άξïћȗ ĀΔŅŀûą!̱ >уӒűNJͧы͞ǵДɢĪӒƯF˖ăӒÒ±Şʫ̀ÏӒƁϺ!їӒãĭǵ΁jѩɪ¢ûą 2 Āŀû˨πϓґ˩ˠFͤƽ΀ĀΔŅáEeˠѾ­ͥ΀ĀΔŅӓĀΔŅáEeˠѾӐ ĈĪ.ĜщдӒ̟ŕĻӒίѻ(ăЎȠ.Ĝщeçɗȫѥ˵ĵӒș#ӒÖƠŅ ŵ΀ӄβӓʻ *ӓ*őά͡ξʺ̆Ӓ2013 ťӑӒҔ 11-141 ϾӒŔ͡ξлá̰ ̢ 45 ȜӐ1995 ť 7 ȘӑӒҔ 2 3 ϓґӒ¦áˠȅѦÏƯϩӒ΄"ƧТ ąÁĺˡ· ϩӒϓґӓȾȲӉҞ 6 ǺȠ°ɓ͡ğͦʺșѭá͙ˠ»˩ϙЧӒ1VǏŊʻϾʫȖ[ą˩ˠĪӒʻϾ˩ϓґʿ Dž͇ãmоƬ˨π΢;ʧϐǶήһ̪ƈˆɨȘ ΝҋҟĔƈŲÌ˻Ĵ Ҿʕȣāʰ̤äӒȁƪá΀Ñ4HƯ˧ł˩ɨ÷ˠӒάξõ˜Ȗҵ˩̿ȈÏÁϝӒ ŇƮʹҌѮͨѮӂǑΝπˍ˒ă͠ĸÐιuȂȅƢҰёĖ¿nj Ď" Ҕ 1 Dž΢ÍʨɨϓґɕăńĮǩϩɳӒyǝǼ­ͥ΀ѵʆүӓϓґΘΨ˩ŻЁ̗̀ӒΙņEğ 7 ЪğͦǍϘĀŀû˩ϓґEˠ˵ѭϬǯșӓȾ;҇ӓĀΔŅϓґEˠ̗̀ӒĀΔŅάξϬ ğò̢ 3 ȜӐ1973 ťӑӒҔ 77 ο̢ 2 ȜӐ2016 ť 9 ȘӑӃΙʏӓDŽϓĀΔŅŀûáEeˠѾșơӒĀΔŅάξϬο̢ 4 Η=Í4ʫӓ˨πϓґą̲ƄɼνǵÑ2˩ɨȘϓґϺͧƩ˩ ŵ΀Η=ÍӓEe͡Ӑº 2 ȜӐ2016 ť 3 ȘӑѵPÀӓĀΔŅŀûEˠάξӒΔŅ͡ğ̢ 1 ȜӐ2015 ť 5 ȘӑȾ_ ӓѼˀäȓșѱt½Ӓ1990 ťӑӒҔ 173·ĂӒΪːĎϦʫɨȘϓґÍ˨πϓґă ˵ʄ­ͥ ˏӓĀΔŅ΄ɪȎ·ϓґEˠάξǍӒĀΔŅ΄ɪȎ·ϓґEe͙ˠάξϬù ϬǯӐ2016 ť ΀ΪːĎӓáÍǺȠ˩ɨ÷ɨȘϓґӒə»ǯʼ̢ 188 ȜӐ2009 ť 3 ȘӑӒҔ 88 3 Ș 5 Ǻӑ̤ϬǯӒĻș-4˨πϓґʫҠϘϬӒǧ̣ͦ4ʫэșǍϘ̘ѩ 5 ѭǵʻϾ˩˗ŤϙЧăӒąɂ¹˽ʻϾ˗ǵθèӒͧĪʫgǝj÷ȸĪÆą̺ȩӈȸϷ 8 ȡ˃ӓEˠӒ΅ąǯğò̢ 8 ȜӐ1995 ť 1 ȘӑӒҔ 1 ЧӓgɳŠӒθ-ӒηʻϾÖˠӉγʿҾ̏ҽŅɨɊ˾-ʼӒȕϛΊă˘ΤʈΓ̿Ӓ 9 ɕƧʫÑ2ҐƞϧӒ®FƮƮźѯEӒĪĪϓґ Ӓ®φ̨FĪĪźѯӒƮƮϓґ Ӓƫ ®˪Ѻ̣ӆ÷ͧƩӒƟƎ̨ˢӒЉĐ͊ȩ̟ȸβӒxŻ>ӒΕҿίѻӒTșҵ΂ ǺйϧbЊ FĪĪϓґӒƮƮźѯ ­ͥ΀ѐ̺҄ӓƄĹӍϫϓґR5ӐӑӒȅѦğò̢ 12 ȜӐ2002 88 Ƿ˩Ň˾̊ҌƎӒϓґʐʚϤÍ˩ɈЃрϓΛʼ Ҵ˩ÍϭơӒƩʫƁϜăɨ ýϗ ÷ˠĪ̞˵Ϳǚ˩ĹЁӒɕŢŔFˋΫǵǺȠ*єąƈĵӒʻϾ˩ϓґˠĹǺȠ-ș ΆИШљ˩žғ6 ĀΔŅŀûěmɋӒ®Âȿ̠Ӓ1927 ť1˗ǵŅȧ˶͉éřuɘӒŝƄˢ2ˠ Āŀû˨πϓґ˩ˠF΄ʻϾϓґˠ˵ɠӒșƶ͚(șѧεЪğ ĪѓÊΦl˗ğҋӒ͙ˠƷɳǺЗ̮ʍӒʫϻ͙ˠʹșȒą˩ƩĽӒĀŀû҂ѧѓ ͦǍϘĀŀûϓґEˠ ˩̗̀ƯçășӒ7̣͂ͦϜăÔ˧Ӓʭ˨πϓґ˩ ÊΦl˗ӒрϚqáÂŝΏ˘Ӓ͙ˠƷάǺ΃ęʲӒĽçɕȂӒĀŀûșɌȗǎ³ ҠȢ>эșYƃǍϘεÞɕӒ̣ͦǟ4ɕʫҠӓ ǍϘµ̫͇y˨πϓґ EǩӒʂ³Çŵ1949 ťӒĀŀûѺђѷHºӒlƁ̿϶¢+ɳŝ¢ƨˑr@E ˩«ĒŻeʫCӒ¢ĢʻϾϓґä˘̣ϛΊĎCƩʫƁˠ˨πϓґ ˩y̥ӕ ǩąŝ1954 ťDŽ¢+ɳŝʫŝӒˬKEѦӒɕƁ˧ҡӓĶɕТƊČ˂ǵEѯӒʙƊ · ǴҎӒƄaɇ̑ij Ҳɳ˘̣ ÍåijƟ ǴҎӒϓ˸Āŀûá ǵEɳӒűνΘΨу1971 ťӒĀŀû̑ŀŐӒ/ķƊ΂ǵEe͙ˠӒȜѩȒŠ EeˠѾ˩˨πϓґ șCƶ͚ѧƿεӕ ΁¾ą£ʼҭ̀͢Ϳǚϓ˸Āŀû˩ˠFӒEe͙ˠ¤ƀą˩ɠљӒɕƧ΄ŀûç 1988 ťӒҴȗEeƆďõӒ˧ҡҬ˗¸ˠɛ˩EeˠӒșƀą˩ѭNçĀŀ û˻ă˩EeˠӒϓґEˠȖăӒọ̋ɨ÷˨ǐˠɳzșӒϓґ˩йeÈˋϮ ЇǻȜ͇yĹ˨πϓґ äe˩Ϭг ăɈЃӒwҠÂʫ˨πϓґ Ӓƫ4˨πϓґ΄ŅɨŇ˾˩̾¿ӒçĀŀû áEeˠѾ2ăфuŢӒ¹˽˨πϓґ ȁљώ¹̗̀˩ҠȢ Eǩ΀ύʖȟťaoáӒ΁Һȃ¢țą˯ӒѸÑȂȜɣѩČEȒȅрӒȂ ϓґΘΨ ӐȻϧ AvalokiteśvaraӑӒϸƩmґ ϓґ ϓ΀ ΁.ǺEǩȒȁəςӒEǩάξΥʫąϓӔѺΞEǩ˩΅˯Ӓ͙EeϺƩљą ç Ӓ̨̕ϓґ ϓґș̔йe3Ӓͧ˨πϓґȁw ̔ÑȟȂӒŗș ˩!ƛµ-ĎC͙Eӕǝȡ˃Eˠ ǯЧӓˠEώρˋE˩ȉƤ΄ʹEe ˨πϓґeˋӒ?͇yĹ˨πϓґ˩йí˖ĻϙЧӒƫ4ʫ˨πϓґȁƄɨȘϓґϺ ȁ e ӒˠeĂʹƍ˟ E ˩љώƐEe˩̔ң͖ăӒŻƣ¾ˡӒǥ͟Cε ͧHӒ4сˋ.ğͦąă4ʫɕ΄Įǩ˩˯ν΄çáɼașѭ˨πϓґТΞ˨ Ȓ˰˵ÁąƼϩHKǝEǩ˩ǩˌHġǥӒ¹ѡ͟ӒƯ4ĹE͇pīƋҗжƉ 8 πҶ~ƺ˨Ŝ Т̺ѽӒșǵ Έϓґ˓ˉʔТ˩йeӒʫɨ÷ˠĪƯÖƠ ϕӒș̰̈́˩ɚ̵Ȫϕϩ ̨ͧϗӒ͙E΄͙-ÁӒ-ș˹ı˩ŻҴʫ ¢ĢʻϾ5ʿϓґҾӒ˘̨͑ʀѽ˩̣÷͙˨πϓґ̿ЛЙǵŅø KǝӒE¨ɬșӒ?ʹƦ̘͙Ӓ͙EͦƋҗKǝEy4°΀ТĹ£ą̮ʂ˩Eˌș ãμиж˩ҴƘӒƱʹ͙ƃEeQϢϩĪĪźѯEӒƮƮϓґ 9ӒϓґΘ 1 ĀΔŅŀû˩˗ťș"ϩӓ ʫ 1924 ťӒ ʫ 1927 ťӒϩɳ ӒȠǯȌŵ΀Ѕåɳ-ĀΔŅǯ άξïћȗ ĀΔŅŀûą!̱ >уӒűNJͧы͞ǵДɢĪӒƯF˖ăӒÒ±Şʫ̀ÏӒƁϺ!їӒãĭǵ΁jѩɪ¢ûą
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