Guanxiu

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Guanxiu
Born832
Lanxi, Zhejiang
Died912 (aged 79–80)
Chengdu
NationalityChinese
Known forPainting
Notable workSixteen Arhats
MovementBuddhist painter
Guan Xiu's Temple in Youbu, Lanxi, Zhejiang

Guanxiu (

An Shi Rebellion
in 755. By the collapse of the Tang dynasty something like a miniature Tang court existed at Chengdu. Guanxiu arrived in Chengdu in 901, and remained there until his death.

arhats, disciples of historical Buddha, who lived harsh ascetic lives.[2] He is however also known for his works in poetry and calligraphy as well; extant works exist for all three forms.[citation needed
]

After Guanxiu's death, Shi Ke rose to prominence as a Chan painter.

Arhats

One arhat depicted by Guanxiu

In particular Guanxiu is known for his depiction of the

Chinese Buddhism
. Chinese artists had been depicting them with great expressiveness and power since the sixth century, however Guanxiu's interpretations are often seen to have captured another dimension. A set of sixteen arhats is preserved in the Japanese Imperial Household Collection. This collection bears an inscription dated to 894. It states Guanxiu began the set while living in Lanxi, Zhejiang province.

Legend has it that the

arhats, or "Luohans", knew of Guanxiu's expert calligraphy and painting skills, and so appeared to the monk in a dream to request that he paint their portraits.[3]
The paintings depicted them as foreigners having bushy eyebrows, large eyes, hanging cheeks and high noses. They were seated in landscapes, leaning against pine trees and stones. An additional theme in these paintings were that they were portrayed as being unkempt and "eccentric" which emphasizes that they are vagabonds and beggars who have left all worldly desires behind. When Guanxiu was asked how he came up with the depictions, he answered: "It was in a dream that I saw these Gods and Buddhas. After I woke up, I painted what I saw in the dream. So, I guess I can refer to these Luohans as 'Luohans in a dream'." These portraits painted by Guanxiu has become the definitive images for the 18 Luohans in Chinese Buddhist iconography, although in modern depiction they bear more
Sinitic features and at the same time lost their exaggerated foreign features in exchange for more exaggerated expressions. The paintings were donated by Guanxiu to the Shengyin Temple in Qiantang (present day Hangzhou) where they are preserved with great care and ceremonious respect.[4]

The Chan Buddhist tradition of painting sought to express the immediacy and intensity of the artists intuition as well as to record moments of truth in the form of Buddhas or arhats.[5] Even by the end of the Tang dynasty Chan painters were practicing wildly eccentric works, which unfortunately have only survived through contemporary descriptions. His depiction of the arhats exhibit an exaggeration of features that borders on perversity, this style is typically Chan. The paintings display an emphasis on the arhat's skeletal bodies, and bony faces, as well as the incredible age of the sages.

According to Max Loehr, Guanxiu's arhats represent the physical embodiment of Buddhist persecution in eighth-century China. This persecution nearly obliterated the Buddhist establishment. The tormented faces are depicted as if the arhats themselves were survivors of the death and destruction. In Chinese painting the themes of pain, suffering, and death are depicted rarely outside of Buddhist art.[6]

See also

Notes

  1. ^ Sullivan, Three Thousand Years of Chinese Painting, 88.
  2. ^ Sullivan, Three Thousand Years of Chinese Painting, 89.
  3. ISBN 9780557006212
    .
  4. ^ Susan Bush and Ilsio-yen Shih (1985). Early Chinese Texts on Painting. Cambridge, MA, and London. p. 314.
  5. ^ Sullivan, The Arts of China, 172.
  6. ^ Sullivan, Three Thousand Years of Chinese Painting, 89.

References

External links
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