1. Zen painting is the flower in the heart, Zen painting is the local scenery, Zen painting is the indicator of how to live in the world, Zen painting is the convenience of practice and study, Zen painting is the six causes and conditions, such as pen, ink, paper and inkstone. Through the pure color method, it goes straight into the heart and realizes the transcendence and liberation of the mind and color. Zen painting is a combination of the state of practice and the method of calligraphy practitioners.
2. The paintings of the old monk Yuan Lin are simple and majestic, solemn, magical and harmonious. The lines are firm but not stagnant, elegant but not floating. The themes are simple but far-reaching. They are straightforward and freehand, and they are responsible for the moment. They are enough for Zen painting. model. From the paintings of the old monk, we realize that the connection between Zen paintings and Zen views and cultivation is the reason why Zen paintings are Zen paintings. Zen Buddhism takes Manjushri Prajna as its core and Samantabhadra's vows as its foundation; the great wisdom of the author of Zen paintings is "Manjushri Prajna", and his writing and ink techniques are "Samantabhadra's vows to act".
3. Zen painting is based on great wisdom, relying on superb pen and ink skills, and following the great realm of Zen mind to complete the integration and transcendence of pen and ink techniques. As a way of Zen practice, the Zen painting artist understands the meaning between the pen and ink, and integrates the mind into the pointillism. While expressing that Zen ink washes the mind and transforms him on his own, it also reflects the Zen painting author's perspective and realm of practice. Therefore, Zen painting is the product of great causes and conditions that are a perfect integration and transcendence of kung fu and realm.
4. If all the brushwork, techniques and structures belong to the category of "active methods" of calligraphy and painting, then Zen painting possesses all "active methods" and transcends them. He does not stick to established methods and does not adhere to one scene, and displays the lines and dots that change freely "as he pleases". Achieve the true "doing nothing and doing everything". This requires the author to take the "mind" that opens up the wisdom of Prajna as the foundation, and use the "youwei" brush and ink technique as a wonderful way to express the "pure nature" of Zen paintings.
5. The old monk used "law" to form a circle, and "unable" to form a natural circle. He cleverly demonstrated that "the law is impossible, and if there is no law, it is also the law." This also provides new reference for the study of calligraphy and painting. First of all, grasp the "promising methods" of all calligraphy and painting, and do the work thoroughly; on the other hand, constantly purify the original intention and return to the "just without intention" ”, and then melt the “conditioned method” with a “no-mind” mind, and then write and paint “with a mind that is nothing”.
6. The old monk's paintings do not stick to fixed formulas, but pay more attention to "expressiveness" and "concentration", and all take the word "seeing the pen" as the ultimate point. As the saying goes, "The appearance is eliminated, and the mind and spirit are clear." The old monk's calligraphy and painting sometimes follow the conventional pattern, and sometimes he takes a different approach, but he always "makes it right", transcending all "shapes" and "appearances", with just a few strokes, every point and every stroke, he embodies everything. The author's transcendent spiritual confirmation.
7. Master Yuanlin is good at painting Buddha statues and is famous all over the world. In the early years, the statues were mostly influenced by Daozi of the Tang and Wu Dynasties, Guanxiu of the Five Dynasties, Liang Kai and Fachang of the Song Dynasty. The painting style was strict, delicate, solid and smooth. The Buddha statue has long and slender eyebrows, smooth ears and nose, well-proportioned, moderate richness, and a round and beautiful shape. It also has the characteristics of "Thirty-two Appearances and Eighty Kinds of Goodness" recorded in the "Buddha Statue Measurement Sutra".
8. The style of Buddhist painting in his later years has become increasingly simple and direct, with ancient and clumsy appearance, pure simplicity and solemn brushwork. There are many paintings of "Three Saints of the West", "Infinite Life Buddha", "Budai Monk", "Avalokitesvara" and "Xuebi Bodhidharma". Either compassionate and solemn, or rough and solid. The expression is solemn and vivid, which makes people feel pure at the moment. Occasionally, there are masterpieces with pen, the ink is gorgeous, the colors are colorful, mixed and seeped, crystal clear and clumsy, the spirit is radiant, it is natural, and it can connect the heaven and the earth, which is very natural. It is flowing, free and easy, dignified and majestic, comparable to the ancient sages, simple and natural, full of true power.
9. Landscapes in later years become even more transcendent. The picture is clear in black and white and full of atmosphere. Not only can thick ink and thirsty pen be used to sweep away the enemy, but it can also be dripping with ink and ink, hiding the inner beauty in the middle. It can be said that the dry autumn wind is moistened with spring rain, and it is extremely changeable. It can not only reflect the richness of the peaks and lush vegetation in the infiltration of shades and dryness; it can also express the momentum of the messy hair and rough clothes, the simplicity of the old age, the hazy shadows of the sky, and the turbulent clouds and smoke in an extremely vivid and lively way. "Wutai Scenic Spot", "Emei Mist", "Putuo Spring Scenery" and "Jiuhua Autumn Sound" are the solemn and scenic spots of the four Buddhist holy places. They are also classic masterpieces that he painted repeatedly in his later years.
10. His calligraphy gradually emerged from the Hong style in his later years, and his calligraphy is especially popular. The pen is both square and round, turning left and right; the shapes of the characters are uneven and echo each other, and they are not restricted to one method. Like a worm or a dragon, it is stubborn and energetic, opening vertically and horizontally, but it also has an air of innocence.
11. In his later years, the old monk became more comfortable and devoted himself to "free brushstrokes". He cut out the complex and simplified it, opened and closed it widely, scrawled vertically and horizontally, and used one as ten. A few simple strokes can convey the impression vividly and convey what he wants to express. The objects, style, and charm are vividly drawn. "Sixteen Venerables", "Saving Five Bhikkhus at Deer Park", "Lingshan Dharma Assembly", etc. are all concise and comprehensive, with profound meanings and no artificiality. They can make people understand and praise them. It can be said that after Liang Kai in the Song Dynasty, he is another master who has inherited the "Yibi" and "Zen" paintings for a thousand years.
12. Master Yuanlin lived for ninety-three years and practiced Buddhism for more than sixty years. Throughout his life, he was strict in self-discipline, kept small promises, and was good at teaching by his own example. Everyone who saw him was moved. The master's compassion and wishes were like the sea. He devoted his life to writing and ink diligently for Buddhist services. He lived in seclusion in the mountains and forests for sixty years. He vowed to save all sentient beings as his own responsibility throughout his life. He gathered his mental strength and devoted himself to it. Intention to practice. Use calligraphy and painting as Zen and preach by seeing nature. Master Changyun said: "Practice comes first, calligraphy and painting come second. Hobbying for calligraphy and painting is an old habit of mountain monks. However, it is not without benefit if we can use it to spread the Dharma and benefit people." Where the great wish is, a piece of supreme masterpiece has been achieved. Each piece of work is a "Lingshan Dharma Assembly" that talks about Buddhism.
13. The master calls himself a "mountain monk" and lives in seclusion in the mountains without seeking knowledge or enlightenment; he calls himself "the old habit of a mountain monk" when it comes to painting, and he paints according to circumstances without any pursuit; he often bears the seal of "calligraphy and painting according to circumstances", The smoke and water of a hundred cities are destined to fall. The so-called promotion of Buddhism through art, without departing from one's duty, is not the same as the pursuit of calligraphers and painters in the world.
14. Master Yuanlin’s calligraphy and painting are famous at home and abroad, and his followers flock to his house every day. The Zen master tried his best to satisfy all those who asked for paintings and calligraphy, and treated them equally. He did not treat them differently based on whether they were rich or poor, high or low, or rich in offerings. This was a pure and equal family tradition. He often teaches his disciples that worldly fame and fortune, wealth and splendor, all dreams of reincarnation are in vain. A single word of Buddha's name is like a fire to save one's head, a heart seal from the west, and great causes and conditions can reach this point to unblock the original intention of the Buddha.
15. The master made tens of thousands of random calligraphy and paintings in his life, many of which were done in response to invitations, not for fame and fortune. They were all given as gifts and scattered in all directions. The old monk has never had any worries, he meditates on the wind and the moon, and lets his luck flow. Naturally, he has been living a life of austere cultivation with only a basket of food and a ladle of drink, and the bells and drums in the morning and evening. He is sincere in the style of an ancient monk and maintains his true character as a mountain monk throughout his life.
16. Master Yuanlin used his pen and ink to make the compassion of Buddhas and Bodhisattvas spread widely in the world, and the virtues of the people were directed towards it, and the plants and trees were favored. Those who were lucky enough to receive it were all filled with Dharma joy and their blessings increased. I hope that those who have the chance to see the old monk's Zen ink painting can put aside their own egos, cut off their kindness and righteousness, accept the nectar of Dharma wholeheartedly by the old monk, truly turn Zen painting into Zen, and use the old monk's "fragrance of wisdom" to achieve their own "self-consciousness". Solemn", in order to live up to the kindness of the old monk's pen and ink.
17. In addition to Buddha statues, Zen Master Yuanlin also created a large number of landscapes, flowers, and calligraphy works based on circumstances. The pen and ink are vivid and the artistic conception is lofty. However, they are not far from the original intention of the Buddha, aiming to teach people not to do evil. Do, practice good deeds, and purify your mind. Zen Master Yuanlin wrote about plum blossoms, "I first knew that the bright moon is the predecessor"; about orchids, "I plant orchids for half a month without burning incense"; about bamboos, "There are knots before they are unearthed, but they are still humble when they reach the sky"; about lotuses, "Nine-grade lotuses bloom everywhere in troubled times." , etc., all of them are the sentiment of ice and snow, the sentiment of water and moon. Most of his calligraphy works are based on verses from Buddhist scriptures, such as, "The light shines like the stars and the moon, and the realm of wisdom is like the void", "All great wishes are fulfilled, and a hundred blessings are solemn", etc., which unfold the supreme realm of Buddhism.
18. Master Yuan Lin’s calligraphy and painting are characterized by thick, simple and lush lines. They are capable of carrying a tripod but are always quiet, subtle, pure and comfortable. The large strokes of the brush strokes are vertical and horizontal, pushing the expressive method of Chinese painting to the extreme. It is the natural expression of a pure mind after returning to the original mind and realizing the state of Zen. On the top of the solitary peak, the aura shines alone. Its insight into the wisdom of the world, its compassion to help the world and save people, its heartfelt desire to seek liberation, and the freedom of transcending Buddhism can always be revealed in each piece of calligraphy and painting that is full of endless Zen ideas. .
19. In the context of the era when Buddhism is gradually declining, the old monk is compassionate and uses calligraphy and painting to build a bond with Buddhism for the public. door. Use pen and ink as a carrier, use calligraphy and painting to express the righteous teachings, give color according to the category, and teach by causes and conditions.
"The space is endless, and my wish is endless." The master made a thousand wishes. The fake lines of pen and ink express the great responsibility of Mahayana Buddhism to help the world. He uses Zen ink to benefit all living beings and save friendship. Luo Mo is decisive and affirmative, changing in an instant, bearing down without focusing on the future. Everyone who sees it will feel happy and confident. In his later years, his lines and ink became more free and liberating, expressing the true emptiness everywhere.
20. The 90-year-old Professor Wang Bomin, a leading figure in Chinese art history and a doctoral tutor at the China Academy of Art, inscribed "Master Yuanlin's calligraphy treasures" for this commemorative exhibition, and said, "When you paint the blue sky, the sky becomes colorful. "Sitting in the jungle, the inkstone generates tides" is a compliment. Mr. Kong Zhongqi, a senior professor at the China Academy of Art, wrote the inscription "Get great freedom and magnify the light." Professor Liu Jiang, executive president of Xiling Seal Society, wrote the inscription "Ten fingers are combined to create fragrance, color and taste, and one punch breaks the past and present." Professor Chen Zhenlian, Vice Chairman of the Chinese Calligraphers Association, Director of the Academic Committee, and Vice President of Xiling Seal Society, praised the old monk’s calligraphy masterpieces as “like clouds that can unwind and roll freely, like water that follows circles.”