3 Calligraphy and Painting
In the history of Chinese art, there are many monks who are also calligraphers. In the early Qing Dynasty, Lingnan monk Dao Bin was known as the "Rightist Army of Monks" with his nickname "Mu Chen" and his skill in calligraphy. In the 16th year of Shunzhi (1659), he was awarded the title of "Zen Master Hongjue". He once went to the palace to talk about Zen with Emperor Shunzhi, and also discussed the calligraphy of Zen sect Lao Su. Shunzhi praised Dao Jin for his proficiency in this art: "I like the old monk's calligraphy very much. The calligraphy and painting are round and vigorous, and the strokes are sharp and do not fall into the style of calligraphers." [12]
As for other Lingnan monks who stayed in Guangdong, , according to Mr. Mai Huasan's research on handed down calligraphy, the summary is as follows:
Shi Hanshi is the natural monk - "Among the eminent monks in Guangdong who can calligraphy, Hanshi is the most famous." "I've seen the seven-character couplet 'Light and deep green trees hide the house, and the red flowers are blooming and falling on the grass fence.' The writing style is very straight, the writing force is vigorous, the diameter of the characters may be large or small, and the order is consistent. I also see the A-character poem of the waiter, The calligraphy of Beihai is very popular. The calligraphy of Haiyun Zhujin (according to the word "Jin") is the origin of calligraphy." When thirsty for ink, he writes dangerous characters, and his strokes are as indulgent as a withered vine, and like a thirsty man rushing to a spring. He makes good use of folding the pen to accumulate his momentum, which is unique in Buddhism and is extremely valuable." /p>
Shi Guangjiu, that is, Chengjiu - "I am good at cursive calligraphy. I have seen the four characters of 'Integrity, stubbornness and cowardice'. The characters are three to four inches in diameter. The pen is bold and unrestrained, quite like Mao calligraphy. His calligraphy longevity Chen Qiaozhan (Zizhuang's younger brother)'s poem scroll is particularly strange. He writes with great enthusiasm, and the paper is full of wild cursive. He is aiming for novelty and has no fixed rules. The ancient thin and vivid Li Li is half without ink, which has a strong legacy of subversion."
Shi Jinwu - "Shu Zong Beihai, I found it thin and hard, and I tasted his calligraphy and poetry fan, which are exquisite. He is good at using the method of reverse entry and level exit, which is very impressive. He is upright and upright, like an ancient doctor. He has great achievements. The writing style of Li Sixun's stele is so refreshing to see." [13]
The famous monk Dangui was also good at calligraphy, but was not recorded because he was not from Guangdong. Its characteristics are: "The pen is used both forward and sideways, and the skill of turning the Teton is used as a change. It is learned in the Nangong, and when taking the momentum from the side, it can be traced back to the North Sea. It is especially good at cursive writing." [14]
Shizi's painting also has a long tradition like calligraphy. The monk from Dashan who came to Guangdong from Wu in the early Qing Dynasty can be regarded as the best among Buddhist painters. He specializes in figures, flowers, birds, insects, fish and landscapes. There are 33 panel paintings in the front volume of the collection of poems "Li Liu Tang Ji", whose composition and brushwork can be seen briefly. This Buddhist painter likes to paint and inscribe himself. His paintings and poems can quite reflect the psychology of the survivors. For example, a poem about landscape painting:
This mountain alone is unharmed, mostly because it does not belong to the Qin Dynasty.
The cliff radish borrows scriptures, and the ancient temple trees connect to the gods.
The bright moon shines on the bird's nest, and the flowers bloom and never fade away in spring.
To know what is beyond the world, just ask the cloud watcher.
Another example is the poem inscribed by the characters:
What magicians on the river look at each other with infinite affection;
I think after leaving the chaos, I only swallowed my words. [15]
Dashan is located in the Changshou Temple in the west of Guangzhou, facing the Pearl River. It is a famous garden in Guangzhou. His poetic friends have repeatedly described the scenery of the temple, such as the third sentence in Liang Peilan's "Ten Odes of Changshou Temple":
There are monks in Zhouhuan, how many times have they been the first guests?
Cyanosis The green title is the empty pavilion, and the railings are holding the small pavilion.
Tencels fly up and down, and human figures stand in the sky.
Where do all the troubles go? The sound of music and music can be heard quietly. [16]
Another example is Qu Dajun's "Guo Changshou Yuan":
The forest pond is winding with the tide, and gulls come to compete for seats from time to time.
The children entertain themselves like white pheasants, and the old people change into yellow stones. [17]
It can be seen that the Dashan monks integrated painting theory into the art of gardening, managed it with craftsmanship, and excelled in craftsmanship. According to his own account, the stones piled up in the garden were taken from Yingde, and the twenty-three words of "Hundred Odes of Buildings Living in the House" are:
The Yingzhou stones were carried back by the tide.
The peaks and ridges can be found at will, and the flowers and trees are planted according to the hour.
On the way to the sky, lotus flowers bloomed face to face.
The old monk couldn't say anything, so he nodded in disgrace.
The thirty-third poem describes the bonsai in the courtyard:
The stone couch is used as a pavilion, the pots are covered with pine green, and the sky is beautiful. But I feel like I'm traveling.
The ancient trees have no one to accompany them, and the famous mountains are getting closer to each other.
The cold weather always persists, so cutting the brush will not stop the hard work![18]
Gardening and painting In the same way, Dashan is well versed in this. This heretical monk, who was once dismissed as a "flower monster" by Qu Dajun, was truly extraordinary in terms of artistic accomplishment and became a flower in Lingnan Buddhism.
Is it considered a contribution to Buddhism if an artist uses his own method, such as painting Buddha statues?
Of course.