Chinese calligraphy and painting and the consciousness of literati

Author: Chen Zidong
Publisher:
Publish Date: 2006-06-01
Features: Chinese Buddhist Chan (Zen) was established by Huineng in the second half of the 7th century and the early 8th century. Before this, although the term "Five Patriarchs in the East" was mentioned, there was only Chan (Zen) studies without a formal Chan (Zen) school before Huineng. Moreover, the traditional "Buddha-nature through teaching" (Rulai Chan) tradition, which emphasized gradual cultivation, was succeeded by the Shenshou lineage in the 7th century, known as the "Northern School." In contrast, Huineng's "direct pointing to the mind and seeing nature" (Sudden Enlightenment) lineage gradually became the mainstream of Chinese Buddhism. From then on, a truly Chinese-style Buddhism emerged, and as a result, some called Huineng's teachings a "revolution in Buddhist thought."
Huineng's Chan (Zen) had a deep connection with Chinese literati painting. Wang Wei, a famous poet in the mid-8th century, revered by later literati painters as their ancestor, was a high-ranking official alongside his brother. However, "after court sessions, he would burn incense and sit alone, engaging in Chan meditation."1 His poetry was already renowned at the time, and later generations often spoke of its fullness of Chan (Zen) essence. Of course, this was related to his devotion to Buddhism. However, at that time, traditional Rulai Chan was popular in the capital. It is difficult to pinpoint the extent to which Wang Wei's poetry and painting were influenced by true Chan (Zen). But it is certain that after the age of 45, Wang Wei came into contact with the Chan (Zen) lineage of Huineng.
In 745, Huineng's disciple, the seventh patriarch of Chan (Zen), Shenhui, was invited by Song Ding, the then Vice Minister of War, to enter the Eastern Capital to widely propagate the Sudden Enlightenment teachings of the Southern School.2 At that time, Wang Wei went to seek Dharma from Shenhui and, at his request, composed the "Epitaph for Master Six Patriarch Neng." According to Wang Wei himself, Huineng's Chan (Zen) had not yet gained widespread acceptance in the two capitals at that time. Therefore, Shenhui expressed, "Many people still suffer the sorrow of holding jade without knowing its value," but "you understand the Way, so I asked you to compose a praise poem."3 Thus, Wang Wei may have been one of the first literati scholars to comprehend the Southern School's Chan (Zen) teachings. In light of this, his experiments with ink and wash painting during his later reclusion at Wangchuan Valley might have been influenced by Chan (Zen) thought.
Most schools of Chinese Buddhism believe that "all living beings possess Buddha-nature." The fundamental reality of the universe, the ultimate truth (Tathagata), is eternal, absolute, omnipresent, and luminous. Everything in the world arises from it, so all things are manifestations of this ultimate truth. Therefore, the Sudden Enlightenment advocated by Chan (Zen) allows one to realize the Way through any object. The saying, "Green bamboo is the body of the Dharma; lush flowers are the wisdom of the Buddha," illustrates this idea.
Most painters influenced by Taoism favored ink and wash landscape paintings, while those influenced by Chan (Zen) included flowers, fruits, trees, rocks, bees, and birds in their works. This may have been inspired by Chan (Zen) thought. The extreme realism advocated by the Song Dynasty court painting style depicted rare birds and exotic flowers, while literati painting focused on ordinary flowers and fruits found in daily life. This might also be due to the widespread popularity of Chan (Zen) among literati in the Song Dynasty. Su Shi often discussed Chan (Zen) and integrated its essence into his literati painting, revering Wang Wei and frequently painting with ink and wash to depict withered trees and bamboo.