Chinese literati and artists always have an indissoluble bound with Buddha. Qi Baishi’s figure paintings are mainly about Buddha and the immortals. Qi Baishi was once impressed by an “Amitabha statue” in Longzang Temple. Many years later, the image still lingered in his mind. He couldn’t part with the feeling, so he created the work. Although it has been years away, the slightest facial expression of the Buddha is still remarkable true to life. With light and elegant color for figure and light ink for robe, the unadorned heart of the Buddha is highlighted. Light purple pigment was applied evenly to present his skin, peaceful and quiet. With kind and gentle facial features, the Buddha holds a lotus base with left hand, the right hand drooping with a gesture of “meeting and guiding”. He steps on the floating clouds high in the air. In terms of composition, the blank expanse above the Buddha gives an auspicious sense of “down from the heaven stepping on the auspicious clouds”. The “卍” sign at center of the Buddha’s chest is the finishing touch of the image, granting Zen spirit to the picture. On the left, Qi Baishi’s inscription is arranged vertically to echo the drooping arm of the Buddha, instead of filling the blank above as usual, which highlights the author’s originality in composition.

If we say that Qi Baishi’s flower-and-bird paintings represent his artistic achievements, then his figure paintings can be considered as the detailed demonstration of “folk flavor”. Qi’s works are life-oriented, and we can find folk flavor even on religious figures. No matter Bodhisattva, Avalokitesvara (Guanyin) or all kinds of the immortals and Buddhas, they are all similar with country neighbors. Succeeding in conveying the artistic spirit of modern Chinese painting with classical interest and charm in ink and brush, he benefited from classical models while brought forth the fresh. Therefore, his paintings move people’s hearts and convey the wisdom and philosophy of life to all living beings in the world. Buddhism and Taoism figures in his works are sacred but not dignified, lofty but not otherworldly, reminding us of those easy-going common people.

(Edited by Li Hanning & Yang Zhige, 2021)