A single figure of the Bodhisattva Guanyin sits on a strongly patterned rug, with shoes in front, sutras placed to one side, and holding a fly-whisk. The image is distinctly feminine, as is usual for the later periods of Buddhism, and much attention was given to the creation of a lovely and attractive image. The painting is signed in the lower right, Chen Xian, with one seal reading Songqi, “Pine River,” while the colophon by the artist is signed Songqi, Jian, perhaps an alternate name meaning “durable” rather than “virtuous.”
Chen Xian was born in Dongou, Fujian province, probably in the year 1613 judging from the incomplete seal appearing on the present painting.1 Virtually all of his paintings were inscribed by eminent Chan Buddhist priests such as Yin-yuan (1592-1673) and Muan (1611-84), both of whom immigrated to Japan in 1654. An album done by Chen in spring of that year with colophons by Yinyuan was painted by him in the Yanfu Temple at Mount Jiuzhi in Fujian (fig. 1). Chen there signed himself Yena Xian, “Xian in a rustic patched robe.” An album of the “Eighteen Forms of Guanyin” by Chen Xianp now in the Seikado Museum and dated to 1657 bears colophons by both Yinyuan and Muan, which suggests that Chen Xian accompanied them to Japan, perhaps residing at the Mampukuji Temple founded by Yinyuan, who was succeeded as abbot by Muan on the death of his master in 1673. Because of his close association with the Obaku monks, it is sometimes assumed that Chen Xian too was a monk, but the legend on one of his seals reads Bantuseng, “The half-tonsured monk,” which may indicate that he remained a lay follower of Buddhism.
Virtually all of Chen’s known paintings—among them dated works ranging from 1634 to 1672—depict Buddhist subjects- Patriarchs, Bodhisattvas, Lohan, Priests, and, especially, various forms of Kuan-yin. The compositions tend to be simple, usually focused on a single figure, with few or no background elements. However, it should be noted that Chen Xian was not alone in taking this approach, and other artists, such as the monk Yiran, worked in very similar style (fig. 2) All of Chen’s works had a provenance in Japan, obviously due to his relationship with the Obaku monks, who were also responsible for introducing to Japan the paintings of Gong Xian (1619-1689) and Lan Ying (1585-1664 or later)–good company indeed!
1. For additional information on the artist, see Aschwin Lippe: “Ch’en Hsien, Painter of Lohans,” Ars Orientalis, vol. 5, 1963, pp. 255-258, and vol. 6, 1966, pp. 223-224.
Fig. 1. Chen Xian: “Buddhist Patriarchs” 1654, one leaf, after Suzuki Kei, ed.: Comprehensive illustrated Catalogue of Chinese Painting, Tokyo, 1983, vol. 4, p. 155, no. JT 178-009, pl. 8.
Fig. 2. Yiran: “Guanyin,” after Suzuki Kei, ed.: Comprehensive illustrated Catalogue of Chinese Painting, Tokyo, 1983, vol. 4, p. 151, no. JT 178-003.
Details:
陳賢 “Chen Xian”
「小山賢印」 [Koyama Ken in]
「松溪」 [Shōkei]