Artwork

明陳洪綬準提佛母法像圖軸|Bodhisattva Guanyin in the Form of the Buddha Mother

明陳洪綬準提佛母法像圖軸|Bodhisattva Guanyin in the Form of the Buddha Mother is an ink painting by the Baroque artist Chen Hongshou. It dates from 1620 and is held in the collection of the Metropolitan Museum of Art.

About this work

If you like this, look up cross-hatching, the way Chen layers tiny ink strokes to build shadows and depth.

A robed figure sits on a lotus, many arms spread like a fan, each hand holding a different object. The face is calm, almost smiling, eyes half-closed.

Chen Hongshou painted this in 1620, when most Buddhist scrolls were stiff and formal. Here, the lines flow like calligraphy, soft, but sharp at the edges. The folds of the robe look like water ripples, even though they’re just ink on paper.

If you like this, look up cross-hatching, the way Chen layers tiny ink strokes to build shadows and depth.

Subject & Meaning

The work portrays a Bodhisattva within the context of Buddhism, specifically identified as the Buddha Mother form of Guanyin. Created by Chen Hongshou in 1620, this hanging scroll executed in ink on paper serves as a religious image. As a depiction of a Bodhisattva, the painting functions as a devotional object representing the spiritual figure's presence and attributes within Buddhist tradition.

The subject matter is firmly rooted in religious iconography, focusing on the visualization of the deity for veneration. The piece stands as a significant example of early 17th-century Chinese religious painting, capturing the essence of the Buddha Mother through the artist's distinctive style.

Technique & Style

Executed in 1620, this work by Chen Hongshou is a hanging scroll created with ink on paper. As a religious painting depicting the Bodhisattva Guanyin in the form of the Buddha Mother, the piece utilizes a monochromatic palette restricted to ink, foregoing color to define the sacred figure. The choice of paper as the support medium distinguishes it from silk-based works common in the period, while the hanging scroll format indicates its intended use for vertical display, likely within a devotional context.

The composition focuses entirely on the Buddhist deity, adhering to the genre's iconographic requirements through the artist's specific handling of the ink medium to render the form.

History & Provenance

The hanging scroll titled Bodhisattva Guanyin in the Form of the Buddha Mother was created in 1620 by the Chinese artist Chen Hongshou, also known as Chen Zi. Executed in ink on paper, this religious work originated in China during the Ming dynasty. The painting is currently held in the collection of the Metropolitan Museum of Art.

While the specific commissioning patron or detailed ownership chain prior to its arrival at the museum is not detailed in the available records, the work's inception is firmly dated to 1620. The piece represents a significant example of Chen Hongshou's religious art from the early seventeenth century, depicting a Bodhisattva within the Buddhist tradition.

The painting is held by the Metropolitan Museum of Art, New York, where it is inventoried as 1987.133.1. The work was accessioned in 1987 as part of the Mr. and Mrs. Earl Morse Collection. It has not been recorded in any public exhibition history according to available institutional records.

Overview

Chen Hongshou's Bodhisattva Guanyin in the Form of the Buddha Mother is an ink-on-paper hanging scroll from 1620. This religious painting portrays a revered Buddhist figure, specifically Guanyin in a powerful manifestation. The artwork exemplifies the artist's distinctive approach to spiritual subjects, rendering the deity with both traditional reverence and a unique stylistic interpretation.

Context

Created in 1620, this painting emerged during a period when many Buddhist devotional scrolls adhered to established, often formal and somewhat rigid artistic traditions. Chen Hongshou's interpretation, however, introduces a notable stylistic innovation. His work demonstrates a conscious move towards a more dynamic and expressive rendering of sacred imagery, distinguishing it from the prevailing artistic norms of its time.