Page 58 - 2020 Nov 30 Christie's Hong Kong Important Chiense Works of Art
P. 58

Gongqinwang (Prince Kung), indicating that was once in  㪈⡠ᙹࣇǸ⯝ক᭔㙚ǹকӬ៦㩽⡠ᙹࣇǸዪ㬱൘౑ᝯǹ卿
         the collection of Prince Kung. This painting was recorded   ႚڬἃ㪈ᙔ㧩ᙹࣇǸᱳ✖ڮٿᄃ㧿ǹǯ඼⧲᧦᫈ӳᙹ卿
         to be in the collection of Li Yizhao, a businessman during   ᝳᶴǮ⻦ǮᶕǮⷡ୨㵲ᙔ㐫卿ᬔ♎ᙔໃԠᇌம㟊ᝳǸԳǹ
         the Japanese occupation, however, no further information
         relating to Li has been uncovered. It is evident, nevertheless,   ໃ஋ࣇকǸ㪏ǹໃᙹࣇपӬ៦ǯ⊺㬷ႚӴ㈍㟥ᝳǸቯ
         that the current sal tree painting was passed down from  ㇼℳǹបᙔࣇӬ៦卿㊯ᚺ໦ங᳖ջᝪᘘ⻦ᙻቯℳᄙԋ卿
         the Imperial collection to Prince Kung, and later came to
                                                           ᗌ㏱ᙠ㰆▔卿ទ৅ஙᚚទؖⵖᛞឆᏛ႙᥉ഌਦリԖឪ
         private hands in the Republic period, and onward to Japan
                                                           ⨒ᑋ᭄⯠⻦ǯ⏖߿Ԇត᠝ߪ᫉՞⎏⏟㨸㏱㈸卿ֿ㰆὞
         in the 30s or 40s.
                                                           ᫉։඼⧲᧦எ᫓⣌㖴㖿卿࣊⊐⎑།ᘘ⻦ߪℳᄙᘘ⻦卿
         The inscription is followed by a two-line postscript which
         can be translated: ‘In early 11th month of Qianlong gengzi   ഌ⯎ஙᛮ᳖ᭆஇᛞ᱁ݣ☆՞ᘘ⻦卿Ӳࢦ⯍୨ࢦჺջ᱁
         year, Imperial painting of longevity wish to sage-monk  ഔߪᚚទǯ
         Panchen, together with an ode.’
                                                           㐫㈲ᝬᇌݦリ㯪㒉ᝠ厍ǸԳ㪏ᄗຽօސӳᱏᇙ✖༵೰
         The ode can be translated:
                                                           ↄ◲⪛ۿԆ㍵ǹǯ㐫ᙔൈӴ厍
            Sal tree from the land of Brahmans, its leaves regenerate daily,
            Like the great toon tree in mythology, enjoying limitless longevity.   ᢹఓ඼⧲卿᛻᚛Ւ㍯卿⊂ऱഌᤞ卿ݯ೰Ὅ㞔ǯ
            Visvabhu Buddha, the third of the Seven Past Buddhas,
            Attained enlightenment under this tree, his heart showing the way.   ᬚ⯣᱙ד卿ӮדԠӲ卿᧦Ӵᇑ㙣卿ᇵಗ▔ࣻǯ
            It is also said that Damo, meditating under the tree,      ᬚ⯣᱙דچᝠ卿߿ಗⲋὍᇵՔὍǯ
            Pointing straight to transmission by heart, the Six Paramita.
                                                             Քᝠߝ▭卿ـ㙣᧦Ӵ卿⏜ᑨᇵ۔卿࣊ݪ᯳ⲋǯ
            The sage monk arrives from the West, to propagate the Yellow Sect.
                                                             ⪛ۿ㇛׹卿໿ᔆ㿩ᘰ卿ቲٿ೰㗪卿ጮᚚ᛿ᾅǯ
            It happens to be his birthday, the clear sun shines universally.
            With this painting of a spiritual tree, to increase his longevity,   ༵᫉㬦ᡜ卿⊇ᅠ㙠❏卿Ӯ⶟⡰ᙆ卿ࢨ䁬ᝩルǯ
            The seven leaflets proliferating, likes his years multiplying.   ᯵ᚚᯧᝯ卿⳸ᬚ፽㕇卿 㬳Ӭ㬳Հ卿ࢇㄴὍ௬ǯ
            On the day of nirvana, the Buddha’s earthly body was cremated,
            He is no different from the Buddha, in his ability to achieve the   ㉼ᙔ⎏㑌㲛Ӭ❥Ǹᢹఓ඼⧲卿᛻᚛Ւ㍯卿⊂ऱഌᤞ卿
            limitlessness.
                                                           ݯ೰Ὅ㞔ǹ卿ཆ඼⧲᧦ᬘ㩠ᙻᤞ᧦   ᐹӭ㊥厍$FESFMB
         The beginning of the poem compares the sal tree to dachun   TJOFOTJT  ռᎱٛዏߪⴃຽǶ㘱㙨㙚ǷǸӳऒᝳഌᤞ⩢卿
         (great toon tree, Cedrela sinensis), a tree mentioned in   սݨࢨ᫐ἃᛌ卿ݨࢨ᫐ἃ☌ǹ卿ங᫉ヿ▔Ǹ㧩೰ǹǸ᭦
         Zhuangzi’s Xiaoyaoyou:
                                                           ᛌǹԠዪࢦߎᚺ㰆ǯԳ㪏ႽἃԠ▴೰⎏ཌ㎜ᛓݪӽↄ
            ‘There was once a great toon tree in ancient times, its spring
            lasted 8000 years, and its autumn lasted 8000 years’.  ◲卿࣊Ǹ⪛ۿ㇛׹卿໿ᔆ㿩ᘰ卿ቲٿ೰㗪卿ጮᚚ᛿ᾅǹǯ
         The connotations to ‘longevity’ and ‘evergreen’ are   ᫉㐫㈲Ԯ㇦㢙ᙻǶ᳖㵶໵ᇙㅳᙔǷՀ㫀卿࣍୨୨卿㯪
         unmissable – and the Emperor was referring to the Panchen
         Lama, ‘the sage-monk arrives from the West, to propagate   ᝠǸ༵඼⧲᧦೰ↄ◲੕ૐԆἃ㐫㈲ǹ卿ㅚᝳᇌ㉃卿ᇌ
         the Yellow Sect; it happens to be his birthday, the clear sun  ㉃Ӷ㇦ᙻ⊺ԋǯᇌ㉃ཌᙻ᫉⊺⎏⤏㑌ᝳ㊄⡿㊯ᚺǯ
         shines universally.’
                                                           Գ㪏Ⴝᓽߪ厍ᛏ഍Ꮁἃ඼⧲᧦⎏⊺༵ԻӬ㲛㐫㈲卿ᙔ
         This ode was also recorded in the Qinggaozong yuzhi wen
         (Compilation of compositions by Gaozong Emperor), titled   ԋ٨⊇Ի৿ջᝧᯧ།ឪ㚙卻    厀     ჺ卼Ƕ඼⧲᧦㉃Ƿ
         ‘Painting a sal tree for Panchen Lama’s birthday and composing  ⎏㉼ओǸ᯵ᚚᯧᝯ卿ⳍᬚ፽㕇ǹ卻࣊ᑨӳ㢙㐫㈲ٜᙇ
         an ode’, where an epilogue was added which details the   ✄ӲǮ୨Հओ卼卿⚇὞ዏߪǸⳍᬚǹՀໃᑨ⎏ᛓ㵶ۿ
         background for the painting. Qianlong emperor wrote:
                                                           ࣸӽᇌ⊇㲞ᙠỉࢇ⎏ౚᜀ卿⊇ஙↄ◲▴೰㐫ԋԆӶभ
            “Yesterday I composed an ode to a sal tree painting,
                                                           㙴ǯֿᛓᎱ㖿ሗࣽዏ卿ݎᝳד⎏⳸ᬚ卿὞ᇌᏝᝳձ፽
            in which I quoted the poem of Tang calligrapher Li
            Yong (678-674), who wrote in On Sal Tree – on the  ࢇ㖿ӽߪ՞㧿ǯↄ◲੕ૐᛓ㇛⻦⎏㖿ӽ᰻ד卿ձទ㕇
            day of nirvana, the Buddha’s body was cremated –  ལᛓᇖᬚ⳸ԋ׹⎏㖿ӽࢇ㕇卿गᝳձ⎏ᯧ㕇ᛓ᭦ቒӶ
            and I suddenly realised it was not suitable to talk
                                                           ᵨ⎏ǯᙻᛓ᮱ᝳـᘛ㐫㈲卿᮱㙞ᄃ഍卿ݪӽↄ◲⚇὞
            about cremation in a poem intended for Panchen’s
            birthday. But then I thought, without the cremation of   ஋༓卿ַԢދދԠԋᝳ㮽݌卿⛋ㄴԳ㪏ႽӬ㊥Ꮀ㍲卿
            the Buddha, there would not be the reincarnation of  ᎰལԻӬᬀ᫓टᓈᘢǯ
            Panchen. Panchen is a reincarnated of the living Buddha,
            and he is here reincarnated because of the cremation.  ⢙भݪӽↄ◲㙊՗⎏टᙠ卿Ꮁٛഌ⯎जսᢷ↚ᇙ✖඼


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