Page 207 - Christie's Fine Chinese Modern and Contemporary Ink Paintings hk may 226 27 2021

Buddhism in Art 世間佛法
An Ensemble of Buddhist Paintings and Calligraphy from 名家佛教書畫專輯
20th-Century China

Buddhism originated in India and first came to China over two millennia “ 國基既固，教法斯宏，世覺已昌，佛門乃盛，
ago, the practise of Buddhism has altered many aspects of the Chinese 於是協和眾教，共進大同，而後萬物並育而不相害，
way of living. From philosophy to the use of language, its influences lay 道並行而不相背之自由世界方得藉天地之覆載，
far beyond religion. 日月之所照，霜露之所墜。”
With the turmoil of 20th century China, Buddhism played an indispensable ——節錄戴季陶《孝園寫經記》（詳見本輯編號 1191 拍品）
role in Chinese society. This collection of works offers a glimpse of how
artists followed this religion and how it inspired them in their artistic 佛教起源於印度，卻是在向外傳播的過程中得到更長久深遠的發
pursuit. Artists such as Hong Yi, Wang Zhen and Dai Jitao were from all 展。對於中國而言，佛教傳入兩千餘年，它的影響已遠超宗教本
walks of life, but they all created paintings or calligraphy with Buddhist 身，宏大至中國哲學思想，細小至日常語言，其廣大精微，不可量
motifs. Their intentions varied - some were devout followers, some were 度。近代中國，國家傾危，世事紛擾，佛教的社會角色精彩而多
philanthropists, some had political agenda and some intended to spread 樣，只從本輯數件作品亦可見其一斑：高僧者如弘一，苦節自持，
Buddhism to a wider world through his calligraphy. 淡泊寧靜；巨賈如王一亭、官僚如戴季陶，皆虔心向佛，或貢獻財
富，佈施慈善；或津津於宣傳佛法入世，志在救國，誠如戴氏文中
The religious scene in post-1949 unified China was relatively calm. For 所言：“我四萬萬之國民，信佛教者數逾三萬萬佛教之衰頹若此，
Qi Gong, Buddhism became his vehicle to express personal emotions, 何以立國？”沸騰激揚，令人心生澎湃。
while Zhao Puchu followed his calling to promote the religion. As
we find ourselves in the contemporary world where traditional values 四九年後，政治統一，宗教歸於相對平靜，啟先生與佛教更多是個
were changing rapidly, Buddhism has further transformed into a gentler 人的情感與寄託，而趙樸初則是帶著歷史的使命。再移步當下，世
religious force. Contemporary artists such as Pan Wenxun and Sun Hao 界巨變，竟有大同於因特網之勢頭，佛教似乎變得更加溫和，減弱
find ways to relate to Buddhism through culture and history more than 了宗教的力量，卻更貼近文化與歷史，對於年輕的藝術家，他們不
ever before. For them, expressing their Buddhist beliefs in art becomes a 再懷揣戰戰兢兢的敬畏來圖畫佛像，而更像是創造一個讓自己、讓
personal experience, with the hope of providing a stage for viewers for 觀者避世、自省的角落，如潘汶汛所說：“看那些作品，心中情
self-reflection.
誼，綿延其間，這些東西仿佛是我在雁湯山絕壁山谷裡的梯田間麥
稈裡的煙火。在世間的無人處，有了供人念想與深的意味。”。

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1186
WANG ZHEN (1867-1938) 王震 佛光普照 水墨紙本 鏡框
Calligraphy
釋文： 佛光普照。
Scroll, mounted and framed, ink on paper
30.7 x 90.7 cm. (12 ¿ x 35 Æ in.) 款識：王震敬書。
Inscribed and signed, with three seals of the artist 鈐印：白龍山人、王震長壽、一亭六十以後作
HK$50,000-100,000 US$6,500-13,000 註：“佛光普照”意即佛的光明普遍平等地照到一切世界。
王一亭自幼受家族影響，虔誠信佛，終其一生，成為民國佛教界不可
替代之人物。他曾擔任中國佛教會委員、上海佛教居士林林長，與社
會各界組織各類法會，興佛救民。觀其一生，三教九流，無不往來，
應付自如，坦蕩從容，故書“佛光普照”四字，筆底一片光明燦爛。

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