Bodhidharma, Fenggan, and Budai

CHINA; Southern Song dynasty

This is a set of three paintings depicting Bodhidharma, Budai, and Fenggan. Although inscriptions attribute two of the pictures to Li Que, an artist active during the rule of Emperor Lizong (reigned 1224–1264), there are slight differences in the style and techniques used in all three paintings. In the picture of Bodhidharma, only his head and shoulders are visible, while the other two figures are shown in full. Pieces of paper were added to the top and bottom of the artwork to extend its length to match that of the other two. The set was listed as an Important Cultural Property of Japan in 1912.
Bodhidharma, shown in the middle painting, has a broad forehead, a tightly closed mouth, and vivid, expressive eyes that are turned upwards, suggesting deep insight and determination. He is partly bald, with curly hair, a beard, and a mustache. The earrings and eyes are outlined in dark ink. The forehead, facial features, beard, and hair are drawn in light ink. Sparse, carefree “flying white” brushstrokes, in which the hairs of the brush separate and form individual, varied lines within a single stroke, are used to outline the robe.
The painting on the left shows the monk Budai standing in profile, leaning back slightly, holding a large sack with his right hand. He smiles and looks upwards, resting his left hand against his rounded belly. The signature of Li Que is written in the lower left corner. The painting on the right is of Fenggan, who is portrayed with hunched shoulders, leaning on a walking stick. A tiger with bristled fur stands behind him. Fenggan’s small dark eyes look down at the ground intently. Different brushstrokes are used to capture the individual textures of the robe, the staff, and the fur of the tiger. A Chan teaching is written at the top of the picture.