To study Guanyin painting should understand its core elements first: The purpose of Guanyin painting is not only for the visual enjoyment, but also the task to accomplish the Buddha-way; The expression of Guanyin painting is not only the image of Guanyin, but also the Buddhist connotation of practicing Compassion and Wisdom; The engaging in Guanyin painting requires not only the artistic skills, but also in-depth learn and practice of Buddhism, integrating the non-duality of Guanyin & Self into the arts, and achieving self-interest and altruism with the convenience of arts to achieve enlightenment. All these elements require the integration of Buddhism, so how to deeply understand Buddhism and the task for enlightenment is crucial for studying Guanyin painting.
It is not enough to study only from “Ti/體 & Yong/用”. Without “Xiang/相”, “Ti/體” would lack of expressed contents, and “Yong/用” would lack of demonstrated effects. Therefore, from the perspective of the unity of “Ti/體, Xiang/相 & Yong/用”, the research methods of Buddhism discussion (truth/Ti/體), data analysis (phenomena/Xiang/相), and practical inspiration (application/Yong/用) are used to explore the spirit of Guanyin (Ti/體), the paintings of Guanyin (Xiang/相), and the possibility of enlightenment (Yong/用): First of all, study the historical evolution and ideological implications of “Ti/體, Xiang/相 & Yong/用” in the fields of Chinese culture, Indian Buddhism, Chinese Buddhism, and Guanyin belief; Then, study the theme and style evolution of Guanyin paintings in four development stages (Wei, Jin and North-South Dynasties; Sui and Tang Dynasties; Song and Yuan Dynasties; Ming and Qing Dynasties); Finally, study the artistic expression (Xiang/相), the art ontology (Ti/體) and the artistic activity (Yong/用) of Guanyin painting from the perspective of artistic practice. The study of Buddhism is not only the basic interpretation of the literature, but also the interpretation of the value of life and arts by Buddhism; And the study of Guanyin painting is not only the contextual arrangement to historical documents and academic achievements, but also the interpretation of aesthetic theory and artistic life practice from the perspective of “Ti/體, Xiang/相 & Yong/用”.
Guanyin painting belongs to the category of “Xiang/相”, and it is an artistic manifestation of saving sentient beings. Guanyin Bodhisattva enlightens into the empty quiescence of Buddha's intellect (Ti/體), and practices of “Bodily Action, Speech & Thought”, the “Xiang/相 & Yong/用” of aid and liberate. It is embodied in three aspects: “Bodily Action” is the solemn body appearance in the picture; “Speech” is a clever expedient device of propagating Dharma; “Thought” refers to the painting mentality that is attributed to the “Original Nature”. Painting is a kind of visual “Speech”, with the artist's pen and ink, Guanyin Bodhisattva presenting his various incarnations of solemn and compassion to the mortal eyes. Therefore, the “Xiang/相” of Guanyin painting is a convenient and skillful “Speech”. Guanyin painting expounds the “Ti/體 of thought” by the “Xiang/相 of painting”. The
