Download The Confluence of Photography with Literati Painting and Religious

The Confluence of Photography with Literati Painting and
Religious Art
Joseph C.K. Yeung, Chairman of Greater China
Photographic Society
Preface
Photography and its development process was first discovered in France during the
1830s and introduced to China several years later. The difference in photographic art
between China and the west has resulted in the birth of very different aesthetic
approaches towards photographic art. Western artists tend to emphasise more on
reality, producing works closely resembling the original image, whereas, the ultimate
goal of Chinese art is to convey philosophical meaning. This leads to sophisticated
expressional techniques to produce ‘meanings beyond the image’ provoking a fusion
of sceneries and thoughts. As Liu Bannong says, photography can be classified into
two categories: realistic and romantic. Romantic photography aims to express the
feeling and thoughts of the photographer via the image. He further points out that the
meanings of a photograph should not be limited by techniques or skills, which are
much less important than the artists’ impression.
Photography acts as a universal language and can be observed and understood by
people of different nations through the lights, shadows, shapes and colours. Many
Chinese photographers have indentified the fundamental significance of photography
to express their thoughts and weave national traditions into their photography. The
Chinese photographers of the 21st century are making great efforts to learn from other
photographers. They endeavour to expand the influence of traditional Chinese culture,
create outstanding works that live up to modern times, and establish a glorious
photographic culture across the country. In my dedicated pursuit of the arts, I have
combined photography with literati painting and religious art, seeking to create
photographs that characterise Chinese culture whilst including influences from the
west.
In combining photography with literati painting, I tried to attach the basic elements
of Chinese literati painting – namely poetry, calligraphy, painting and seals – to my
western style photography. Western photography draws images and aesthetics through
light, shade, lines and hues, while Chinese literati painting constructs meanings and
aesthetics through dashes of poetry and calligraphy. The fusion of the two can be seen
as an astonishing east-meets-west marriage of arts.
As for combining photography with religious art, I tried to express the Buddhist
salvation and rebirth with western style photography. Religious art was the
dominating genre of art in Europe before the Renaissance and the Enlightenment
period, but it has little impact on photography. After the Sichuan Earthquake on 12
May 2008, I went deep into the effected areas to take photographs. I saw fallen
Buddha statues among the ruins of Buddhist temples as if they were suffering
alongside the victims, praying for the dead. What I saw inspired me to relate my
photography to the religious beliefs of salvation and rebirth and I created the
‘Salvation and Rebirth’ series. The photographs in the series focus on the Buddha
statues amongst the earthquake stricken areas. I have used ‘image moulding’
techniques that are used in the post-processing stage. They reflect on the meaning of
life with a distinct sense of religious salvation and rebirth. Therefore, the series can be
seen as an attempt to combine western photography with Chinese religious art.
Exploring the Art of Combining Photography, Painting, Calligraphy and Seals
Chinese painting and calligraphy have long been connected due to their similar
style and technique. The extensive use of calligraphy and seals is a common practice
in Chinese painting. The Tang Dynasty artist Zhang Yan-Yuan initiated the union of
painting and calligraphy, using painting to portray a scene and calligraphy to express
the meaning. In the late Northern Song Dynasty both literati and painters led the
movement of combining poetry, calligraphy, painting and seals. They also practised
what they preached and created a solid foundation of art work that perfectly combined
these art forms.
Photography was introduced to China in the late Qing Dynasty. In the 1920s and
1930s, the rise of China's painting and photography brought a unique photographic
aesthetic consciousness of the Chinese people. It was not until the 1980s that Mr.
Chen Fu-li created the artistic practice of combining photography and painting. He
skilfully combined the art of traditional Chinese painting, calligraphy and other
artistic elements with his photography in order to reflect China's true spirit and beauty.
As a result he has made an outstanding contribution to the Chinese art world. Both
painters and calligraphers participated in this movement including Wu Zuoren, Li
Keran, Liu Haisu, Li Yan, Guan Shanyue, Cheng Shifa, Chao Shao-an and Li
Xiongcai.
Mr. Chen Fu-li once said, "Through the marriage of photography and painting you
can open a new world of pictorial photography, enhancing its status." Chen Fu-li's
pictorial photos perfectly combine the western art of photography with traditional
Chinese art. The artistic practice of pictorial photography lasted about thirty years
since it began in the 1980s. Although there were many followers of the pictorial
photography very few were successful. However, Chen Fu-li had two main reasons
for his success. The first reason being that he was influenced by his father Chen
Biming’s love of painting since he was a child, which nurtured his artistic taste and
style of photography. Secondly, he was rich and lived in favourable conditions. He
had many friends that were influential painters with whom he teamed up perfectly.
What I have in common with Mr. Chen Fu-li is that I have also been fond of
painting since my childhood and have several friends who are influential and
contemporary painters. As a painting enthusiast I try to incorporate my love of the
traditional arts within my photography. In 1927, Liu Bannong published China's first
theoretical study on photography in which he distinguished it into two categories,
portrayal style and impressionistic style. The former is considered as the correct use
of photography while the latter is used to express the author's artistic conception,
which differs from place to place and person to person. My pictorial photography
challenges this concept by combining the two styles, creating a unique artistic
impression.
A pictorial photograph accompanied by a poem can increase the sense of beauty
and enrich the content. Fortunately, I have several friends and teachers who are
experts in the art of calligraphy and painting, including the renowned leading
authority of sinology, Professor Jao Tsung. I am also acquainted with the famous
calligrapher Ouyang Zhongshi, as well as Taiwan's influential literary world writer,
Mr. Zhang Dachun. They obliged me with their creative skills, which not only add
depth to my work but also add a special finishing touch to my photos.
Professor Jao Tsung-I is committed to academic research in literature, history,
philosophy and art. As an expert in many areas Professor Jao Tsung-I is a high
achiever in both academic and artistic fields. His calligraphy covers the six categories
of Chinese characters which are self-explanatory characters, pictographs,
pictophonetic characters, associative compounds, mutually explanatory characters and
phonetic loan characters. I have been fortunate enough to use Professor Jao’s poetry
in my photographs including "sheep and cattle graze in the wind", "the sail in the blue
sky", "winding smoke through pine forest" and "a swan from the sky." Professor Jao’s
contribution has elevated my work to a new level.
Ouyang Zhongshi, Honorary President of Chinese Calligraphy Culture Academy, is
a master of calligraphy in many categories and has a great reputation at home and
abroad. Mr. Ouyang Zhongshi's inscriptions for my photos added a calm and delicate
touch to my work and can be seen in the following photos: "Lady of Xiang crossing
the river" and "Elegant houses, landscapes and people."
Taiwanese writer Mr. Zhang Dachun is one of the top contemporary
Chinese-language novelists and one of the leading writers in Taiwan’s literary world.
He is also an expert in calligraphy and keen poet. Mr. Zhang Dachun has written
poems and inscriptions to accompany some of my photographs. Chang's poems bear
an elegant diction and a profound artistic conception. His calligraphy follows the
aesthetic standards set by Wang Xizhi and Wang Xianzhi. Chang's talent is also
perfectly matched with my works of photography. The combination of different art
forms, provide many layers of aesthetic qualities in my collection of photographs.
In addition to these influential figures, there have been many other contemporary
painters and writers who have obliged me with their inscriptions and poems for my
photography. They have not only taken my work to a new aesthetic level, but also
taught me the art of integrated photography, painting and calligraphy.
Exploring contemporary Photographic Arts: Wenchuan Earthquake ‘Salvation
& Rebirth’
Alongside the new genre of photographic technology in 1839 came the growth of
the media industry. The news media were restricted to using photographs as they were
taken, without altering the images in any way or conjuring up scenery. But the new
techniques also led to an expressive trend in contemporary art.
In the late 19th and early 20th centuries, ‘pictorial photography’ (pictorialism) was
very popular in western countries, and these techniques eventually spread to Japan
and China. ‘Pictorial’ photographs imitate paintings in concept and presentation.
Photographers tried to make their works appear like paintings, and set out to claim a
position in the art industry. Suddenly an outburst of pictorial photographic works
flooded the art galleries and Salon exhibitions. They were conventional at that time,
and they all had similar content.
Today’s society has entered the information technology century, and as the new
technology and concepts have emerged, they have not only affected our social
structures and lifestyles, but also resulted in new ideas coming out of art exchanges,
combining different cultures that can no longer be expressed simply in pictorial
photographs. Scenery, behavioural art, moving pictures and the use of multi-media
technology have all become features of modern expressive art.
Just after the May 12 Wenchuan earthquakes, I went to the area and tried to
photograph the destruction. Under the demolition of thousands of homes and
buildings was death and suffering and an unbearable number of victims who had lost
everything. But the devastation also gave me the opportunity to witness the
philanthropy of the Chinese people. I passed a collapsed Buddhist temple, where a
funeral was taking place. A Buddhist statue was surrounded by survivors and
casualties looking for spiritual support, and at that moment, the concept of ‘Salvation
and Rebirth’ occurred to me. I realised that this Buddhist concept was exactly what
was happening in Wenchuan. I saw that even if the people I saw had not been directly
affected by the disaster, even if they had not actually lost loved ones, they were just as
eager to help those who had. They also clearly felt the pain, and the whole nation
stood hand in hand in support of those who needed it. My ‘Salvation and Rebirth’
photographs from Wenchuan are based on the Buddhist statue I came across. I was
building new visions through making photographic art (image fabrication) and then
producing the photographs afterwards, allowing the pictures to narrate this tragic
incident while wondering about the values and meaning of life through the
perspective of salvation and rebirth.
This set of photographs is no longer a simple interpretation of an objective world,
but a strong expression of the ‘salvation and rebirth’ theme that blends in with new
contemporary art. It attempts to break through our perception of viewing photographs.
I try to make my photographs present more than what the scenery and people reflect,
and attempt to make hints, expressing my subjective consciousness of care and
compassion, salvation and rebirth, after the Wenchuan catastrophe.
Image fabrication is a kind of photo image-making art that excels in photography.
Image fabrication established a new vision and reframes existing perceptual
knowledge. After the earthquake, Wenchuan was destroyed. Among the debris, I
noticed many shattered temples and battered Buddhist statues. The statues triggered
my inspiration, prompting my own expression of the salvation and rebirth theme
through exploring in simulacra: simulation with the assistance of computer
technology and image software, to bring out an illusory, fascinating artistic effect.
The photographs surpass literalism, and present a new visual experience with a new
composition of photographs. These images include my works “Praying for Dead
Students Amid the Ruins of a School”, “On-site Powa Ceremony “, “The Symphony
of Light and Thunder”, and “Holy Light Shines on Everything”. On the day the whole
nation mourned, as the national flag descended, our respect for life rose; for those
strong souls who had passed away, the shadows of murky lives were lit up. On the site
of the earthquake, Buddhists held ceremonies, gave blessings to survivors, and prayed
for the salvation and rebirth for those who had died while ignoring their own wounds
and injuries.
In the Christian religion, salvation emphasizes the fact that we are ‘people with sin’.
This is interpreted in the Bible ‘I come not for those who are righteous but those who
have sinned’. In the Christian doctrine, as long as one believes in Jesus, one has the
right to enjoy eternal bliss in Heaven. However in Buddhism, people live to
accomplish. Behaviour is affected by temptations in our environment. The belief is
that through practice, our minds and souls can be enlightened, eventually achieving a
‘selfless’ state instead of the ‘selfhood’ consciousness we are used to. ‘Selflessness’
frees us from the usual daily worries and grants us a transmigration of the soul. In this
way, Buddhists believe, we can live calm and peaceful lives, unconcerned or bothered
by whatever environments surround us.
The Christian and Buddhist ‘Salvation and Rebirth’ concept is not exactly the same
as the theme running through my photographs, although they share the love I am
attempting to express, the boundless love between human beings and the love in blood
relationships that is never abandoned, no matter how impossible circumstances may
seem. My group of photographs that includes ‘Majestic Buddhist Temples’, ‘Standing
in the Collapsed World’, ‘Buddhists Saving Each Other’, ‘Buddhism and
Reconstruction’, and ‘Holy Lights Upon the Ruins’ expresses this great love between
people and the sublimation of humanity. At this catastrophic time, we found out
simply from the endless lists of volunteers and the crowds who offered donations, the
living who queued up to give their blood without a second thought, and the others
who gave their heartfelt blessings and prayers to the distraught, how deep the feelings
were. It reflected the words of a famous Chinese poet, Du Pu, who said in one of his
works: “眼枯縱見骨，天地終無情＂ – that although the world can be ruthless,
humanity is yet merciful.
The presentation of my works meant to ‘create the unseen’ and ‘reuse the
deconstructed’ by embodying ordinary photographic techniques with contemporary
art to reflect the freedom, mental cravings, various views and visions, and multi-forms
that exist in art.
In Buddhism there is an emphasis on ｀眾生度盡….’ – to describe the kindness
and compassion of the Ksitgarbha. In my photographs ‘The Buddha’s Head in Ruins’,
‘Buddhists Saving Each Other’, ‘Suffering Bodhisattvas Insist on the Rescue of
Others Before Themselves’, ‘The Buddha Shoulders the Disaster’, and so on, I try to
express ‘我不進地獄…..’ – the salvation spirits of the Ksitgarbha. Indeed, if there
were only Buddhist worship in peaceful, solemn places, Buddhism would not exist in
hell – in other words, in places of suffering – yet while there are Buddhists in Heaven,
should there not be this same salvation in Hell, where it is most needed?
My ‘Salvation and Rebirth’ works have been inspired by features taken from
modernism to post modernism, and combining photography and symbolic collage. My
works are not simply a visual picture, as are traditional photographs, but a reformation
of readable files that reflect the tragedy, suffering, despair, courage, salvation, mercy
and virtue that all appeared throughout the Wenchuan earthquake disaster. Through
life and death, our nation has displayed a spirit that has fulfilled our race and enriched
the humanitarian understanding of the Chinese people. ‘Salvation and Rebirth’ is not
simply an objective image, but a unique image that I created to express my thoughts
and feelings about this particular catastrophe. It is not merely a product of
photography, but the newborn child of concept and mind.
Salvation and Rebirth Series
XIII. Salvation and Rebirth Series Introduction
After the May 12 Wenchuan Earthquake I went deep into the affected area and took
these photographs. Everything I saw there, from the debris that buried a large number
of victims, to the suffering of the wounded and the sorrows of the survivors, wrenched
my heart bitterly. In the ruins of temples I found that the Buddha statues were also
victims of the natural disaster. They still looked so calm and merciful despite being
broken into pieces. The Chinese people once again united in their powers to aid the
survivors, share the pain and mourn the deceased. Such scenes were the embodiment
of the Buddhist spirit of salvation and rebirth. This series of photographs represent a
new vision based on Buddha statues in the quake-hit areas, combined with the image
procession beyond photography. I have tried to express my ideas towards the meaning
and value of life through these scenes and to portray a theme of salvation and rebirth.
1. Bodhisattvas Unaffected by the Trembling World
In Chinese Buddhism natural disasters like earthquakes belong to the “mechanism of
kalpa”, which means sufferings that can not be avoided. During the Wenchuan
Earthquake countless rescuers risked their own lives to rescue the survivors and
became the heroes of many touching stories. This photograph pays tribute to such
heroic spirit through the images of the bodhisattva.
2. Burning Incense in the Disaster
Since the dawn of humanity the uncontrollable rage of the Mother Nature has
remained a constant threat and fear for humans, whose lives can be taken away in a
blink of an eye. Over five thousand years of civilization Chinese people have
undergone innumerable sufferings and calamities yet remain rigorous and dynamic.
The inflictions brought by disasters upon life reveal the real state of human existence.
The Wenchuan Earthquake was a disaster that affected the whole of mankind, not just
the victims in China. The world has upheld its supreme principle of putting life above
all else through different ways such as charitable donations, consolation and rescue
missions.
3.
Buddha’s Head in Ruins
Contemporary society has entered an era of highly-developed network and
information technology. With various schools of thought and ideas emerging, both
social structures and lifestyles have undergone significant changes. Given the present
age in which the arts are diversified and different approaches to arts are interwoven, I
also endeavour to transcend the visual confines of photography by reconstructing a
new visual world in the post-processing stage, with an eye to going beyond the
images and pondering the meaning and value of life. The Ksitigarbha Bodhisattva is
known for his vows to liberate all sentient beings on earth, such as “If hell is not yet
empty, I vow not to become Buddha." This photograph, titled 'Buddha’s Head in
Ruins', pays tribute to the strength of heart displayed by rescuers working in the
aftermath of the earthquake, who risked their lives to rescue trapped survivors. They
manifest the spiritual pursuit of Ksitigarbha Bodhisattva: 'If I do not go to the hell to
help them, who else will go?'
4. Omnipresent Light from the Buddha
In this world, where there is darkness, turmoil, suffering and agony, there is need for
light, stability, joy and liberation. Only after this need is satisfied can a state of
happiness and wellbeing be attained. The Vimalakirti Sutra has it that if any sentient
beings are suffering, the Bodhisattvas will also suffer. In a spiritual sense, physical
relief can only bring a temporary calmness to the body, as suffering will still haunt the
survivors. If they do not receive timely mental crisis intervention, aftershocks in their
souls will cause them lasting psychological trauma. Even though survivors might look
healthy in the short term, there are underlying risks of mental disease. Take the
Tangshan Earthquake in 1976, for instance. Among the 4200 earthquake orphans,
23% were subject to post-traumatic stress disorder (PTSD). The omnipresent light
from the Buddha over the quake-hit area serves as a reminder of the importance of
post-disaster mental health care, and that the giving of more spiritual aid and support
to survivors is of boundless beneficence.
5. Buddha Nature of Mutual Aid
We present our deepest love and care to survivors of natural disasters out of respect
for the dignity of life. The ultimate spirit of mutual aid in Buddhism seeks equality,
purity and unification of nature. As Buddha-nature is inherent in all sentient beings,
each member of this indivisible world is born sacred and equal. After the earthquake,
hundreds of thousands of volunteers travelled to the affected areas from all parts of
China, and even more gave their assistance through various means such as financial
aid, blood donation, the swift transportation of relief materials and much more. In this
piece, 'Buddha-Nature of Mutual Aid', I pay tribute to the love and the brotherly
affection shown by Chinese people in face of natural disasters.
6.
Holy Lights upon Ruins
The ultimate enlightenment in Buddhism, Nirvana, is to seek harmony and unity
between human beings and nature. The humanity and ethics of the harmony
advocated by Buddha are precious pieces of wisdom for humans. They are of huge
significance to the alleviation of crisis in modern civilization; the enhancement of the
human soul; the establishment of a good outlook on life and strong values; harmony
in international and interpersonal relationships; balance in world peace and the
environment and the well-being of our entire society. 'Holy Lights upon Ruins'
emphasises the Bodhi wisdom of Buddha, which is a good remedy for suffering. Both
the spiritual enlightenment of Nirvana and the practical pursuit of Utopia aim to
achieve a perfect state of harmony, for the purity and holiness of the spiritual world is
fundamental to the achievement of permanent harmony.
7.
Practice in the Face of Disaster
'Zen' is derived from the pronunciation of the Sanskrit word 'dhyana', which literally
means 'free from evil, collection of virtues, thinking practice and meditation'. The
core aim of Zen is to reach spiritual enlightenment through meditation. These
Buddhists are still practising in the face of natural disaster, as they are trying to
combine the spirit of Zen with body practices. It is said that the famous Buddhist
Bodhidharma, during his ten years of ascetic practice in Shaolin Temple, developed
the Shaolin School of martial arts, which was from the very beginning imbued with
the martial ethics of temperament development, humanity cultivation and soul
purification. Characterised by a tenacious and active vitality, the spirit of Zen has
played an essential role in everyday Chinese culture, greatly affecting the attitude of
Chinese people towards life. ‘Practice in the Face of Disaster’ shows the Buddhist
monks mentally and spiritually preparing for the rescue of earthquake victims.
8. Glorious Buddhist Temples
This photograph of glorious Buddhist temples among the ruins of the earthquake is
not an ode the magnificence of Buddhism, but a representation of the spirit Chinese
people have shown in the aftermath of the earthquake. This natural disaster has united
billions of Chinese people to form an inter-related and indivisible whole, facing the
toughest hardships and highest risks. The difficulties presented by the earthquake
relief have tested the unity and cohesion of the Chinese nation. With humanity and
scientific relief in mind, the earthquake relief work has introduced a new
characteristic to our national spirit, and represents a glorious monument to the history
of our national development.
9. Standing in the Collapsed World
I was overwhelmed by the solidarity of the Chinese nation after the Wenchuan
Earthquake, deeply touched by the great strength of the Chinese people, and baptised
by the nation's heroic spirit – one that remained firm and calm in the face of this
powerful disaster. In the aftermath of the devastating earthquake, people of the
disaster-struck areas quickly began to work towards rebuilding their lives in the
collapsed world that used to be their homes. In this, they obtained extraordinary
achievements. These same people are supported by every soul in China. Portraying
Buddha statues amongst the ruins, this photograph symbolises that having undergone
innumerable trials and tribulations over thousands of years, the Chinese nation has
thrived in times of adversity and achieved illustrious heights. If the Wenchuan
Earthquake is to be the defining memory of China's distress, then the great earthquake
relief spirit, enriched and fortified by history, stimulated and sublimated by the test of
this disaster, shall be the defining figurehead of the Chinese people's drive and
determination to carve out a new future.
10. Bodhisattva Paying Respect to the Victims
After the Wenchuan Earthquake on May 12th 2008, the State Council designated May
19th - 21st a period of national mourning, in which the 1.3-billion Chinese people
paid tribute to the dead. This is the first time in the history of the People’s Republic of
China that a period of national mourning has been dedicated to people victimised by a
natural disaster, as well as the largest memorial to ever be held in memory of ordinary
people in more than five thousand years of Chinese history. As the national flag was
lowered, respect for human life was elevated. Silent tributes were observed in
memory of those whose lives were lost so suddenly. They gave light to those souls
plunged by the disaster into darkness, and gave strength to the disaster-stricken
Chinese nation. While the national flag was lowered for these ordinary citizens and
billions of Chinese people joined together in mourning for the nation’s tragedy,
bodhisattvas were also paying respect to the victims. I have used this solemn
ceremony, with its vivid symbolic connotations, to show reverence and respect for
life.
11. Pains, Injuries, Casualties and Destructions
After the May 12th Wenchuan Earthquake, I travelled deep into the quake-zone and
captured these images. Everything I saw there, from debris that buried a large number
of victims to maimed body parts being pulled form the ruins; from the suffering of the
wounded and disabled to the sorrows of survivors who had lost their loved ones,
wrenched my heart bitterly. Walking along the mountain road, strewn with landslides
and falling rocks, I heard heart-rending cries and saw tear-swollen, wounded,
bereaved relatives crouching beside the deceased and narrating in despair how they
saw with their own eyes their loved ones being buried by collapsing buildings. My
heart ached, and even the earth seemed to cry. This photograph expresses my deep
sympathy for the victims and my prayers for those passed souls.
12. Helping Hands of Cranes and Bodhisattvas in the Reconstruction
The May 12th Wenchuan Earthquake was an unprecedented disaster in terms of
intensity, scope, destruction and the frequency with which the aftershocks occurred. It
caused great damage to the geology, ecology, environment and living conditions of
China, leaving a gaping wound. Healing this wound will be a long and arduous
process. After the earthquake, a large number of volunteers and charity organisations,
driven by a strong sense of social responsibility, went to the affected areas to give
their support and assistance, and billions of citizens combined to create one heart and
soul, making a remarkable donation to the quake relief cause. The civic spirit that
shone brilliantly over China gave hope to people in the quake-hit areas and allowed us
all to glimpse the bright future of the country as a whole. As long as the beauty in
human nature that was stimulated by the earthquake relief campaign remains and the
civic spirit is institutionalised, Chinese society will become more harmonious and
beautiful than ever before. This photograph demonstrates the Chinese tradition 'when
one is in trouble, all will help'.
13.
Omens of Disaster
It has been confirmed by multiple earthquakes in China and other countries that all
kinds of anomalies will appear before a big earthquake. The anomalies that are related
to earthquakes are called seismic anomalies, or earthquake precursors. Earthquake
precursors can be divided into two major categories, one being microscopic
precursors and the other macroscopic precursors. The former refers to anomalies that
can be detected only through special devices, and the latter to those that can be
directly perceived by human senses. 'Earthquake light' falls into the category of
macroscopic precursors, but as it often occurs just before the earthquake, it can only
be called a final warning to humans. Before the 7.3-magnitude earthquake in
Haicheng, Liaoning took place in 1975, more than 90 people observed the
phenomenon of earthquake light, and before the Tangshan earthquake in Hebei and
the Songpan earthquake in Sichuan in 1976 there were also many people who
reported seeing earthquake light. Earthquake light comes in all kinds of shapes, such
as plate, band and pillar, and in different colours, such as blue, red and white. This
photograph, titled Omens of Disaster, serves as a reminder that people should pay
attention to earthquake anomalies in order to reduce the damage caused by the
earthquake as much as possible.
14. Praying for Dead Students on Ruins of School
A three-day national mourning was held for the victims of the earthquake from May
19th - 21st 2008. During the period, the national flag was lowered, a siren was
sounded, and 1.3-billion Chinese people paid their respect to the dead. The
mourning of the country for ordinary citizens and the sorrows brought by the
earthquake have been etched into the history of the People’s Republic, and will
become an indelible memory of the Chinese nation. The May 12th Wenchuan
Earthquake caused a tearing pain in my heart and awakened me to the fragility and
preciousness of life. Every life the disaster claimed was a blow to China. This
photograph, with religious salvation and rebirth as the theme, pays tribute to the
boundless love of the human world.
15. Suffering Bodhisattvas put Life First
A Buddhist saying goes, 'once you lose your human form, you won’t gain it back in
ten thousand aeons', teaching that life is precious and should be cherished. Another
Buddhist saying goes 'better save one life than build a seven-storey pagoda', meaning
that saving life is more important than any religious ritual, admonishing humans to do
good to others and save jeopardised lives. This photograph demonstrates the heroic
process of racing against death to save lives – a process that started from the first
moment of the earthquake and has provided us countless life-extolling stories and
scenes.
16. Powa Ritual on Site
Powa is the ritual to ferry departed souls to the next world. The Wenchuan
Earthquake saddened China and shocked the world. Claiming tens of thousands of
lives and causing devastating losses, it was a landmark disaster for humankind. The
bitter suffering brought by the earthquake was borne by the whole nation. Those
victimised were our flesh and blood compatriots. The designation of a national
mourning period and the lowering of the national flag were not only a form of
condolence and the country's respect for life, but constituted a manifestation of the
greatness of human nature and the dignity of humankind. This photograph shows a
Buddhist penitential-offering service for the departed souls, and its symbolic
significance is best illustrated by a line from the ancient Chinese text, the Zuo Zhuan:
'When the state is rising, it looks after the people as if they were injured, and that’s a
blessing; and when the state is declining, it treats the people like dirt, and that’s a
disaster.' When all people join to mourn the dead, it reflects a nation’s reverence and
respect for life.
17. Buddha Bears the Suffering to Save Lives
It is believed that Buddha does not wish to see suffering in the mortal world and is
willing to bear that suffering to save all living creatures. This notion is demonstrated
by Buddhist legend Guan Yin who cut off her flesh to feed the tigers. When
meditating on the basic spirits of Buddhism, I always think of Shakyamuni’s motto,
“If I do not go to hell to save them, who else will go? I will not only go to hell, but
also live in hell; I will not only live in hell, but also save the hell.” During the Sichuan
earthquake many volunteers practiced Buddhism to help save lives. Yin Yuan Seng Hu
Ching (因緣僧護經) writes: be ready to sacrifice money to save one life; be ready to
sacrifice one life to save one family; be ready to sacrifice one family to save one
village; be ready to sacrifice one village to save one country. How suitable this sutra
is in describing volunteers who came forward after the earthquake to save the victims.
19.
Remolding the Golden Buddhist Statues
Human lives have long been restricted by birth and death, but human wisdom goes
one step further. As a result, philosophers begin to ponder, literature explores
deep-thinking, the arts pursue illusion and religions seek sublimation. Human wisdom
serves the same purpose – to comfort people's hearts. The real intention of Buddhism
is to communicate with the good regardless of methods. Buddha knows deeply about
the human nature and embodies all human feelings. Believing in Buddhism means
relying on Buddhism to discard the evil and develop the good so as to achieve
self-salvation. There are Buddhist inspirations everywhere. The belief is to stay as
calm as the sky. Once you have the true Buddhist spirit in you heart, your worries will
gradually disappear and wisdom will emerge. Buddhist inspirations are ubiquitous
and close to us. For those who have sutra in their hearts, you should not be concerned
about what you have done for Buddha, but what you have done for mankind.
20.
Solemn Buddhist Temples
Solemnity is a term frequently seen in Buddhist sutras. For example, Records of the
Great Tang Dynasty on the Western Regions (大唐西域記) writes that the statue of
Guan Yin has a solemn and brilliant appearance. The solemnity of Buddhist temples
is built on the true, the good and the beautiful and has ever-lasting vitality. With
limitless mercy, the Buddha opens the door for all living creatures to the bodhi, giving
us the opportunity to achieve his spirit and the fullness of life. The Sichuan
earthquake shocked China: it collapsed the sky, cracked the earth, convulsed the
rivers, destroyed villages and killed thousands of people. In turn, China’s response
shocked the world: it united to save the victims day and night. The disaster relief
effort in Sichuan reminded us of the courage of all Chinese people over the past five
thousand years symbolising a great national ethos and spirit. This monument
resembles the solemn Buddhist temples. It reflects the ever-lasting culture and the ups
and downs of China in the past 5 millennia, during which our spirits have been
teaching us to adhere to our strong cohesion as a family.