Executed in 1620, while Chen Hongshou was still developing his style, Bodhisattva Guanyin in the Form of the Buddha Mother is a remarkable painting. As seen in the image below, it is a portrait of a Buddhist goddess rendered in monochrome ink on paper. The work of art is a vertical hanging scroll, measuring 114 by 47.9 cm. It presents a slightly abstracted image of the goddess, who sits on a lotus-shaped throne.
The overall look is dominated by the goddess’s body, which touts multiple arms engaging in ritual acts. Notably, Chen uses his skillful line to define the folds of the goddess’s clothing and various adornments, including earrings and nose rings. In addition, he manages to capture the delicate lines of her face with remarkable precision. The contrast is created by using different shades of ink rather than strokes of color.
Painted when the master was still in his early twenties, the picture offers crucial insight into his formative years as an artist. Indeed, Bodhisattva Guanyin in the Form of the Buddha Mother is a prime example of a late-Ming devotional painting. With its elongated lines and somewhat distorted figures, the work of art depicts a Buddhist goddess in an act of devotion most skillfully. Compared to the master’s later works, which feature heavily deformed bodies, this painting appears less violent and more elegant.
