Brush-drawn images of Ch’an and Zen adepts, exemplified by the monk Feng-kan napping with his pet tiger, represent another pole of the genius of Buddhist art. The image is marvelously droll and informal, with zinging brush strokes and offbeat characterization. And yet it confronts us with some of the central ideals of Buddhist practice, implicitly invites us to persevere to the point that all persevering ceases, all strain concludes: to sleep, in that anticipated time, is no different than to wake, and one’s tiger is affable.
For a work to be truly alive, each of the thousand hairs of the brush must be energized. —A calligrapher’s proverb
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