静观自得 Achieved by Meditation

Title: 静观自得 Gain Through Meditation

Artist: Li, Weisong 李巍松

Media: Chinese Painting on Rice Paper

Size: 20 x 39 in. (50 x 100 cm)

白衣观音是佛教中国本土化演变过程中的一种宝相。据记载，唐代“画圣”吴道子就曾画过白衣观音像。此幅白衣观音以“自在坐”闲适姿态于竹林之中，身着白色天衣，头戴化佛宝冠，顶挽高髻，一手拈杨柳枝，一手撑地，眼眸低垂，呈思惟入定之相，极具禅意。与佛教密宗经典中记载的白衣观世音菩萨相比，此白衣观音形象更具有汉地风格，菩萨逸态安详，庄严慈悲，也诠释了释教文化受中国本土文化的影响。

古人常云：静生明，心非静不能明，性非静不能养。灯动则不能照物，水动则不能鉴物，静则万物毕见，万理皆明。此作品即是菩萨观自在，亦是画家观自在，静观自得，万般自在。

题跋释文：自在自观观自在，如来如见见如来。普陀山慧济寺有此联，癸卯冬月于加国初雪日。巍松

The White-robed Guanyin is a manifestation that emerged during the process of Buddhism adapting to the local culture in China. According to records, the Tang dynasty "Painting Sage" Wu Daozi once painted an image of the White-robed Guanyin. In this painting, the White-robed Guanyin is depicted in a leisurely posture within a bamboo grove, dressed in a white celestial robe, adorned with a precious Buddha crown, with a high topknot, one hand holding a willow branch, and the other supporting the ground. The eyes are lowered, displaying a contemplative and meditative demeanor, exuding a profound Zen ambiance. Compared to the White-robed Avalokitesvara Bodhisattva described in esoteric Buddhist scriptures, this depiction of White-robed Guanyin has a more Han Chinese style. The Bodhisattva appears serene, dignified, and compassionate, interpreting how Buddhist culture has been influenced by native Chinese culture.

As ancient wisdom states: "Clarity arises from stillness; the mind cannot be clear without stillness, and one's nature cannot be nurtured without stillness. A moving lamp cannot illuminate objects; moving water cannot reflect objects. Only in stillness can all things be seen, and all principles become clear." This artwork represents the Bodhisattva contemplating freely, and at the same time, it reflects the artist's contemplation, finding tranquility within, and achieving a state of complete freedom.