Lucky Buddha Hand
Titled Auspicious Buddha Hands, this clay-ground mineral pigment work transcends mere replication of Dunhuang motifs. It is a profound act of reverence, reimagining a sacred fragment—exquisitely graceful hands emanating boundless compassion—through the primal elements of earth and mineral. The artist focuses on a quintessential gesture from the Mogao Caves: a pair of Buddha hands, rendered with supreme delicacy of line and volumetric warmth. They cup the void, not to hold a physical object, but to tenderly cradle and protect a lotus blossom—the ultimate symbol of enlightenment and pristine purity. The lotus floats ethereally within their embrace, petals unfurling as if formed from the light of awakened consciousness.
The clay ground is the soul of this piece. Utilizing refined sediment (chengban ni) sourced from the Dunhuang region, its coarse, earthy texture not only echoes the original grotto walls but roots the work deeply in that sacred land, imbuing it with the breath of earth and the sedimentation of time. Upon this foundation, mineral pigments are applied. A profound dialogue emerges: the “turbidity” of clay carries the “clarity” of color; the “weight” of earth elevates the “lightness” of the hands and the “spirit” of the lotus. Accents of gold leaf or cinnabar pigment shimmer like hidden Buddha-light, rekindling the dormant splendor of millennia.
Central to the work is the potent imagery of “cradling.” The Buddha hands embracing the lotus embody the Dharma’s protection of wisdom, compassion’s support for all beings, and the Void’s capacity to contain the Marvelous. The clay ground signifies earthly foundation, the mineral pigments point to spiritual ascent, and the lotus represents ultimate purity. United, within the tension between the coarse and the sublime, the heavy and the weightless, the tangible and the ineffable, they form a microcosmic mandala. This is more than a revival of Dunhuang form; it is a contemporary inquiry into and homage to its core spirit—the “cradling of compassion and the blossoming of wisdom.” It stands as an auspicious sacred object, coalescing the elemental forces of earth, water, fire, and air (clay, pigment, craftsmanship, and vital resonance).
Medium：Painting and Drawing
Material：Rock-Color on Paper
Size: 10cm*10cm
Year：2024
Lucky Buddha Hand
Titled Auspicious Buddha Hands, this clay-ground mineral pigment work transcends mere replication of Dunhuang motifs. It is a profound act of reverence, reimagining a sacred fragment—exquisitely graceful hands emanating boundless compassion—through the primal elements of earth and mineral. The artist focuses on a quintessential gesture from the Mogao Caves: a pair of Buddha hands, rendered with supreme delicacy of line and volumetric warmth. They cup the void, not to hold a physical object, but to tenderly cradle and protect a lotus blossom—the ultimate symbol of enlightenment and pristine purity. The lotus floats ethereally within their embrace, petals unfurling as if formed from the light of awakened consciousness.
The clay ground is the soul of this piece. Utilizing refined sediment (chengban ni) sourced from the Dunhuang region, its coarse, earthy texture not only echoes the original grotto walls but roots the work deeply in that sacred land, imbuing it with the breath of earth and the sedimentation of time. Upon this foundation, mineral pigments are applied. A profound dialogue emerges: the “turbidity” of clay carries the “clarity” of color; the “weight” of earth elevates the “lightness” of the hands and the “spirit” of the lotus. Accents of gold leaf or cinnabar pigment shimmer like hidden Buddha-light, rekindling the dormant splendor of millennia.
Central to the work is the potent imagery of “cradling.” The Buddha hands embracing the lotus embody the Dharma’s protection of wisdom, compassion’s support for all beings, and the Void’s capacity to contain the Marvelous. The clay ground signifies earthly foundation, the mineral pigments point to spiritual ascent, and the lotus represents ultimate purity. United, within the tension between the coarse and the sublime, the heavy and the weightless, the tangible and the ineffable, they form a microcosmic mandala. This is more than a revival of Dunhuang form; it is a contemporary inquiry into and homage to its core spirit—the “cradling of compassion and the blossoming of wisdom.” It stands as an auspicious sacred object, coalescing the elemental forces of earth, water, fire, and air (clay, pigment, craftsmanship, and vital resonance).
Medium：Painting and Drawing
Material：Rock-Color on Paper
Size: 10cm*10cm
Year：2024
