Wang Zixuan sitting before her painting. Photo: Courtesy of Xiao Quan


In China, Buddhist influences can be seen almost everywhere, in practice, theory, and of course, art. While some can reference great Buddhist art works like the murals in Mogao Grottoes, Gansu Province, the Buddhist sculptures in Yungang Grottoes, Shanxi Province and the Leshan Giant Buddha in Sichuang Province, others find that these relics have little relation to daily life.

With her brushes, canvases and oils, contemporary artist Wang Zixuan hopes she can bring back an old tradition in the modern age.

Methods and tools 

"It doesn't matter whether it's the Tathagata, the Bodhisattvas or the Arhats, each work is solemn… and reserved, like what is written in Buddhist scriptures. There is a natural link with the traditional Buddhist arts, but these paintings were created in a different way," said Chinese author and critic Li Tuo, referring to Wang's paintings.

This different way Li references is artist Wang's use of oil painting. Wang paints Eastern images on a Western canvas. For thousands of years, most Buddhist images in China used to appear as ink and wash paintings.

Wang also draws with strokes rather than lines, not previously attempted by other artists. Lines form the basic elements of traditional Buddhist paintings - painters outline images before coloring, and the lines - broad, slim, rough or elaborate, have different meanings. 

When Wang draws, she starts from the largest brush before changing to a smaller one. Her work contains a number of layers, and within the layers, images appear.

"The numerous Buddhist paintings in Wang's studio prove that using [these strokes] is not only possible, but also successful," Li commented.

"They make me think of Monet, Renoir and Bonnard. The language of the strokes in these painting has a relationship with the skills Western modern painters use," Li said. He added that Wang's strokes are different from Monet and Renoir's in portraying the real and creating a sense of space. Wang's strokes also differ from Bonnard's, the latter who conveys the conflict between different colors and expresses strong emotions with strokes.

"I am a modern person, so I have a contemporary way of understanding Buddhism," Wang told the Global Times.

A solitary craft

Upon first glance, Wang's paintings may be mistaken as prints or pencil sketches rather than oil paintings. The images are abstract in the paintings, the faces indistinguishable.

Wang explained that she did this on purpose. She does not want to paint fixed images of the Tathagata, Bodhisattvas or Arhats.

She hopes by leaving space for interpretation, observers can come to their own understanding. Though appreciative of ancient Buddhist paintings and carvings, when drawing a Bohisattva or Arhat, Wang does not copy previous images. She draws what is on her mind.

"No one has ever seen a Bodhisattva or Arhat, and whether they really exist depends on the person's own belief," she said.

Li Xianting, a curator and art critic, said, "Wang's paintings seem like they were created by someone who has spent years working alone, day and night in the mountains, carving a statue of a Buddha with a knife and axe."

Wang likes caving and often uses a knife in the last step. For Wang, painting is like carving a statue. It's a way to cultivate her spirituality.

"I feel very comfortable when painting. I think it's the real me," Wang said, explaining that she paints in a quiet environment to clear her mind. "Sometimes it would take me two to three months to finish a piece, and during that time I am completely immersed in it. Only when you are alone can you realize what you are doing and what you really want," she added.

Wang's studio gives her a serene feeling. She wears loose robes, some designed by herself, ties her hair back simply and does not wear perfume. The walls in her studio are white, and there are few colorful decorations. Sometimes, Wang lights incense, scented of sandalwood. 

Overcoming labels

Before painting in 2003, Wang had not studied art professionally. She previously practiced ballet and later worked as a singer.

"My first oil painting experience was in 2003, when the SARS epidemic broke out [in China]," Wang told the Global Times. She wanted to portray people's fear of the disease, but she found she could not draw noses and mouths well.

"Luckily I covered their faces with the masks they wore then. I did not draw hands well either, so I put them behind their backs."

It was not until the Wenchuan Earthquake in 2008 did Wang consider a career in painting. During the calamity, she wanted to draw a guanyin, a Bodhisattva believed to save people from disasters. She used the colors red and black, a combination of blood and earth.

Though lacking a formal education, Wang is unaffected by her "amateur artist" status.

"I used to hear people say how difficult it is for an artist to make a breakthrough... Some artists need to break from or forget things they learned before they can make innovations. But I do not have any boundaries," she said.

She learns new things from painting alone, like ways of using a brush for different effects. Now, she not only learned how to draw noses, mouths and hands, but also acquired other skills.

"Almost everyday you learn something. There's always a surprise," she said.