I am very happy to get this damaged seated white stone Buddha of the Tang Dynasty. There is no essential difference between the techniques of stone carving and wood carving. I think it is a good way of learning to communicate with the wisdom of the ancients at close range. This statue came from Hebei province, and today we can no longer know its complete appearance. The lotus seat under it, as well as its body and head, was probably destroyed by the two extinction movements since its birth. But in the incompleteness, it can just cause me infinite reverie.

This is a statue that sits in a round posture, in which the Buddha crosses his legs and rests his left leg on his right leg. The monk's kasaya covers the pedestal and hangs down. The expression of this pleated line and emotion can be described by the special term “hanging clothes”. After being invented in the Northern Dynasty, the expression technique of “hanging clothes” is still influencing future generations. This kind of genius technique is one of the most important inventions in the history of sculpture in our country. A simple bassorelievo can achieve such a sense of rhythm. Of course, when it developed to the Tang Dynasty, the expression of “hanging clothes” was obviously different, and this piece was undoubtedly the best work of this kind of art at that time, the lines were relaxed and natural, like flowing water.

Teacher Yang Xin once measured some hanging clothes and found that if the Buddha statue on the hanging clothes seat was allowed to stand up, the clothes under him would definitely drag to the ground. But in fact, the bottom of the clothes of the Buddha statue will not cover the toes, let alone mopping the floor, so obviously this is a detail deliberately enlarged by the craftsman. From an overall point of view, the hanging clothes are located at the lower part of the Buddha statue. He believes that when people look at the Buddha statue, these strong rhythmic details are the closest to them. The Buddha statue is like sitting in a dynamic and vast aura.

In fact, I thought of Chinese painting, whether shape or line processing are following the rules of Chinese painting. Paying attention to the sense of rhythm, brushwork and blank space, using the sword as a ghost, very pictorial. Because of its religious attributes, the enlightenment function it carries, and the unique cultural context of the Chinese people, in the creation of Chinese craftsmen, Buddha statues have an ethereal and harmonious beauty, and all external forms serve internal expressions. Even the damaged parts reveal a sense of Zen detachment, peace and harmony.