Muqi Fachang

or Mu-hsi Fa-ch'ang

flourished 13th century, Sichuan province, China

Chinese Chan (Japanese: Zen) Buddhist painter.

Toward the end of the Southern Song dynasty (1127–1279), Muqi fled to a monastery near Hangzhou. He painted a variety of subjects

including landscapes, flowers, still lifes, and more orthodox iconographic subjects. The most famous paintings associated with Muqi include Six Persimmons and a triptych with a white-robed Guanyin flanked on either side by a scroll of monkeys and a crane. The paintings vary in style and subject matter, but there is throughout a sense of immediate vision and a totally responsive hand, expressed with broad and evocative washes of ink. His paintings on Chan themes stimulated many copies in Japan.

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▪ Chinese painter

Wade-Giles romanization  Mu-hsi Fa-ch'ang 

flourished 13th century, Sichuan province, China

 

 one of the best-known Chinese Chan (Chan painting) (Japanese: Zen) Buddhist painters. His works were influential in Japan.

      Toward the end of the Southern Song dynasty (c. 13th century), Muqi found himself in political trouble and fled to a monastery near the capital city of Hangzhou. His paintings on Chan themes stimulated many copies in Japan; thus, it is there that paintings likely to be authentic works by Muqi are now found, though the Japanese painter Mokuan (Mokuan Reien) traveled to Muqi's monastery and is said to have received two of Muqi's seals from the abbot of the temple, making some paintings in Japan somewhat suspect. Muqi, like many other Chinese painters, painted a variety of subjects—including landscapes, flowers, still lifes, and more orthodox iconographic subjects. While there are various examples of each extant, indicating his diverse interests and styles, the most famous paintings associated with Muqi include Six Persimmons; a triptych with a white-robed Guanyin at the centre flanked on either side by a scroll of monkeys and a crane; and a surviving set of four sections of an original set of Eight Views of the Xiao and Xiang Rivers. However the paintings may vary in style and subject matter, there is throughout an appropriate sense of immediate vision and creation and a totally responsive hand, expressed with broad and evocative washes of ink.

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