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government in 907, meant artists and craftsmen lost their most powerful patrons. The imperial Tang court had inspired a golden age of literature and art at its apogee. The various provincial courts who claimed to represent a continuation of the tradition of Tang government also claimed continuity in
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The Chan
Buddhist tradition of painting sought to express the immediacy and intensity of the artists intuition as well as to record moments of truth in the form of Buddhas or arhats. Even by the end of the Tang dynasty Chan painters were practicing wildly eccentric works, which unfortunately have
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According to Max Loehr, Guanxiu's arhats represent the physical embodiment of
Buddhist persecution in eighth-century China. This persecution nearly obliterated the Buddhist establishment. The tormented faces are depicted as if the arhats themselves were survivors of the death and destruction. In
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only survived through contemporary descriptions. His depiction of the arhats exhibit an exaggeration of features that borders on perversity, this style is typically Chan. The paintings display an emphasis on the arhat's skeletal bodies, and bony faces, as well as the incredible age of the sages.
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features and at the same time lost their exaggerated foreign features in exchange for more exaggerated expressions. The paintings were donated by
Guanxiu to the Shengyin Temple in
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in 755. By the collapse of the Tang dynasty something like a miniature Tang court existed at
Chengdu. Guanxiu arrived in Chengdu in 901, and remained there until his death.
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http://vc.lib.harvard.edu/vc/deliver/executeQuery?_collection=rubbings
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401:. New Haven: Yale University Press, 1997.
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382:Three Thousand Years of Chinese Painting,
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