Byakue+Kannon

**Artwork Identification**
Title: Byakue Kannon 白衣観音 (White Robed Avalokitesvara) Date: 1433 Country of Origin: Japan demensions: 71.5x22.5 in ID: 1998.001 current Location: Asia Society Museum.

**Introduction**
The image above is a silk hanging scroll painted in ink that depicts the White Robed form of the Bodhisattva Avalokitesvara or Kannon in Japanese. Kannon is the Bodhisattva of Compassion. Avalokitesvara is greatly revered in Mahayana Buddhism where he appeared in the Lotus Sutras. In Japanese scrolls, Kannon is usually depicted in white robes, wearing a necklace and crown featuring Amitabha, the Buddha who rules over the Western Pureland.

**Descriptive Analysis**
This hanging scroll is of the Bodhisattva of Compassion, Kannon. The painting is done in the Ryozen style (cite reference/what are the characteristics of this style that are seen in the artwork/?). It is an ink on silk painting that makes use of calligraphic lines and ink washes. The eye is initially drawn to Kannon, due to the white robes and halo, which take up a significant portion of the composition. White is often used as a focal point because it draws the eye to it. Darker colors cause the eye to move along the page. This painting makes good use of that theory. The dark washes are strtigically placed at different eye levels, first in the tree brach that crosses the top left corner, then to te waterfall on the middle right, and finally to the rock which Kannon is seated upon in the bottom left of the painting. By keeping the focal point away from the dead center of the page the eye is forced to move up and down the page and take the painting in as a whole. The loose "wet brush" contrast with the neat and tight lines that make up Kannon. The robes are painted very delicatly with great variation in line weight, not so much that is distracts from the whole but enough the you can tell how the folds in the clothes go. The background puts more stock into atmospheric perspective rather that liner perspective. The details and sharp qualities fade as the eye moves back into the painting. This Painting is 71 by 22 inches which is 6 by 2 feet. it was originally white silk but ovr time has yellowed with age. it has also faded somewhat.

**Contextual Analysis**
This painting was done in the 15th century Japan, during the late Kamakura Period, in the emergance of Muromachi culture. Zen Buddhism had a great influence on society at the time. People began taking interest in the Profound and mysterious. Elegance and simplicity or, wabi and sabi respectively, were the key ideas behind most art and architechture. Most paintings were painted with vivd and bright colors, but Zen's influence on religious art kept the monochromatic tradition alive. Most images of Kannon after the 12th century were shown as female. however, Byakue Kannon, or white robed Kannon paintings were usually still depicted as male (source of information, my understanding that it is just the opposite). this particular painting has a more androgenyous figure. the face and body have soft curves and features, but the robes open up to reveal a flat bare chest. This more closly ties into the original interpetation of Avlokitesvara, as being a genderless figure, on who is able to take on any form. Byakue Kannon paintings always have Kannon sitting above water in the wilderness, showing his peaceful nature. Most are shown holding willow branches which were thought to ward off evil.

Here there should be a discussion of the inconography of the Water-Moon/Potalaka Avalokitesvara and the White Robed Avalokitesvara. The later usually wears a cowl or hood over the head.

Personal Interpertation
This painting drew me in with the asymmectical balance it had. I liked the way the lights and darks were organized on the page. I also can apprectiate how detailed had presice the brush work in the figure is. Ink can be a very fickle medium, you have to be able to correctly guess how much ink the brush can hold and how long the strokes can be before you run out otherwise the lines get fuzzy. when it comes to washes you have to have patience. waiting for one layer to dry before starting on the next is crucial otherwise you get watermarks, this painting seems to lack all those, which indicates that the artist was not a novice. I was also impressed by how with one stroke the artist could succsessfully render a tree brach without over working it.