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...himself barely-escaped from the massacre in the northern capital, hinted at storms and trouble, it was in such bucolic scenes as Cowherds Fleeing Storm. An even more extreme reaction to the mounting threat of further Chin and Mongolian attacks was the withdrawal of the Ch'an (Zen) Buddhist painters to secluded mountain retreats...

Author: /time Magazine | Title: Art: MASTERPIECES OF CHINESE ART | 5/6/1957 | See Source »

...flash and cannot be long sustained, the Ch'an painter worked in monochrome "as if a whirlwind possessed his hand." Greatest of them all was Liang K'ai, who had won the Emperor's highest painting award, the Golden Girdle, before he retired to a Buddhist monastery. He dashed off such inspired sketches as his Ink Brushing of an Immortal, showing a monk tearing off his shirt to prove the indifference of the enlightened man to outward appearances...

Author: /time Magazine | Title: Art: MASTERPIECES OF CHINESE ART | 5/6/1957 | See Source »

...Buddhists are preparing for the task of propagating their faith in the West. A special college is now operating in Rangoon and a center in Colombo to train missionaries. A report of the British Missionaries Societies to the British Council of Churches last week warned Christians that "Buddhism has been roused by the recent celebration of the 2,500th anniversary of the death of the Buddha, by the meeting of the [Sixth World Buddhist] Council in Rangoon, and also by the deep fear in Asia of [nuclear] war . . . Buddhist leaders are calling Buddhists to support a world mission to save...

Author: /time Magazine | Title: Religion: Missions to the West | 4/22/1957 | See Source »

...modern secular spirit of the West makes it certain [the Buddhist missionaries] will meet with considerable success . . . There is a very deep interest in Buddhism growing among students in [Western] schools and universities...

Author: /time Magazine | Title: Religion: Missions to the West | 4/22/1957 | See Source »

...Patriarchs of Religions Boating Together was done in Tessai's last year. The six figures, representing key personages in Buddhist, Taoist and Confucian religious history, are symbolic of Tessai's belief in the underlying unity of Oriental religions. By his controlled use of sumi-ink splash and brush strokes, Tessai turned his white paper into a water-lily-strewn waterway and sky; at the same time his forceful brushwork created a protomodern example for much that in Western painting passes for abstract expressionism. Looking at these last works, one Japanese critic mused: "They are like flowers that bloom...

Author: /time Magazine | Title: Art: Japanese Master | 4/15/1957 | See Source »

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