According to Chinese legend, during the T'ang dynasty there were two enlightened holy mee from the sacred Buddhist area of T'ien T'ai mountain, Shih Te and Han Shan. They lived as ordinary monks responsible for the kitchen duties in the Kuo Ch'ing Temple. Speaking to each other in a language unintelligible to others, they were considered crazy by the other monks.
One day, the temple director, unable to control his patience any longer, demanded to know what Shih Te's real name was and where he came from. Stunned, Shih Te threw down his broom, placed his hands on his hips and stared indignantly at the director. Han Shan, shocked at the ignorance of the chief monk, began to beat his chest and make exclamations to heaven.
A renowned painting of Shih Te by the Ming dynasty painter, Wang Wen is considered one of the outstanding examples of the p'o mo (splashing inks), style of painting.
Famous for his paintings of birds and flowers, Wang Wen uses the free form of p'o mo to capture the feeling of freedom and enlightenment. Broom in hand, the benevolent smiling Shih Te radiates the Buddhist ideal of a soul free from worry. Often compared to the Sung dynasty masterpiece of p'o mo, Liang K'ai (also a holy man), Shih has its own unique quality and strength, especially evident in the lineal beauty of the folds in Shih Te's clothes and belt.
The painting has long delighted viewers with its subtle power. The Ching dynasty emperor, Ch'ien Lung (1736-1796 AD), was so moved by the artist's expression of freedom that he personally added a three character inscription, "Ho Ch'u Mi." These three characters capture the deeper meaning suggested by the painting--where does one search--for that sense of escape from the troubles of everyday existence.
(Gerald Hatherly)
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