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Calligraphic Works and Manuscripts by Hongyi from the Collection of Gao Wenxian (Lots 171-176)
HONGYI (without signature, 1880-1942)
Calligraphy - Avatamsaka Sutra
Details
HONGYI (without signature, 1880-1942)
Calligraphy - Avatamsaka Sutra
A set of two unmounted leaves, ink on paper
Each leaf measures approximately 32 x 39 cm. (12 5⁄8 x 15 3⁄8 in.)(2)
Calligraphy - Avatamsaka Sutra
A set of two unmounted leaves, ink on paper
Each leaf measures approximately 32 x 39 cm. (12 5⁄8 x 15 3⁄8 in.)(2)
Further details
This collection comprises six groups of manuscripts and calligraphic works by Master Hongyi from the collection of Gao Wenxian (1913–1991), a devoted disciple who served as the master’s Minnan dialect interpreter and received the Dharma name Shengjin.
Dating from the mid-1930s to around 1940, the materials reflect Hongyi’s southern Fujian period. Inscriptions reveal a close master-disciple relationship, as Hongyi repeatedly wrote Buddhist texts, poems, and Dharma teachings for Shengjin between 1933 and 1938.
The collection includes calligraphic dedications, Buddhist manuscripts, a rare blood-inscribed Amitābha title, notes, and draft fragments, documenting Hongyi’s doctrinal interests, scriptural study, and daily monastic activities.
The materials also illuminate Hongyi’s network of lay followers, including Guangqia and Yu Zhilang, offering valuable insight into the Buddhist community of southern Fujian.
Preserved by the Gao family for over eighty years, this well‑provenanced collection illuminates multiple facets of Hongyi’s later years—his teaching, writing, and personal interactions. It stands as both an artistic testament and a vital documentary legacy of his southern Fujian period, embodying Gao Wenxian’s lifelong devotion to preserving and studying the master’s heritage.
Dating from the mid-1930s to around 1940, the materials reflect Hongyi’s southern Fujian period. Inscriptions reveal a close master-disciple relationship, as Hongyi repeatedly wrote Buddhist texts, poems, and Dharma teachings for Shengjin between 1933 and 1938.
The collection includes calligraphic dedications, Buddhist manuscripts, a rare blood-inscribed Amitābha title, notes, and draft fragments, documenting Hongyi’s doctrinal interests, scriptural study, and daily monastic activities.
The materials also illuminate Hongyi’s network of lay followers, including Guangqia and Yu Zhilang, offering valuable insight into the Buddhist community of southern Fujian.
Preserved by the Gao family for over eighty years, this well‑provenanced collection illuminates multiple facets of Hongyi’s later years—his teaching, writing, and personal interactions. It stands as both an artistic testament and a vital documentary legacy of his southern Fujian period, embodying Gao Wenxian’s lifelong devotion to preserving and studying the master’s heritage.
Brought to you by
Carmen Shek Cerne (石嘉雯)
Vice President, Head of Department, Chinese Paintings
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